• 한국조경학회지
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• 제29권5호
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• pp.71-83
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• 2001

The purpose of this study is to find out the characteristics of landscape details in representing symbolic images in memorials on the themes of war, tragedy, and the democratization movement. In considering the characteristics of memorial landscapes, the researcher divided the characteristics of landscape details into 3 analysis categories. They are the symbolic application of landscape elements, the embodiment of landscape details, and the organization of landscape details to represent symbolic images, for example, memory, mourning, reflection, healing, glory, and identity. Among details in 24 memorials designed in or after 1970. 133 symbolic details were selected including 64 items in Korea. The analysis revealed that among 30 elements used by designers for memorialization, walls, ponds, sculptures were used more often than other elements in representing the meaning of mourning, reflection, and healing that are the basic function of memorial. In regard to detail form, the designers used basic shapes like circles, squares and rectangles, horizontal and vertical lines to heighten the symbolic effect of shapes in confined form. Stone and water utilized from nature were also used as main materials because of their materiality meaning of death, eternity, life, and healing. The techniques of using lighting, fire, and sound were introduced to make details more effective. Details were organized in harmony and repetition to represent the flew of time and space in symbolic images. The study identified the following characteristics of memorial landscapes in Korea that were different from other country first, in designing memorials, most designers in Korea have been more focused on the organization of space than the details in memorials, and so, they have been neglecting to deliver symbolic image through detail design, while depending mainly on the introduction of art works. Lastly, because they introduced traditional elements which have little relation with the symbolic image needed, there have been many details which inaccurately represent symbolic meanings.

• 한국실내디자인학회논문집
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• 제21권2호
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• pp.207-214
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• 2012

Today, museum exhibition can be divided into two sub-categories: a. informative exhibition with various useful auxiliary media to convey knowledge and b. appreciative exhibition considering aesthetic conveyance and visual/perceptual environment. In addition to this, the concept of memorial exhibition as a field that tangible and intangible memories are transmitted and reproduced is creating another genre of exhibition. As an example of such a memorial exhibition above, the work of de-constructive architect Daniel Libeskind was selected. Jewish Museum and Imperial War Museum North both of which maximized the exhibition space by grafting architectural language to exhibition narrative were analyzed and compared to see if the same architectural language can be displayed differently in another form of exhibition after being drawn into the exhibition space depending on the changes in time and perspective. Therefore, in the narrative display combining the selection of exhibition contents and storytelling, the formative language of space can confirm that exhibition narrative as an ending structure changed into a retelling story with more extended meanings through interactive factors. Eventually, in this formative narrative, when the display of historical facts and exhibition themes is combined with the architectural language in an exhibition hall according to the approach direction, the memorial exhibition can create a formative language stimulating sensibility in the memories of space and a differentiated formative exhibition space where one is truly moved by oneness of contents.

• 한국언론정보학보
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• 제71권
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• pp.52-74
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• 2015

한국전쟁 이후에 발생했던 수많은 사건들 가운데 '$5{\cdot}18$' 만큼 사회적 기억의 편차가 컸던 경우는 드물 것이다. $5{\cdot}18$은 다른 민주화운동 관련 사건들에 비해 의미의 변용이 다양하게 이루어졌다는 점에서도 특별하다. 그래서 이 글은 먼저 기념사업을 중심으로 $5{\cdot}18$의 의미가 변용되었던 배경과 논리를 파악하고, 이것이 $5{\cdot}18$기념사업의 관점과 형태에 어떠한 영향을 미쳤는가를 고찰한다. $5{\cdot}18$기념사업에 관한 인식과 형태는 2000년을 전후하여 크게 달라졌다. 이전 시기의 기념사업은 사회 운동 논리가 제도화의 논리로 일정하게 수렴되는 양상을 보였다. 이 시기에는 민주성지와 성역화의 담론이 중심을 이루었고, 기억투쟁의 성격을 띠었다. 반면 이후의 시기에는 $5{\cdot}18$의 의미가 문화도시와 인권도시를 조성하는 역사적 자원으로 해석되었다. 이러한 변화 과정에서 $5{\cdot}18$의 의미는 때로는 지역 발전 담론으로 전유되었고, 때로는 도시차별화 전략의 소재로 채택되었다. 이에 맞추어 기념사업이 추진되었던 형태도 기억투쟁형에서 유산산업형으로 달라졌다.

