• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.7
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• pp.127-137
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• 2019

In South Korea, the cafes utilizing idle industrial facilities have become popular recently. The purpose of this study is to understand the causes of these social phenomena and to examine the spatial characteristics of cafes regenerated from idle industrial facilities. For the study method, this study first looked at the unique spatial characteristics of Korean cafes and the cause of the increase in the number of cafes regenerated in South Korea. And then it looked at five cases where factories and warehouses built during the industrialization period (1900s~1970s) of South Korea were regenerated as cafes after 2015. Finally, this study was examined the regenerative characteristics that could be transformed from idle industrial facilities into cafes by the type analysis such as the background of the times and the strategy of regeneration. The results showed that three spatial characteristics(large single, multi-functional and emotional) preferred in South Korean cafes appeared in cafes regenerated from idle industrial facilities.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.52-78
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• 2024

This study analyzes the sculptural art of SeokhaSichan(石霞施讚, 1893-1958), a significant figure in modern Korean Buddhist art, to re-examine his contributions and standing in the history of Korean Buddhist art. Sichan expanded the boundaries of modern Korean Buddhist art by developing a unique style based on the traditional sculptural techniques he learned from his mentor, Wanho Nakhyeon (玩虎洛現, 1869~1933). This study explores Sichan's artistic development, focusing on his artistic characteristics and sculptural evolution. Sichan's early works are characterized by small sculptures modeled after the main Buddha of Seokguram Grotto and heavily influenced by his mentor, WanhoNakhyeon. In his later works, notable features include a sense of massive volume, larger scale, upright postures, integration of the Buddha statue with its pedestal, and decorative treatment of drapery. These changes are interpreted as Sichan's response to social changes and his reflection of inner contemplation and artistic exploration in his works. This study reveals the influences of Wanho Nakhyeon, collaborations with Toewon Woneil(退雲圓日, 1877~1939), interactions with patron Kim Jiseonghwa(金至誠華), and master-disciple relationship with successor Geumchun Seongpil(金春性必) through literature review and newly discovered works by Sichan. His works and his artistic evolution are pivotal milestones in the history of modern Korean Buddhist sculpture, demonstrating a unique integration of traditional and modern aesthetics. This study provides valuable insights into how Sichan's artistic legacy was inherited and developed by subsequent generations and offers crucial materials for the study of modern Korean Buddhist sculpture history.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.52-67
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• 2021

This study is an attempt to explore the roles of and the collaborative relationship between Daheojang and Maedeupjang. Daheojang and Maedeupjang share a similar manufacturing process. However, in modern times, Daheojang totally disappeared, and Maedeupjang was designated as an intangible cultural property. The present study will investigate the role of Daheojang and Maedeupjang based on the literature of the Joseon dynasty. Daheojang were craftsmen who made bands and strings of woven or twisted silk strands. They made mangsu and tassels or made knots to produce magnificent artifacts. Maedeupjang complete all steps of the process, from refining, dyeing, combining threads, daheo, maedeup, to the tassel. Daheojang in the Joseon dynasty was the center of this process. Daheojang belonged to almost all Uigwe because it used items ranging from large uso to cushion straps. Dahoe is a craft with various items and techniques. It has been widely used to produce majestic items like formal dresses, ritual ceremony pieces, and mountings, as well as daily items like jodae, pocket straps, and norigae. Based on the records of Uigwe in the late Joseon dynasty, the study explored the collaborative relationship between Daheojang and Maedeupjang. Sambang, the room where both Daheojang and Maedeupjang belong, was the room to produce the royal chair. The royal chair essentially includes large uso. The large uso is an artifact that ties a knot in a thick circle more than two meters long. While Daheojang made rounded daheo, Maedeupjang made delicate and balanced knots. Also, they produced royal inscriptions together with a royal seal with decorative mangsu and a seal of thick rounded daheo. In order to learn about traditional technology, it is necessary to study the system of the times and social trends. Therefore, the study focused on Daheojang, who were common master craftsmen during the Joseon dynasty but now are not familiar to most people.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.95-130
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• 2006

Japanese government college researchers, including Sekino Tadashi(關野貞), have conducted research studies and collected data, on overall Korean cultural relics as well as Silla tumuli(新羅古墳) in the early modern times under the Japanese imperialistic rule. They were supported by the Meichi government in the early stage of research, by the Chosun government-general, and by their related organizations after Korea was coIonialized to carry out investigations on Korean antiquities, fine arts, architecture, anthropology, folklore, and so on. The objective for which they prosecuted inquiries into Korean cultural relics, including Silla tumuli, may be attributed to the purport to find out such data as needed for the theoretical foundation to justify their colonialization of Korea. Such a reason often showed locally biased or distorted views. Investigations and surveys had been incessantly carried out by those Japanese scholars who took a keen interest in Korean tumuli and excavated relics since 1886. 'Korea Architecture Survey Reports' conducted in 1904 by Sekino in Korea gives a brief introduction of the contents of Korean tumuli, including the Five Royal Mausoleums(五陵). And in 1906 Imanishi Ryu(今西龍) launched for the first time an excavation survey on Buksan Tumulus(北山古墳) in Sogeumgangsan(小金剛山) and on 'Namchong(南塚)' in Hwangnam-dong, which greatly contributed to the foundation of a basic understanding of Wooden chamber tombs with stone mound(積石木槨墳) and stone chambers with tunnel entrance(橫穴式石室墳). The ground plan and cross section of stone chambers made in 1909 at his excavation survey of seokchimchong(石枕塚) by Yazui Seiyichi(谷井第一) who majored in architecture made a drawing in excavation surveys for the first time in Korea, in which numerical expressions are sharply distinguished from the previous sketched ones. And even in the following excavation surveys this kind of drawing continued. Imanishi and Yazui elucidated that wooden chambers with stone mound chronologically differs from the stone chambers with tunnel entrance on the basis of the results of surveys of the locational characteristics of Silla tumuli, the forms and size of tomb entrance, excavated relics, and so forth. The government-general put in force 'the Historic Spots and Relics Preservation Rules' and 'the Historic Spots Survey Council Regulations' in 1916, establishing 'Historic Spots Survey Council and Museum Conference. When museums initiated their activities, they exhibited those relics excavated from tumuli and conducted surveys of relics with the permission of the Chosun government-general. A gold crown tomb(金冠塚) was excavated and surveyed in 1921 and a seobong tomb(瑞鳳塚) in 1927. Concomitantly with this large size wooden chamber tombs with stone mound attracted strong public attention. Furthermore, a variety of surveys of spots throughout the country were carried out but publication of tumuli had not yet been realized. Recently some researchers's endeavors led to publish unpublished reports. However, the reason why reports of such significant tumuli as seobong tomb had not yet been published may be ascribed to the critical point in those days. The Gyeongju Tumuli Distribution Chart made by Nomori Ken(野守健) on the basis of the land register in the late 1920s seems of much significance in that it specifies the size and locations of 155 tumuli and shows the overall shape of tumuli groups within the city, as used in today's distribution chart. In the 1930s Arimitsu Kyoichi(有光敎一) and Saito Tadashi(齋藤忠) identified through excavation surveys of many wooden chamber tombs with stone mound and stone chambers with tunnel entrance, that there were several forms of tombs in a tomb system. In particular, his excavation survey experience of those wooden chamber tombs with stone mound which were exposed in complicated and overlapped forms show features more developed than that of preceding excavation surveys and reports publication, and so on. The result of having reviewed the contents of many historic spots surveyed at that time. Therefore this reexamination is considered to be a significant project in arranging the history of archaeology in Korea.