• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.74-95
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• 2009

Folk villages have higher historic and cultural values than other villages and contain considerably many traditional elements today. In Korea, there are seven folk villages that are under the protection of the Cultural Properties Protection Act. Unlike other kinds of tangible cultural assets individually appointed according to the act, those folk villages are protected by the act in entirety including the houses and auxiliary structures inhabited and used by the villagers. Since the act covers the entire villages, the residents are not allowed to repair or renovate their structures and accordingly suffer from huge limitations in everyday life with housing life under the biggest restrictions. Being appointed as a folk village is positive from the perspective of preserving the village. However, it is negative to the villagers because of the limitations to their housing lives. While common people lead a convenient life by the introduction of high technologies in modern society, they do not get to benefit from such technologies for the cause of preserving the traditional culture. Upon the appointment, they are subject to all sorts of building regulations and under huge direct and indirect influences of those regulations across many different aspects of life including housing life. Thus the residents of folk villages do have many complaints about the act. It is only natural that there occur conflicts between the state, which tries to preserve the traditional culture according to the act, and the residents, who pursue convenience in life. At the same time, it is natural too that the residents have the desire to pursue convenience in daily life. Thus they renovate their houses illegally. The government agencies are aware of that, however, it is not right for them to enforce the act and restrict their daily lives. Their tacit approval of such illegal renovations is the product of compromises between the residents' right to their private property and the state's policies of cultural asset protection. The residents try to renovate their houses within the limit that will not call for legal restrictions from the government agencies. The government allows for renovations as long as they are within the minimum limit. It is the result of efforts for the state and the residents to stitch up and compromise their own complaints.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.35-50
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• 2022

The Korean cultural heritage protection act, enacted in 1962, is known to have been enacted in imitation of the Japanese cultural heritage protection act. The Japanese law differs from the current law dealing with intangible cultural heritage, folklore materials, and buried cultural properties. The Japanese law was enacted in consultation with the GHQ, and reflected the historical issues at the time of the enactment. Recently, in Japan, GHQ documents have been released and so research on the cultural heritage protection act is carried out. Therefore, it is necessary to understand the meaning and achievements of the Japanese cultural heritage protection act before comparing it with the Korean law. GHQ stipulated the emperor as a symbolic entity in the Japanese constitution and prescribed the country as a liberal democracy. Influenced by this, the cultural heritage protection act was enacted to identify the people's cultural heritage. Accordingly, the cultural heritage protection committee is a private and independent organization in Japan. The committee designates cultural heritage assets, and it operates as the national museum and the cultural heritage research institute. This system was a part of policy changes shifting cultural heritage management to the private sector. Since many cultural heritages are associated with the imperial family, museums were managed by the imperial family. Meanwhile, the Japanese house of councillors persuaded GHQ, which was negative about including intangible cultural heritage in the cultural heritage protection act. The purpose of this idea was to provide the system of the government support for Japanese imperial court music and dance. In addition, folk materials were included with the consent of the GHQ in that they represent the cultural heritages and the academic achievements of the people at the time in Japan. According to the Korean Law, the subject of designation of cultural heritage is the government, and the cultural heritage committee acts as an advisory body with its limited functions. In the early days, the committee confused the concept of intangible cultural heritage and folklore materials. This was because the concepts of cultural property was borrowed from Japanese law and applied to the Korean law without a full understanding. In response, the cultural heritage committee urged the ministry to investigate the current situation in Japan. The cultural heritage committee, mainly consisting of folklore scholars, was confused about the concepts of intangible cultural heritage and folklore materials, but the concept became clear when the enforcement regulations of the cultural heritage protection Act was enacted in 1964.

• Journal of Conservation Science
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• v.37 no.3
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• pp.270-281
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• 2021

The Yongjam of Oejae, Yi Dan-ha's wife, is an ornamental hairpin with a dragon-shaped engraving; designated as National Folklore Cultural Heritage No. 4. It is also a component of the ceremonial costume, and an artifact of great value as it clearly identifies the position of the wearer and the period of this artifact. The Yongjam has been well preserved in general; however, various pollutants and corrosive products have affected the engraved patterns, requiring conservation treatment. Furthermore, a non-destructive analysis was conducted to identify the components of the materials and the manufacturing techniques used in the ornament. The Yongjam is hollow inside to reduce its weight when placed in the hair and has a color contrast of gold, red, and black. The decorative part and the body were made separately. That is, the body was made from an alloy of copper, silver, and zinc, and its joint was elaborately connected without any overlaps. In the decorative part, different alloy ratios were identified in the dragon's face, beard, horn, body, and fin. Further, for the dragon's face with its delicate patterns, an alloy of silver and copper was used, likely to make the face appear as realistic as possible.