• 박물관보존과학
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• 제27권
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• pp.67-90
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• 2022

근현대 대형유물 C-46 수송기의 전시를 위해 도료분석 및 보존처리를 하였다. C-46 수송기는 우리 공군 최초의 해외 참전 항공기로서 베트남 전쟁에서 임무를 수행했다. 재질은 알루미늄이 대부분으로 표면에서는 움푹 파임(Pitting), 긁힘(Etching) 형태가 보이고 회색 또는 흰색 가루 모양의 부착물로 나타난다. 분석결과, 적색은 규조토(SiO₂·nH₂O), 백색의 이산화티탄(TiO₂), 흑색의 철흑(Fe₃0₄), 청색에서는 철단(鐵丹_ Fe₃0₄)이 혼합된 퍼티를 사용했다. 적외선 분광분석 결과는 알키드 수지(Alkyd Resin), 태극무늬 부분은 니트로셀룰로오스계 도료가 사용되었다. 처리는 샌딩 및 세척 등 기계적, 화학적 용제로 부식물을 제거하고 도료 도포 등을 진행하였다. 도료분석과 보존처리를 통하여 안정한 상태로 전시에 활용할 수 있도록 하였다.

• 헤리티지:역사와 과학
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• 제47권4호
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• pp.106-119
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• 2014

국보 제76호 지정문화재는 난중일기(임진일기, 계사일기, 갑오일기, 병신일기, 정유일기, 속정유일기, 무술일기) 7책과 서간첩 및 임진장초 등 총 9책으로 구성되어 있으며, 현충사 소장 유물로서 임진왜란 당시 이순신장군이 직접 기록하였다는 역사성과 학술연구자료로서의 가치를 인정받아 UNESCO가 지정한 세계기록유산에 등재(2013년 6월)된 우리의 문화유산이다. 이 중 임진장초는 충무공이 임진왜란 중 선조 25년(1592) 4월 1일 전라좌도수군절도사 재임시로부터 동왕 27년(1594) 정월 10일 삼도수군 통제사를 겸직할 당시까지 정황(情況)을 비롯하여 출전경과(出戰經過), 군사상의 건의사항, 진중의 경비 및 준비상황들을 정확하고 상세하게 장계(狀啓)한 내용을 다른 사람이 등초(謄草)한 책이다. 또한 조정의 임금님께 올린 보고서(장계, 狀啓)의 초본으로 1책(?), 반엽(半葉), 오침안정법, 선장본의 형태를 갖추고 있다. 본 논고에서는 임진장초에 대한 손상유형과 보존상태 및 보존처리 내용에 대하여 기술하였으며, 이를 통하여 조선시대 고문헌이며 국가지정 중요 지류문화재의 보존처리방법을 제시하고자 한다.

• 보존과학연구
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• 통권15호
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• pp.33-51
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• 1994

Scientific study for Chong-Tong was carried out firstly by ICP and C /S analysis. Hyeon-Ja-Chong-Tong is made by Ryang-Ne-Ryo_Dong and identified the oldest Chong-Tong among them same items never since excavated from in Korea. It was found that Byol-Seung-Ja-Chong-Tong includes gunpowder and by $\gamma$-Radiography and casted at the 1592 just before Hideyoshi's invasion of Korea. these Chong-Tong is fired by the fuse is the muzzl-loading.

