• Korean Journal of Heritage: History & Science
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• v.37
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• pp.445-469
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• 2004

The Avatamsaka Sutra copied in ink on the white paper of Shilla Period is the oldest manuscript in korea. This Avatamsaka Sutra is volume 1-10 and 44-50 of the 80 volume's transcription. According to the postscript, written with 528 letters at the end of the volume 10 and 50, this sutra is made during A.D. 754-755, for six months by the order Master Yon-gi(綠起 法師) who founded Hwaumsa Temple(華嚴寺.) It explains the procedure of the ritual and production method of the sutra-copying, and also shows the 19 participants with their name, address, official title, and etc. When the sutra was founded, volume 1-10 were so congealed that we could not open the volumes. And volume 44-50 was prohibited to take photograph for preservation. According to the recent examination, it proved that this sutra is the treasure for the study of the characters made by Empress Wu Zetian(則天武后.) The characters made by Empress Wu Zetian(A.D. 625-705) are new shape of chinese characters which is different from the traditional characters. After the demise of the Queen, the characters were not used any more officially, but privately some people used the characters for personal tastes and interest. The characters in the sutra includes 512 characters of 13 kinds of Empress We Zetians'. Compared to the Tun-huang version of the sutra, this is far better treasure for the study of Empress We Zetians' characters in terms of the number of the character and the their use of frequency. The Avatamsaka Sutra of Shoso-in(正倉院) in japan copied in A.D. 768 does not use the Empress We Zetians' characters. In this respect, this Shilla Avatamsaka-Sutra is a unique one preserves the original forms of Chinese translation at that time.

• The Korean Journal of Archival Studies
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• no.33
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• pp.155-206
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• 2012

Interests in archives management are getting expanded from the public sector into the cultural and artistic field for the ten years after legislation of "Act on the Management of Public Archives" in 1999. However, due to lack of recognition on the importance of archives in the cultural and artistic field, it is rather frequent that information is kept scattered or archives are lost. As an example, absence of precise contract documents or notes of bestowal keeps people from locating great amount of cultural properties, and because of it these creative properties are in the risk of thefts, the closed-door auctioning, or trades in unofficial channels. As how a nation manages cultural and artistic creation inside the nation reflects its cultural level, it can be said that one of the indexes to notice the extent of a nation's cultural level is to take a look at how they are circulated. This study started from this point. Growing economy and rising interests in culture and art made the society more cognizant of the importance and value that visual artworks have, but the archives and information which are showing the context of these artworks and are produced in the course of social interaction are relatively disregarded because too much emphasis lies on the work itself. It is harder to find archives or documentations in Korea than in other advanced countries about the artists themselves or philosophical discourse on the background of the artworks. There is not so much interest to preserve the archives and information produced after the exhibition also, and they are used for no more than promotion or reference. Hereupon, the researcher recognized the importance of visual arts archives and believed that systemic management on them are high in need. And metadata is an essential way for the systemic management, as recently management on artworks or their archives are conducted using the system of the agencies even though they are not produced electronically. The objective of this study is to manage visual arts archives systematically by designing a data model reflecting traits of visual arts archives. Metadata are needed in the every course of archives from acquisition to management, preservation and application. Visual arts archives find its rich value only when a systemic relationship is established among information on artist, artwork and events including exhibition. By establishing a Multiple Entity Data Model, in which artworks, artists and events (exhibitions) make relationship all together, metadata for management on visual arts archive gets more efficiency and at the same time explanatory trait of the archive gets higher. For this reason we, in the study, tried to design a data model by setting each as an independent entities and designating relations between them, in order to find a way to manage visual arts archives more systematically.