• 한국정보교육학회:학술대회논문집
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• 2004.01a
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• pp.217-225
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• 2004

민속춤은 민중에 의해 자연적으로 발생된 것으로, 그 민족의 생활, 풍습, 습관 둥 독특한 특성이 포함되고, 남녀 노소를 막론하고 쉽게 배우고 재미있게 즐길 수 있다. 재 7차 교육과정 체육과에는 다른 나라의 민속춤을 10가지 소개하고 있다. 우리나라의 민속춤은 자료의 접근이 용이하나 다른 나라의 민속춤은 자료가 부족하다. 또한 현직 교사들의 사전 연수기회 부족, 국가 수준의 적절한 지도자료 부족 등의 이유로 인해 충분한 지도가 이루어지지 못하고 있다. 본 연구는 동영상을 중심으로 각 나라의 문화, 춤의 기초 동작, 감상하기 등의 자료를 제작하여 다른 나라의 민속춤의 지도하고 이해하는데 도움이 될 것이다.

• Journal of the Society of Disaster Information
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• v.7 no.1
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• pp.64-74
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• 2011

Cultural properties should be protected more than other facility because of its symbolization of a nation's historic and conservative value. So proper and effective actions for the management of our legacies is necessary. On this study, we'll research cases of cultural properties fires and manage to show the safety system of legacy and analyze problems of the system so that we can result in improvements for the safety of our treasures. This study is not to include almost all kind of cultural assets but only confined in a category of wooden materials, so there's limit of this study. And we should consider fires of tangible cultural properties, souvenirs and folk materials later period.

• Journal of Conservation Science
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• v.38 no.2
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• pp.124-132
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• 2022

Through scientific analysis, this study identified the material characteristics of metal foil decorating the border line and knotting of the National Folklore Cultural Heritage 'Pouch for the Sutra Embroidered with a Sun and Moon Design'. Through Scanning Electron Microscope-Energy Dispersive Spectroscopy results, it was estimated that silver (Ag) and sulfur (S) were present in the metal foil, and silver leaf was also attached to the medium. S may discolor Ag from yellow to black depending on its concsentration and contact time. Yellow color could not be identified in metal foil at present. But there existed an example of the preparation of a gold-colored flat silver thread; therefore, further research is needed to estimate the original color. The lamella was reddish brown on the back. Aluminum, silicon, and iron were also detected and were the main components found in red soil. This is believed to be the red adhesive in traditional flat gold thread and is considered to be an adhesive-related component of the metal foil. From the gas chromatography mass spectrometry results, the adhesive component was confirmed to be animal glue.

• Journal of Conservation Science
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• v.33 no.6
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• pp.443-456
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• 2017

The Geumran-gasa (Kasaya) and Jangsam of the monk Samyeong are historical relics and were designated as object No.29, a Buddhist costume of the Joseon Dynasty, by the National Folklore Cultural Heritage, in 1973. In 1984, after being treated for the purposes of washing and preserving the shape of the garments, the object was kept in the Temple Museum of Pyochungsa, as their holding institution. However, regular inspection conducted by the Cultural Heritage Administration in 2013 determined the need for a re-treatment. The Geumran-gasa had been originally made with 25 strips, but it had been separated into two parts and many pieces were lost. A part of the collar in the Jangsam was lost as well. Therefore, both relics needed to be restored. The re-treatment process involved pre-investigation, washing, reinforcement fabric dyeing, restoration, and fumigation. In particular, we focused on reinforcing the damaged parts and restoring the missing parts by applying advanced materials and methods in order to restore the original form as much as possible. This conservation is the result of the re-treatment of the cultural properties by replacing the old material used in past treatments and applying advanced methods under the basic principle of reversibility in conservation treatment.

• (The) Research of the performance art and culture
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• no.39
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• pp.197-222
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• 2019