• 미술이론과 현장
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• 제14호
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• pp.7-32
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• 2012

The exhibition was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

• 한국조경학회:학술대회논문집
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• 한국조경학회 2007년도 Journal of Landscape Architecture in Asia Vol.3
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• pp.118-126
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• 2007

Seoul has been the former capital from Joseon founded in 1932 by this time for 600 years. Seoul populated by some 10,290,000 people is the largest city in Korea. There are lots of cultural inheritance such as the castle town and 5 palaces including Gyeongbokgung in Seoul. Especially neungs(royal tombs) from 27 generations of king and queen in the Joseon dynasty during 518 years are very important cultural inheritance. The royal tombs were built from the castle town to the radius outside 4km within 40km pivoting on Seoul. Joseon royal tombs might have significant cultural value, which are representative Korean people's spirits for ancestor worship. After the 1945 Liberation of Korea those are having been managed by Office of Cultural Properties after Ministry of Education. This paper tried to find the changing process of the conservation and maintenance, the location of royal tomb area, the changing process of royal tomb, the area changing clue of modernization process, and in the historical city, Seoul. The royal tombs in the Joseon dynasty of the radius outside 4km within 40km pivoting on Seoul have been contributed to providing the metropolitan, Seoul population with the cultural and green spaces for 600 years. In the Joseon dynasty the royal tombs had been taken charge of thoroughly by the Royal Household with Neungchamboing system from Confucian background for ancestor worship. There after they had been damaged somewhat by the Japanese Imperialism period, the Korean War, and the pressure of urbanization. But the original state has been preserved well by state management. The royal tombs in the Joseon dynasty has been kept the culture of royal tomb's and memorial services with stone sculptures for 518 years. Also there are lots of documentary records of royal tombs. The memorial services of the tombs are held by Jongyakwon of Jeonju Lee family every year. The royal tombs somewhat damaged are needed to the original state of the transferred right of managing agency by the related national bodies.

• 한국기록관리학회지
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• 제24권2호
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• pp.113-137
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• 2024

본 연구에서는 국립대한민국임시정부기념관이 '라키비움'으로서, 다양한 형태의 자료들을 포괄하여 통합 분류할 수 있는 분류체계를 고안하고, 이를 온라인 서비스하는 방안을 제안하고자 하였다. 이를 위해 사례연구로는 임시정부 자료 소장기관인 국가기록원, 국회기록보존소, 국사편찬위원회 전자사료관의 분류체계 구조 및 내용에 대해 알아보았고, 온라인 서비스와 관련해서는 위 세 개 기관과 함께 임페리얼 전쟁 박물관과 스탠포드대학교 후버연구소 도서관과 아카이브를 살펴보았다. 국내외 기관 사례분석에서 도출된 시사점을 통해, 기관 소장 자료에 대해 출처별 계층분류로 기본적인 체계를 구성하였고, '형태별, 시대별, 주제별' 분류기준에 따른 다중분류체계를 제시하였다. 더불어 고안한 분류체계 개발안을 온라인 서비스에 어떻게 적용할 것인가에 대해서도 함께 제안하였다.

• 건축역사연구
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• 제24권4호
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• pp.7-18
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• 2015

Gwanghwamun was dismantled and displaced to the east side of the palace, at that time, the Chosun Government General Building was constructed in the Gyeongbokgung palace. After the Korea war, it remained as a stonework as a result of the fire. In 1968, The Gwanghwamun came back in front of the palace. Then, why it was rebuilt in the 3rd Republic period? What was the reason for selecting concrete? Since the May 16 coup, the military regime had been utilized palace and surrounding urban space to show a visible practice of modernization. Attempting the combination of modern technology in the 1960s and traditional cultural property and reconstructing a city as a pretext called Cultural Heritage conservation was a typical mechanism of the 1960s. In this study, I start by assume that reconstructing Gwanghwamun(1968) was a part of project to change the surrounding urban space of Gwanghwamun than to preserve cultural assets. Two main contributions of the study are following. First, I collect availabe data on the reconstructing surrounding urban space of the Gwanghwamun and re-organize them in chronological order to make them as fragments of a map. Second, I analysis and identify the nature and phase of the Gwanghwamun reconstruction.