• The Journal of Engineering Geology
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• v.31 no.1
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• pp.103-118
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• 2021

For management and preservation measures of lava tube, it is studied how the blasting vibration by constructions near Geomunoreum lava tubes in Jeju affect lava tube. 11 boreholes were drilled in study area, and in-situ blasting tests were conducted by changing from 0.5 kg to 10 kg charge per delay in those boreholes. The vibration velocity, which meets the regulatory vibration criterion during daytime, was estimated as below 0.276 cm/sec by analyzing the relationship between vibration velocity and vibration level. In addition, SRE and CRE were calculated from the results of in-situ blasting tests, and k-values were shown as 130.04 in SRE, 199.71 in CRE, respectively. Also, n-values were shown as -1.717 in SRE, -1.711 in CRE, respectively. Charge per delay were assessed based on these equations, and charges per delay had ranges of 0.57~7.42 kg/delay in estimation equation of vibration velocity, 0.21~5.29 kg/delay in SRE, and 0.04~5.51 kg/delay in CRE, considering the 0.2 kine vibration criterion for cultural heritage and the 20~100 m distance from vibration source. Additionally, the relationships which meet the criteria of 0.2 kine, were calculated by combining CRE in this study with the result of previous study. Allowable charges per delay, which meet the criteria of 0.2 kine, were evaluated as 1.07 kg/delay in 50 m, 5.13 kg/delay in 100 m and 22.26 kg/delay in 200 m distances. These relationships for each vibration velocity are useful to deduce charge per delay for the ground near Geomunoreum lava tube.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.52-69
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• 2021

The transcriptions of Buddhist sutra in the Goryeo Dynasty are more elaborate and splendid than those of any other period and occupy a very important position in Korean bibliography. Among them, the transcriptions made on indigo paper show decorative features that represent the dignity and quality that nobles would have preferred. Particularly, during the Goryeo Dynasty, a large number of transcriptions were made on indigo paper, often in hand-scrolled and folded forms. If flexibility was not guaranteed, the hand-scrolled form caused inconvenience and damage when handling the transcription because of the structural limitations of the material that is rolled up and opened. It was possible to overcome these shortcomings by changing from the hand-scrolled to the folded form to obtain convenience and structural stability. The folded form of the transcription utilizes the same principle as the folding screen, so it is a structure that can be folded and unfolded, and it is made by connecting parts at regularly spaced intervals. No matter how small the transcription is, if it is made of thin paper, it is difficult to handle it and to maintain its shape and structure. For this reason, the folded transcription was usually made of thick paper to support the structure, and the cover was made thicker than the inner part to protect the contents. In other words, the forded form was generally manufactured to suit the characteristics of maintaining strength by making the paper thick. Because a large amount of indigo paper was needed to make this type of transcription, it is assumed that there were craftsmen who were in charge only of dark dyeing the papers. Usually, paper dyeing requires much more dye than silk dyeing, and dyeing dozens of times would be required to obtain the deep indigo color of the base of the transcription of Buddhist sutra in the Goryeo Dynasty. Unfortunately, there is no record of the Goryeo Dynasty's indigo blue paper manufacturing technique, and the craftsmen who made indigo paper no longer remain, so no one knows the exact method of making indigo paper. Recently, Hanji artisans, natural dyers, and conservators attempted to restore the Goryeo Dynasty's indigo paper, but the texture and deep colors found in the relics could not be reproduced. This study introduces the process of restoring indigo paper in the Goryeo Dynasty through collaboration between dyeing artisans, Hanji artisans, and conservators for conservation of the transcription of Buddhist sutra in the late Goryeo dynasty, yielding a suggested method of making indigo paper.

• (The) Research of the performance art and culture
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• no.41
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• pp.257-284
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• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.226-256
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• 2023

Gyeongju has been the capital of Silla Kingdom for about 1,000 years, and many cultural heritages of the Silla period, such as the Wolseong Palace Site, Daereungwon Ancient Tomb Complex and Donggung Palace and Wolji Pond, are located in the city. Due to these characteristics, the process of heritagization has been carried out in Gyeongju from the Japanese colonial era to after liberation. Heritagization means selecting things from the past due to the needs of the present and making them heritages. In the case of South Korea, national government-led heritagization was achieved during the Japanese colonial period, and after liberation because of the restoration of national culture and the construction of a national identity. Gyeongju is a representative example. On the other hand, Gyeongju's heritagization process was carried out with little consideration of the local community, and thus the local community and Gyeongju's heritage have been distancing. In 2002, Gyeongju's heritage sites were nominated as World Heritage Sites. With the nomination, the perception of the role of local communities in heritage has been changed, and institutional mechanisms to promote the participation of local communities have been continuously reorganized. However, Gyeongju's heritagization process, which was thoroughly conducted through the central government and expert groups, was the reason why Gyeongju residents actually thought Gyeongju's heritage and the locality of Gyeongju were formed through the central government and expert groups. This has been the result of Gyeongju residents' passive participation in heritagization or heritage management to date. This study analyzed the heritagization process of Gyeongju through literature research and conducted an interview survey of residents who have lived in Gyeongju for a long time to understand the impact of the institutional heritagization process on residents and the relationship with heritage. Based on the analysis results, it was suggested that local residents and communities could take the initiative in managing the heritage of Gyeongju.