In the paper, this study will be explored in the migration of the mask dance Eunyeul Talchum from North Korea to South Korea after the national division took place. During and after the Korean War, refugees from the Hwanghae province settled in the Republic of Korea who were performers of the three Korean mask dances: Bongsan Talchum, Kangryeong Talchum and Eunyeul Talchum. All of these mask dances are denoted as South Korea's National Intangible Properties under the Cultural Property Protection Law (1962.) However, Eunyeul Talchum is the only asset among these three that settled in Incheon, instead of the capital, Seoul. The purpose of this research is to examine the process of restoring and the idea of transmitting Eunyeul Talchum in Incheon after the division of Korea. As opposed to Bongsan Talchum and Gangryeong Talchum, which are recognized as major socio-ethnic groups, Eunyeul Talchum belongs to a minority. Because not only Eunyeul Talchum is the last Mask Dance which has been nominated as an Intangible asset among the other Hwanghae Talchum but also, most people in the preservation association are comprised of the second-generation refugees from Hwanghae province. During three months of research, the researcher observed the performances and the educational communicating Eunyeul Talchum's cultural legacy. This study included several research methods: open interview, examination of relevant documents, and live performances. Particularly, the researcher conducted interviews with the Human Cultural Property and musicians (including professional/scholarly to lay/untrained) in the Preservation Association. In conclusion, Eunyeul Talchum preservation association is not as preeminent as other Korean mask dances, it has been transmitted by performers from Hwanghae province with its unique masks and instrumental accompaniment. These performers and educators dedication to maintaining Eunyeul Talchum's attributes contribute largely to the Preservation Association's successful settlement in Incheon. Thus, the researcher examines which idea formed to subsist the Eunyeul Talchum preservation association.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.146-169
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• 2018

Artificial or natural artifacts, which have historical, artistic, academic or scenic value as national, ethnic or global assets, are designated as "cultural heritages" under the Act on the Protection of Cultural Heritage. Cultural heritages can be divided into tangible cultural heritages, intangible cultural heritages, and monument and folklore heritages. In addition, depending on the object of designation, a cultural heritage can be designated either as a city or a provincial cultural heritage or a cultural heritage material, by a city mayor or provincial governor, and as a state-designated heritage by the administrator of the Cultural heritage Administration. The regular survey is a part of the policy for the preservation and management of state-designated heritages, which requires that surveys be undertaken every three to five years for the preservation, repair and maintenance of cultural heritages. It was stipulated in the Act on the Protection of Cultural Heritage in 2006, and since then has substantially contributed to the preservation and management of state-designated heritages based on the identification of damage to cultural heritages and the application of appropriate treatment measures. However, some parts of the guidelines on the regular survey, legislated in 2006, occasionally give rise to confusion in managing the regular survey system of state-designated movable cultural heritages, and need to be modified to facilitate the systematic management and improvement of the regular survey system. This study attempts to analyze the structure and operation of the regular survey system of state-designated movable cultural heritages, and proposes plans for improving the way of specifying each department which leads, manages and executes the regular survey, the process of entrusting the survey, and its guidelines and forms. I hope that these plans concerning the regular survey of state-designated movable cultural heritages will contribute to improving the quality and management of the system.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.102-111
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• 2022

Termites are a group of social insects that are one of the primary causes of damage to wooden architectural heritage. Since termite damage impairs the authenticity and structural stability of cultural heritage, it is imperative to prevent it. This study examines the extent of termite damage to wooden architectural heritage as part of efforts to prevent termite damage to nationally designated wooden architectural heritage sites across the country. The extent of termite damage to each cultural heritage was assessed qualitatively and quantitatively and comparatively analyzed by region using the results of the "Investigation on Biological Damage to Wooden Architectural Heritages" conducted by the National Research Institute of Cultural Heritage from 2016 to 2019. It involved 362 nationally designated wooden architectural heritages(25 national treasures, 157 treasures, 180 national folklore cultural heritages) and 1,104 buildings. The results were as follows: termite detection dogs reacted at 317(87.6%) of the 362 wooden heritages, with visible termite damage observed in 185 cases(51.1%). Furthermore, termite damage was confirmed using one of two methods(detection dogs or visual inspection) in 324 cases(89.5%). Of the 1,104 buildings, termite detection dogs reacted at 668(60.5%), while 339(30.7%) showed visible termite damage. Employing one of the two methods, damage was confirmed in 702 buildings(63.6%). The country was categorized into nine regions(Seoul Metropolitan Area, Gangwon, Chungbuk, Chungnam, Jeonbuk, Jeonnam, Gyeongbuk, Gyeongnam, and Jeju) to examine the termite damage rate and the degree of damage to each cultural heritage according to location. Termite detection dogs reacted to more than 70% of the cultural heritage in all regions. Visible damage was minimal in the Seoul metropolitan area(32.1%) and Gangwon(21.4%) but severe in Chungnam(65.6%), Jeonnam(67.3%), and Gyeongnam(68.2%). By quantifying the degree of termite damage of each cultural heritage as a ratio of the absence of termite damage among the total absence, the average termite damage of the cultural heritage across the country was 9.2%. Regional variance analysis showed that the cultural heritage in Jeonbuk and Jeonnam showed a statistically significantly higher degree of termite damage than the cultural heritage in the Seoul metropolitan area, Chungbuk, and Gyeongbuk. This paper comprehensively analyzed termite damage to nationally designated wooden architectural heritage. The findings are expected to be valuable in establishing policies for the preservation and management of cultural heritage sites in the future.