• Journal of Korean Historical Folklife
• /
• no.46
• /
• pp.195-237
• /
• 2014

Palsapum are ornaments to reveal the purpose of commander of three naval forces as well as symbols to remember the greatness of admiral Yi, Sun-Shin. In 1966, ther were designated as a treasure No. 440 based on their value; however, they have not received attention from academia because they are relics from China. This study compares and analyzes the document, paintings, and relevant references from Korea and China focusing on Palsapum, understands their formal characteristics, and examines their historical value such as years and location of creation. As a result, the study determines five of them are original, but three of them were newly created by the later generations. The five, Dodogin (都督印, Commander's seal)·Yeongpae (令牌, Commander's tablet)·Gwido (鬼刀, Replica of the devil sword)·Chamdo (斬刀, Replica of the decapitation swor d)·and Gognapal (bugle) were created by Ming Dynasty before 1598, and delivered by the hands of General Chen Lin. The other three, Dokjeongi (督戰 旗, Battle flag)·Hongsoryeonggi (紅小令旗, Commander's flag)·and Namsoryeonggi (藍小令旗, Commander's flag), were created in 19th century by Joseon Dynasty. After analysis on the former relics, the study determines that they are not official relics with the dignity of Ming Dynasty but personal relics with regional characteristics; in other words, Palsamun are not the royal gifts from Emperor Shenzong to Admiral Yi, Sun-Shin. but personal momentoes left by General Chen Lin in the Tongjeyoung to celebrate the admiral. The names, variety, numbers, and appurtenances of Palsapum have been changed with time as follows. First, the scholars of Jeseon in 17the century only focused on Dodogin. It was certainly created in Ming Dynasty; however, it was a personal stamp, so considered to be not from the emperor but from General Chen Lin. Second, Palsapum was called Palsamul and consisted of 14 pieces of 8 kinds in 18the century, ; it is confirmed on the 「Dosul(圖說, stories with pictures of」 『Yi Chungmugong Literary Collection』 The sizes of five relics including Dodogin are similar to the records, but their patterns and shapes are exotic, or cannot be found in Joseon. Thus, they reflect the regional characteristics of Guangdong province. Third, they were called Palsapum, and consisted on 15 pieces of 8 kinds in 19th century; it is confirmed on , a sixteen-fold folding screen drawn by Shin, Gwan-Ho in 1861. The stamp box, tablet bag, and three flags were newly created to engrave Joseon style letters and patterns on damageable materials such as leather and cloth. The relics easy to be destroyed have been renewed even after 19th century. Last, there are many misunderstandings about Palsapum by governmental indifference and improper management of records even though they were designated as a treasure in very early times. Thus, authorities should be concerned with Palsapum to provide the measures for stable maintenance of the relics; this will let people remember not only the history of cooperation between Korea and China to stop the Japanese ambition, but also Admiral Yi, Sun-Shin and General Chen Lin to bring victory in Japanese invasions of Korea.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.2
• /
• pp.156-179
• /
• 2020

The Preservation Decree (1933) is the basic law relevant to the conservation of cultural property of colonial Chosun, and invoked clauses from the Old History Preservation Act (1897), the Historic Scenic Sites Natural Monument Preservation Act (1919), and the National Treasure Preservation Act (1929), which were all forms of Japanese Modern Cultural Heritage Law, and actually used the corresponding legal text of those laws. Thus, the fact that the Preservation Decree transplanted or imitated the Japanese Modern Cultural Heritage Law in the composition of the constitution can be proved to some extent. The main features and characteristics of the Preservation Decree are summarized below. First, in terms of preservation of cultural property, the Preservation Decree strengthened and expanded preservation beyond the existing conservation rules. In the conservation rules, the categories of cultural properties were limited to historic sites and relics, while the Preservation Decree classifies cultural properties into four categories: treasures, historic sites, scenic spots, and natural monuments. In addition, the Preservation Decree is considered to have advanced cultural property preservation law by establishing the standard for conserving cultural property, expanding the scope of cultural property, introducing explicit provisions on the restriction of ownership and the designation system for cultural property, and defining the basis for supporting the natural treasury. Second, the Preservation Decree admittedly had limitations as a colonial cultural property law. Article 1 of the Preservation Decree sets the standard of "Historic Enhancement or Example of Art" as a criteria for designating treasures. With the perspective of Japanese imperialism, this acted as a criterion for catering to cultural assets based on the governor's assimilation policy, revealing its limitations as a standard for preserving cultural assets. In addition, the Japanese imperialists asserted that the cultural property law served to reduce cultural property robbery, but the robbery and exporting of cultural assets by such means as grave robbery, trafficking, and exportation to Japan did not cease even after the Preservation Decree came into effect. This is because governors and officials who had to obey and protect the law become parties to looting and extraction of property, or the plunder and release of cultural property by the Japanese continued with their acknowledgement,. This indicates that cultural property legislation at that time did not function properly, as the governor allowed or condoned such exporting and plundering. In this way, the cultural property laws of the Japanese colonial period constituted discriminative colonial legislation which was selected and applied from the perspective of the Japanese government-general in the designation and preservation of cultural property, and the cultural property policy of Japan focused on the use of cultural assets as a means of realizing their assimilation policy. Therefore, this suggests that the cultural property legislation during the Japanese colonial period was used as a mechanism to solidify the cultural colonial rules of Chosun and to realize the assimilation policy of the Japanese government-general.