• (The) Research of the performance art and culture
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• no.38
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• pp.249-275
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• 2019

Gangneung farm song is important for the ritualistic labortheatricals. Especially, in the theatrical process program, the songsof weeding, such as Haksan Odokkteggi and Ssadae, were alsoincluded to represent the agricultural ritualistic prayer for goodharvest. The use of Gangneung farm song is attractive in termsofthe circumstances. There is no chance of success as a plan simplyfor local events. As a comprehensive art, Gangneung farmsongshould simultaneously revitalize locality, representability andglobality. In this context, three directions are suggested dependingon the development progress. The second direction to the thirddirection are mainly oriented toward government-local authoritycentered support, but, in particular, the third direction should aimtobe an open archive in which the public and the contents prosumercan participate. In the production of the traditional content, OSMUmust be endlessly recreated and spread through 'diversity' and'interrelationships'. The contents utilization was discussed based on the transmissiondetails and analysis evidence of Gangneung Haksan Odokttegi. Thediversification of the way of performing farm song and the folk songs that can induce interest were proposed. Furthermore, basedon the fact that 12 songs classified into 8 work types, there-creation of the contents that focus on the playful aspect of theperforming arts was also proposed. In addition to suggestingthedesirable discourse of the performance groups, the experienceprogram development, education, public relations andcommunication reinforcement based on the narrating principlesoffarm songs, and the development and execution of farmsongprograms based on the tradition and the event demands wereproposed. While mentioning the necessity of value creation, thevitality of performing arts skills that put emotion, imagination, fun, sympathy, and etc. on the original form and the model of farmsongs should be supplemented to Gangneung Haksan Odokttegi. The independent transmission aspect of Gangneung Arirangisalso positive. There are difficulties of reduction of traditionalitydueto the designation, standardized transmission, lack of developmentof voluntary performances, and demonstration-centeredtransmission. Narrowly, we focused on the education andvitalization directions in terms of the capacity building of theconservation council itself. By embodying the essential value of theagricultural literature that farm songs possess, it can bringimpression of all worlds, all lives, communication and sharing, anddraw inspiration from the humanistic view of the world andemotion. The reconstitution of agricultural heritage, theconstruction of a storytelling linked with the concrete objects suchas Beomil National Preceptor, Gulsansa, FlagpoleSupport(Dangganjiju), Seokcheon, Hakbawi rock, and etc., andtheestablishment of fusion type farm song museum were proposed. In terms of culture industry, we requested active support fromtheinstitutions including local governments and various farmsongstorytelling creation projects.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.110-130
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• 2023

New years' rites serve a religious function to wish for well-being during the year by bidding farewell to the previous year and welcoming the next. In Japan, in mid-December, to welcome Toshigami, kadomatsu, and shimenawagazari are prepared, as well as osechi ryori to be eaten at the beginning of the year. On New Year's Day, people go to shrines and bow to the gods while saying Hatsumode (初詣). On the fifteenth day of the first month, in the course of a rite called Dondoyaki, all the decorations used in the first month and the amulet used in the previous year are burned. In Korea, when the Lunar New Year approaches, people prepare for their ancestral rites and clean their houses. On the first day of the new year, people hold ancestral rites for their ancestors. There are many different seasonal rites, taking place from the beginning of the year to the full moon. In China, Danwonban (團圓飯), in which the whole family sits together and eats on New Year's Eve, is important. Lights are brightly lit up all night, and the sound of firecrackers outside rings out loudly. On the door, the word chun-ryun is attached to wish for prosperity in the new year. According to the cycle of the four seasons, the first lunar month contains a high proportion of the seasonal rites that are repeated every year. The first month represents the beginning of a year, and various rituals are performed in order to wish for good health and abundance during the coming year. In addition, the "folk religious world view" is integral to annual new years' rites, so it is not difficult to understand the religious character and structure of the Korean, Chinese, and Japanese annual ceremonies. This study examines the current status of annual new years' rites in Korea, China, and Japan, and how the rites are structured according to the inflection points in the year. In addition, religious characteristics are reviewed in terms of gods, predictions, and fertility prayers, exorcisms, health, and restoration. In this way, it can be seen that various religious elements such as shamanism, agricultural faith, ancestor worship, Shintoism, Taoism, Confucianism, and Buddhism can be witnessed in the annual new years' rites of Korea, China, and Japan. In addition, differences in the presence or absence of these are shown to depend on the country.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.94-108
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• 2023

