• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.69-86
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• 2020

Haenghaeng Ilgi (Diary of a Royal Trip) (koo 7152; hereafter Ilgi) in the collection of the National Museum of Korea provides an account of Crown Prince Sado's incognito royal visit to Pyeongyang in the fourth month of 1761. Ilgi was written by Ham Daeil, a low-ranking military officer in Pyeongyang. Ham was singled out for praise by Crown Prince Sado (1735-1762) and served the prince from the seventh day of the fourth month to the first day of the fifth month. Ilgi documented the deeds of Crown Prince Sado during this period and provides detailed information on his incognito visit to Pyeongyang, which was not officially recorded. Ilgi shows characteristics differentiating it from many other diaries. For example, the quality of the paper, neat handwriting, and well-organized sentences differ from those of common diaries. These distinctions indicate that Ilgi is closer to an official document than a private diary written by an individual. Since Ilgi records Crown Prince Sado's incognito visit to Pyeongyang, is only vaguely known otherwise, its contents need to be examined in terms of whether or not they are fully factual. As the first step in such verification, It is traced that Ham Daeil's family history which turned out to match what is written in Ilgi. Moreover, Ilgi mentions about Prince Crown Sado's writing a piece of calligraphy, and a matching piece of calligraphy written by Sado still survives today. It can be confirmed that the contents of Ilgi are factual in at least these regards. However, although Crown Prince Sado was known to have met people from various social classes during his visit to Pyeongyang, Ilgi focuses only on Crown Prince Sado and Ham Daeil. This suggests the possibility that the surviving version of Ilgi may be an edited condensation based on original texts containing more complete information on Crown Prince Sado's visit. Ilgi is presumed to have been produced during the generation of Ham Jeonghui, a son of Ham Daeil. The dates of birth and death of Ham Daeil fall during the reign of King Yeongjo. It is unlikely that any records regarding Crown Prince Sado would have been published while King Yeongjo, who was hostile to Sado, ruled the country. Ilgi also provides strong evidence that Ham Jeonghui presented the subsequent king, King Jeongjo, with the calligraphy by Crown Prince Sado and the diary. It is unclear if the book Ham Jeonghui presented him was the same as the extant version of Ilgi. Nonetheless, considering the situation at the time when King Jeongjo was pursuing several projects to honor his father Sado, it is highly probable that Ilgi was produced during the reign of King Jeongjo. The periods of presenting the calligraphy and the diary respectively overlapped with the production of Hyeollyungwon, the royal tomb of Crown Prince Sado, and Sado's sixtieth birthday. Therefore, is it considered reasonable that Ham Jeonghui produced Ilgi to promote his own social ambitions.

• Journal of Digital Convergence
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• v.10 no.5
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• pp.333-338
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• 2012

Cultural goods is carrying nature and value above-mentioned a commodity to what a cultural element was commercialized. And it produced for the purpose of manufacture for popular sales and supply, and holding commercial character. Specially, cultural goods of a museum keeps a good memory to a sightseer, and broaden an educational experience, and the source of profit becomes it to a seller a producer. This cultural goods as they all include the artistic historical figurative background that they are displayed directly and got twisted up to collection have background which became a motive. Cultural goods can acquire cultural difference in globalization and have to be based on the soil of cultural heritage, starting around various cultural materials through practical value to a modern life. Internationally, cultural goods using a culture material development have competitiveness of nation as in it. Therefore, Baekje cultural goods need national and positive aid from the government with the customer satisfaction index considering the modern design, an age group, an internal and external commodity as the difficulty of various commodity development and managing museum shop. Furthermore, like overseas museum shop, if we are practically using on-off line, continuous promoting our commodity, and marketing strategy such as a membership system when buy our cultural goods, a special discount event etc., we can contribute to activate local economy as a museum shop when we have responsibility of the function and the part.