• Journal of Conservation Science
• /
• v.31 no.4
• /
• pp.499-506
• /
• 2015

The artifacts of Admiral Yi Sun-sin (Treasure No.326) consist of six items with two long swords, a jade decoration, a belt and two peach-shaped cups. In commemoration of the opening of Chungmugong Yi sun-sin Memorial Museum (April 28, 2011), there were conservation treatments for those artifacts at the beginning of 2011. At that time, from the result of non-destructive surface analysis on pigments in blood-colored grooves of the two long swords, it was presumed to be synthetic resin paints. This study shows the accurate identification on pigments which was presumed as synthetic resin paints and its removal. To identify pigments in blood-colored grooves, the optical microscope, scanning electron microscope, Micro-XRF, XRD and FT-IR were used for the analysis. The results turned out that the thickness of $10{\sim}90{\mu}m$ in a single layer was measured. And major components containing Pb and Cr and lead chromium molybdenum oxide were identified and to identify components of adhesives from the analysis by FT-IR, it turned out to be alkyd resin, which can be presumed that they were recently colored with synthetic paints. The synthetic paints easily react with most of the organic solvents. And it is so easy to handle without the effect on metal that it was removed with acetone. While removing synthetic paints, all of paints on it were collected for identifying whether there is traditional pigment but nothing was identified.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.3
• /
• pp.244-257
• /
• 2020

State-designated rain gauge pedestals, including a rain gauge support, were installed in front of the "Imunwon" at Changdeok Palace, made from various rock types. Some of those pedestals provide exact information on their production dates. These rain gauge pedestals are highly valuable as scientific instruments; however, there has been insufficient scientific research carried out on them. Therefore, precise analysis and conservative consideration are required. As a result of petrographic character analysis, the Changdeokgung rain gauge pedestal has been classified as marble. Furthermore, comparison of the results of P-XRF analysis with GSJ reference samples (JLs-1, JDo-1) has determined it to be dolomitic marble. Applying the same analysis to other state-designated rain gauge pedestals, it was presumed that the rain gauge supports at Gyeongsand-do Provincial Office and Gwansanggam were each made from aplite, pinkish medium-to-coarse biotite granite. Results confirmed that only the Changdeokgung rain gauge pedestal was made from marble. Marble is viewed as having an identity specificity rooted in a certain historical background. According to the tendency towards stone figures being made from marble, especially dolomitic marble, it is necessary to further studies whether particular rocks were used to make royal stone figures in Joseon Dynasty.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.3
• /
• pp.128-141
• /
• 2020

This study examines the process of Korea's acceptance of the concept of Art Craft through research on ancient remains and relices (朝鮮古蹟調査) and a series of projects undertaken by the Japanese Government-General of Korea, and the traditions and canons of craft established in the process. Crafts defined in law referred to fine and exquisite techniques for creating antiques, or genres of art such as painting or sculpture. The Yi Royal Family Museum and the Museum of the Japanese Government-General of Korea spearheaded the popularization of the term "Mi-sul-gong-ye (Art Craft, 美術工藝)." The artworks displayed in these two museums visually embodied past traditions. In general, the term "craft" was frequently used to refer to ancient art, and crafts specifically became traditions to be protected and conserved by designation as legal treasures for display in museums. The establishment of traditions and canons of craft exerted a great influence on crafts produced during this era. The cultural policies and imperial tastes of Japan played a crucial role in this process. In previous research, scholars divided the concept of craft in the modern era into two categories: industrial craft and art craft. However the so-called "art craft" is not a homogeneous category. It includes both ancient art (antiques) and the pieces made in modern age. Ancient art became canonized and the basis of contemporary production. Moreover, features of contemporary craft were diverse. By subdividing concepts of art and crafts, which have hitherto been discussed collectively, this study will serve as groundwork for accurately understanding "invented traditions" and features of modern craft.

• Journal of Conservation Science
• /
• v.31 no.1
• /
• pp.1-11
• /
• 2015

Seated Amitabha Triad at Muwisa Temple (Treasure No. 1312) had been known as wooden Buddha statue, but a precise safety inspection revealed that the statue is terracotta Buddha statue made with clay. The clay layer of Amitabha Triad was conserved due to its severe damage. In this study, experiments were conducted to produce the most appropriate filler for the conservation treatment of the seated Amitabha Triad. Mixed clay samples with various ratios were produced and surface hardening state, crack, color change, and shrinkage of the samples during dry process were measured. Loess, fine sand powder, and cotton were used to produce the mixed clay for the filler with six different ratios and then 12 different concentration glues made with glutinous rice glue, Pachymeniopsis Elliptica glue, and animal glue were added as adhesives. Total 72 types of samples were prepared and comparative study was conducted. As a result, when the mixed clay contains 2.5% cotton compared to the weight per cent of loess and fine sand powder and also loess and fine sand in the mixed clay have a 15:1 ratio, the mixed clay had the lowest shrinkage. Animal glue is considered as an appropriate glue since it had small color change, low physical property change and shringkage. Therefore, mixed clay (loess:fine sand=15:1) mixed with 15ml animal glue is likely to be a suitable filler for conservation treatment of the seated amitabha triad at the Muwisa Temple.