Onyanghaenggung Palace(temporary palace at Onyang) is an important cultural heritage that can substantially confirm the king's onhaeng(溫行) base on literature records such as <Ongungyeonggoedae(溫宮靈槐臺)>, <Oncheonhaenggungdo(溫泉行宮圖)> of 『Ongungsasil(溫宮事實)』『, Younggoedaegi(靈槐臺記)』and cultural property such as Yeonggoedae(靈槐臺) and Shinjeong Monument(神井碑). As the Onyang Tourist Hotel is located in the presumed site of the Onyanghaenggung Palace, even the identity of the Onyanghaenggung Palace site is being threatened without restoration efforts. The purpose of this study is to estimate the location of Onyanghaenggung Palace based on <Oncheonhaenggungdo> before the damages during the Japanese colonial period. To achieve these purposes, records related to Onhaeng during successive kings' terms in the Joseon Dynasty are first reviewed, before changes in the architecture of Onyanghaenggung Palace that took place in the Joseon Dynasty and damage suffered during the Japanese colonial period are summarized, and finally <Oncheonhaenggungdo>, <Eupji>, <Ancient Maps>, <Jijeokwondo> are reviewed. Based on these processes, the location of Onyanghaenggung Palace is estimated by comparing the current Onyang Tourist Hotel and the surrounding area. The results of this study are as follows. First, if the 1,758 cheok(尺) of 「Onyanggun eupji」 and 「Hoseo eupji」 are converted in Jucheok(周尺), the scope of Onyanghaenggung Palace is close to the inner circumference of the site(垈) in Jijeokwondo(1914). Second, the streamlet leading to Oncheoncheon(溫泉川) from the southern side of Onyanggwan(溫陽館), the hot spring hole in use of <Distribution Map of Hot Spring(溫泉分布見取圖)>(1925, 1928), and considering the relationship of the inner east gate(內東門), Bigak(碑閣), Sinjeong(神井) of <Oncheonhaenggungdo>, the building of Hermann Gustav Theodor Sander and the Copyright Commission's Onyang Hot Springs photograph can be estimated as the Onyanghaenggung Palace Hot-spring, namely Tangsil(湯室). Third, in the process of developing to amusement park, the transfer and relocation of the Yeonggaedae site(a governmentowned property) was requested by Gyeongnam Railway Company, but Chungcheongnam-do denied transfer and relocation of the Yeonggaedae because of the importance in the history of Onyang Hot Springs, so the government-owned Yeonggaedae Monument site were permanently preserved at the current location together with the hoe tree(Sophora japonica L.). Also, Yeonggoedae in <Tourists Attractions around Gyeongnam Railway in Joseon (朝鮮京南鐵道沿線名所交通図絵)> (1929) is shown to exist in its current location, and it can be seen that the Shinjeong Monument Pavilion was moved to the front of Shinjeonggwan (神井館). Based on the circumference of Onyanghaenggung Palace, the location of Onyanghaenggung Palace Hot Spring (Tangsil) and Yeonggaedae Monument Pavilion, changes in roads and lots of land during the Japanese colonial period and the modern period, as well as the location of Onyanghaenggung Palace and other major buildings, can be estimated to extend to the current Shimin-ro and Onyang Hot Spring Market.