• Journal of Digital Convergence
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• v.16 no.5
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• pp.391-398
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• 2018

Analyzing the shortcomings and shortcomings of the film based on the Webtoon and the artistry as a popular artwork at the time when the filming of the webtoon is becoming the main trend of the Korean film, it is an analysis of the present state of the Korean film industry, Will be an indicator for. The present generation of young people who do not have the experience and knowledge of popular arts and culture that handed down a small number of high-quality arts by reflecting current literary, art, history, and popular consciousness are concentrating only on instinctive emotion, It is regrettable that it is consistently followed by follow-up and follow-up unconditionally. In this study, we will examine the methodology of the ideal webtoon filmization process by analyzing the structure and industry analysis of Webtoons, and analyzing the weaknesses in the transition process to the movie format. The essence of communicating with audiences will be unchanged even in the rapid change of media and technology. In the setting and expression of its essence, it is based on the humanistic authenticity mentioned above, the avant garde internal necessity of the artist seeking ideal, And the reflection of the original character of high-class culture that creates newness can be considered as a proposition that can include artistry in popular culture.

• Archives of design research
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• v.16 no.4
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• pp.413-422
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• 2003

In the early 20th century, the efforts for design standards for industry and the new aesthetic of Functionalism began from the Deutcher Werkbund, an English German Association of Craftsmen. In the similar vein, the Bauhaus, founded in 1919 at Weimar, provided the definition of Good Design, as a contemporary concept, that combines art with technology. From 1950 to 1955, the modern usage of the term 'Good Design' was derived from a series of exhibitions and consumer education programs conducted by the MOMA(Museum of Modern Art, New York). The mission was to bring modern design to the attention of the general public. From the second half of the 20th century, many specialists in different areas, such as designers, manufacturers, enterprises, and scholars, began to give various definitions of 'Good Design'. That's why it could be interpreted and applied to unique and various methods by them. Meanwhile, Rams and Norman argued that the Good Design has to be not only considered within function, aesthetic, technology, etc, but also interpreted from both the physical and psychological point of views. Accordingly, this study tried to find out the historical investigation and the definition of Good Design in detail, and to figure out that the user-centered design from both physical and psychological approaches is eventually synonymous to 'Good Design'.

• Journal of Conservation Science
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• v.28 no.3
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• pp.217-228
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• 2012

Damage of cultural properties happens variously. Particularly, the surface damage of metal cultural properties exposed outdoors lowers historical and art historical value of artifact by artificial damage such as paint, scribbling containing oily material and so on. Therefore, this study compared dry-ice pellet cleaning with poultice when clearing paint and oily material environment-friendly, harmlessly to humans and without damage of artifact. As the result of experiment, when clearing those (paint and oily material) by poultice, oily paint was cleared, but there were spots of metal surface. Also, Lacquer spray wasn't well cleared, and resin came off the surface of artifact. When clearing those by dry-ice pellet cleaning, oil paint was cleanly cleared without surface damage of artifact according to Stereoscopic microscope observation, color-measurement, FT-IR, SEM analysis. Also, lacquer spray seemed to be cleared with the naked eye, but there were minute particles on surface according to the result of SEM observation. Consequently, we could confirm possibility of dry-ice pellet cleaning substitution.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.61-72
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• 2015

The capitalistic resistance movement attempted in most modern art areas was carried out through a complete convergence of the art and skill, which was the new formation of the symbolic boundary. Although this resistance movement was aimed at restoring artisan art through the revival of tbe work of handicraftsmen, it consequently caused the stratification of the art and became a de-artisan art excluding the autonomous labor. Hereupon, this study would focus on Bauhaus which attempted to dismantle the symbolic boundary through the convergence of the technology and art which actively used the condition the great industry brought only as an effort for the restoration of artisan labor, and would examine the actor-network of Bauhaus. Therefore, this study would examine the Bauhaus' artistic trend, the 16C Renaissance art promotion movement, and the 19C art crafts movement in the network-oriented relation, and would analyze the Bauhaus' ideological source which expressed design democracy through the bridging role of and analyze the artisan art and the mechanism that had the new technology fused. Furthermore, the convergence possibility of the 'collaboration spirit' being embodied as a philosophy of the democracy in the design continues with the tremendous influence of the new technology.