• Journal of Conservation Science
• /
• v.36 no.6
• /
• pp.562-577
• /
• 2020

In this study, to conserve the clay seated Vairocana Buddha triad in Seonunsa temple, Gochang (Treasure 1752), the primary materials employed for creating the clay Buddha statues were scientifically analyzed. By analyzing the soil layer constituting the Buddha statues, it is observed that the said layer comprises sand having particle size greater than that of medium sand and soil having particle size smaller than that of fine sand, which were used in a ratio of 7:3, along with the bast fibers of paper mulberry (Broussonetia kazinoki). Hence, the aforementioned soil layer is composed of a mixture of sand and weathered soil, along with bast fibers to prevent scattering. By analyzing the tree species, it is found that the wooden materials constituting the bottom board and the interior of Buddha's sleeves of the Amitabha Buddha statue, Vairocana Buddha statue, and Medicine Buddha statue are hard pines (Pinus spp.). Additionally, three layers are found in the cross section of the gold layer. Furthermore, each of the hair sections of the Buddha statues is composed of earthy materials such as quartz, albite, microcline, mica, and magnetite, and the hair surface was painted by incorporating black materials containing magnetite.

• Conservation Science in Museum
• /
• v.26
• /
• pp.83-182
• /
• 2021

This study summarized the results of the conservation treatment and investigation on the production method of the golden crown (Treasure No. 339) excavated from Tomb No. 129 (also known as Seobongchong Tomb) in Noseo-dong, Gyeongju-si, Gyeongsangbuk-do Province. The golden crown from Seobongchong Tomb was discovered during the excavations conducted by the Museum of the Government-General of Korea in 1926 during the Japanese colonial era. It is currently in the collection of the National Museum of Korea. A total of six Silla golden crowns have survived in Korea, among which the crown from Seobongchong Tomb is the only example with a dome-shaped hemispherical decoration attached with a bird ornament while otherwise showing the typical features of Silla crowns. The crown had been repaired following its excavation using metallic materials and adhesives, but due to the partial deformation and damage brought about by the repair materials, it required further conservation treatment. This article describes in detail the overall process of the conservation treatment and the restoration of the original form of the golden crown from Seobongchong Tomb, particularly the method of reinforcing the joints to secure the stability of the crown. It presents the characteristics of the crown's production as revealed in the investigation during the conservation treatment, and further analyzes the relationship of this crown from Seobongchong Tomb with other Silla crowns through a comparison of their production techniques. The investigation revealed that the crown was primarily decorated with golden sequins at the time of its production. At a later point some of the sequins in the upright ornament were replaced with comma-shaped jade beads and additional comma-shaped jade beads were added to the headband. In order to determine if such modifications to the decoration had occurred with other Silla crowns, the decoration of the six extant Silla golden crowns were investigated. The crown from Cheonmachong Tomb features traces of this same modification to the decoration and possesses other similarities with the crown from Seobongchong Tomb.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.8
• /
• pp.457-464
• /
• 2021

This study is a study on the development of board games using local cultural contents. As a prior study related to this study, basic research on board game development, research on cultural products based on cultural heritage, and storytelling development research using local cultural and tourism resources were considered. Among them, for the main purpose of board games and development process, discussions were conducted on the research methodology of Lee Dae-woong and Oh Seung-taek (2004). As a result, it was possible to successfully proceed with planning meetings, proposal preparation, board game design, board game 3D graphic production process, and prototype development. What is peculiar is that characters (dried persimmons, strawberries, jujube, and salted seafood) containing Nonsan's unique regional characteristics were searched and utilized. In addition, major cultural heritages such as Donamseowon Confucian Academy and Gwanchoksa Temple, designated as Nonsan-si cultural properties, were combined with important treasure hunt contents of board games to enhance interest and education at the same time. The theme of this paper, Nonsan, Finding Lost Treasure, is a new educational alternative that can solve the problems of computer games, and has the advantage of having the nature of community leisure play, not individual play. Based on this board game development research in the future, we intend to expect the results of game production using cultural elements from other regions.

• Conservation Science in Museum
• /
• v.12
• /
• pp.77-88
• /
• 2011

The study investigated conservation and fiber of 66 letters of Sukmyeonghancheob (national treasure No.1629) that the National Cheongju Museum kept. Before treatment, the cover was destroyed and inner paper was stained by water and humidity and destroyed by insects. One volume of King Hyojong was kept at separate frame. The author disassembled book and removed old Baejeobji and inspected paper quality of letter and tested fiber by using C-stain: The author reassembled one volume by including one letter separated after repairing destroyed area of the edge.