• The Korean Journal of Archival Studies
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• no.63
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• pp.145-165
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• 2020

, in collaboration with Mary Kelly, Kay Hunt and Margaret Harrison, tells the story of workers in the 1970s. Since the late 1960s, the world has undergone many political and social changes, and social movements have been active to protect the socially underprivileged, including women, children and workers. This phenomenon led to the diversification of the collection of the general public, the community, and the minority, and the expansion of the artist's political remarks and themes in the art world. , completed in conjunction with these social issues, surveyed and recorded the reality of workers in a factory in London and produced it as a artwork. is a collaborative work of three artists, a record of workers in the 1970s, and a record of the labor situation, factory, and even the history of the region. Therefore, this study examined the methods and features of , which dealt with the lives of women workers in the 1970s, based on social conditions.

• Cartoon and Animation Studies
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• s.46
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• pp.207-231
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• 2017

Printmaking is a field of fine arts and is placed on a vague boundary that is perceived as a commercial product with a popular character due to the speciality of editions. Advances of modern science and technology has developed a new technique of printmaking, and the fusion of printmaking and computer has shown the possibility of reproduction art. Reproduction printmaking has been heavily influenced by photography and extended areas, and the various forms of printing have brought about many changes and attempts by stimulating the possibilities of indirect art at various angles. As the history of printmaking and technology closely relate, the development of computer makes widespread expansion of plural artistry, technological and artistic change. A new conceptual shape can be created on the copied image simply by placing the material of the print on the smoothly flat surface expressed in digital form. The process and the result of such work show the area of unique work which is different from the value of the $\grave{a}$ la carte art or the characteristics of the material given by the print. The deprecated perception of reproducibility evaluated the value of the work in a direct sense of printmaking. It is undeniable that it is devalued by a bundle of works regardless of the value of each edition. However, the physical properties of the prints on the paper are brought up with hand drawings drawn on the canvas by hand. And it becomes an opportunity to show new aspect and change through the process of combining digital print information on paper. The diversity of media is sometimes a controversy of identity between art and technology. In the future, it should be discussed how the limit of the media which can be enjoyed in the field of art can be set as a standard.

• Journal of the Korean Geographical Society
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• v.42 no.2 s.119
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• pp.258-279
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• 2007

Culture and art are emerging as main components in the creative economy to enhance the competitiveness of urban centres in the global market by nurturing cultural or artistic industries. A range of research exists which investigates the role of artists and art museums in the process of urban regeneration in Northern American and Western European countries. Yet research into the geography of at galleries acting as an intermediary between art works and cultural consumers remain rare. Empirical research on gentrification and urban regeneration and their connection with spaces for cultural consumption in Asian cities is even less common. The aim of this paper is to show the rise and decline of art galleries in Seoul and the way that this reflects urban development process, historically specific conditions and the characteristics of artists' communities. The background of the locational agglomeration of an galleries is examined in connection with the human ecology of artists, art business and its implication for the global market. The location of art galleries in Seoul seems to be affected by commercial art business and public policy, rather than by artists communities embedded in local areas. The location dynamics of art gallery clusters in Seoul is examined in the context of rent increases, changes of consumers' taste and fluctuating market cycles.

• Economic and Environmental Geology
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• v.42 no.1
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• pp.73-84
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• 2009

The stone Buddha and Shrine of Unjusa temple (Korean Treasure No. 797) at Hwasun formed in Koryo Dynasty is unique style which faces each other the back parts of south and north within the stone Shrine. The stone Buddha and Shrine is highly evaluated in historical, artistic and academic respects. But, the stone properties have been exposed in the open system various aspects of degradations weathered for a long time without specific protective facilities. To inquire into relative deterioration and environmental factor, air temperature and relative humidity of the stone Buddha and Shrine were monitored for a year of the indoor and outdoor, respectively. As a result, the temperature shows increase and decrease according to the seasons in the tendency to clear. While the relative humidity is high to keep all four seasons. Highly relative humidity environment induces dew condensation on the interior of stone Buddha and Shrine. The dew condensation is recorded at the spring, summer and winter season. The summer season is double the total of spring and winter season. In the case of summer, dew condensation is long time continued due to high temperature and relative humidity that is kept by more than nearly 100%. There is progress towards chemical weathering throughout dissolve rock properties and alteration on the rock surface. In the case of winter, dew condensation is not kept for a long time as summer. In the winter, which showing a below zero may add physical weathering throughout moisture that happen by dew condensation to repeat freezing and thawing. Therefore, the reduction plan of the relative humidity effect on dew condensation should be prepared.