• Korean Journal of Heritage: History & Science
• /
• v.47 no.3
• /
• pp.4-23
• /
• 2014

Seokjojeon Hall is the Neoclassic style building situated in Deoksugung Palace, which was proposed by John McLeavy Brown who was a chief commissioner of the Daehan Empire and designed by John Reginald Hardings in 1897. Construction of the Seokjojeon Hall began in 1900 and completed in 1910 at the total cost of one million won. Decorating and furnishing of the interior was designed by Lovell and all the furniture of Seokjojeon Hall had been purchased from Maple&Co. The Maple&Co was the supplier of luxury furnitures and decorating items for luxurious residentials, hotels, embassies and the palaces and its headquarter was located in London. Ready-made furnitures were purchased as shown in the Maple's catalog. The designs and styles of the west were applied to Seokjojeon Hall. That is one of the aspects showing Daehan Imperial underwent a period of Westernization.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.3
• /
• pp.16-37
• /
• 2015

As a result of analyzing the forming and the transformations of Seokjojeon Hall garden by linking it to the changes of Deoksugung Palace influenced by the social atmosphere, the Seokjojeon garden can be classified into four phases. The first phase starts from 1896 to 1914. Gyeongungung was built in the late 19th century(1896-1897) as an official palace and Junghwajeon Hall and Seokjojeon Hall was built for Gojong. J.M.Brown was in charge of the construction of Seokjojeon in the beginning but H.W.Davidson saw the end also set up the garden. In the process of forming the garden the incorporating of Dondeokjeon Hall and the demolishing of the west wing corridors of Junghwajeon Hall occurred. At this phase of the garden a statue of an eagle was put up in the garden but was soon taken down. The shape of the garden was quiet simple with a central axial pathway, a round assorted flower bed placed in front of Seokjojeon Hall. The second phase starts from 1915 to 1932 which lasted for 17 years. At the last years of the Great Han Empire the duties of Gungnaebu(宮內府) was transferred to Leewangjik(李王職) in 1911 and a research on the existing buildings was done by Jujeonkwa(主殿課) in 1915. According to the research drawings, the garden still maintained the axial pathway formed in the previous phase but the garden had an asymmetric form. The flower bed was formed in a round shape and an open-knot technique and boundary plantation was applied to the garden. The third phase starts from 1933 to 1937 and is the period when Seokjojeon Hall was made public. By the year of 1932 many buildings of Deoksugung Palace had been demolished in the preparation of the opening of Seokjojeon Hall as a permanent exhibition hall. The central axial pathway still remained in the new garden and added a pond with a turtle statue in the center. The fourth phase starts from 1938 until the liberation from Japan and is the period when Deoksugung Palace became a park. Yi Royal-Family Museum was built and linked to Seokjojeon Hall with a bridge and the garden transformed into a sunken garden. The garden adopted a fountain and a pagora. Despite the minor changes in the after years the garden still posses most of its form from the fourth phase. As we can see the current garden of Seokjojeon Hall is not the same as the initial garden and therefor the importance of this study lies in the fact that modifications to the statements regarding to Seokjojeon Hall garden should be made.

• Korean Architects
• /
• s.529
• /
• pp.88-94
• /
• 2013

• Korean Journal of Heritage: History & Science
• /
• v.56 no.3
• /
• pp.234-252
• /
• 2023

This study looked at the modification of major gardens while making Deoksugung Palace (德壽宮) a park in the Japanese colonial era. This is because landscaping work was carried out in various places from 1932 to 1933 to open Deoksugung Palace, which used to be an imperial palace, as a public recreation space. In particular, major gardens such as the front yard of Seokjojeon Hall (石造殿), the back yard of Hamnyeongjeon Hall (咸寧殿), and the back yard of Jeukjodang Hall (卽阼堂) were greatly transformed into different shapes from the original. During the first phase of construction in 1932, a water tank was installed in Seokjojeon Hall Garden, creating the first water space. This water tank was originally a structure installed in the front yard of Injeongjeon Hall (仁政殿) of Changdeokgung Palace (昌德宮). Around 1909, a water tank installed in the front yard of Injeongjeon Hall was relocated to Seokjojeon Garden in the process of turning Deoksugung Palace into a park. The water tank moved from the front yard of Injeongjeon Hall was a factor that transformed the central area of Seokjojeon Garden into a water space, and a fountain installed to replace the water tank remains to this day. The backyard of Hamnyeongjeon Hall was also renovated into a new shape during the first phase of construction. Originally, there was a terraced flowerbed called Hwagye (花階) in the backyard of Hamyujae Hall (咸有齋) and Hamnyeongjeon Hall, and it was restored from the construction that took place after the Great Fire of Deoksugung Palace. In the process of turning Deoksugung Palace into a park, a three-stage stonework was built in the front yard of Jeonggwanheon Pavilion (靜觀軒) which renovated the Hwagye in the backyard of Hamyujae Hall and Hamnyeongjeon Halll. The stonework built at that time was used as a peony garden to provide visitors with attractions after the opening of Deoksugung Palace, and it remains today with the name Jeonggwanheon's Hwagye. The backyard of the Jeukjodang Hall area is a case of damage in the second phase of construction in 1933. Like the backyard of Hamnyeongjeon Hall, the backyard of Jeukjodang Hall, where the Hwagye was originally built, was converted into a Japanese-style garden in the process of turning Deoksugung Palace into a park. The site where the Hwagye was demolished was decorated with a Japanese-style garden centered on mounding, small roads, and landscaping stones, as well as topographic control and planting work. Although there have been minor changes since liberation, the backyard of the Jeukjodang Hall area is still based on a Japanese-style garden created by turning Deoksugung Palace into a park.

• Conservation Science in Museum
• /
• v.12
• /
• pp.1-7
• /
• 2011

The seated stone Buddha(Bon5190) of National Museum of Korea initially consisted of some 90 fragments, making it difficult to guess its overall appearance. Under a restoration work which lasted four months, the fragments were joined together, giving shape to a seated Stone Buddha in Bhumisparsa(earth touching) mudra and an associated figure of Bodhisattva missing the face. The statue was made from a single stone block by digging out the center. Traces of lacquer coating and a gilded layer above the lacquer coat were found in various parts. Polarizing microscopy and XRD analysis revealed that the stone was zeolite, a mineral formed through diagenesis of volcanic glassy ashes from trachytic tuff (Nuldaeri) and dacitic tuff (Guryongpo). In Korea, zeolite deposit found mostly in Gyeongsangbuk-do, in places like Yeonil, Guryongpo, Gampo and Ulsan. The restored statue of seated Buddha proved very similar in appearance to the seated stone Buddha of Deoksa Temple in Cheongdo-gun, Gyeongsangbuk-do (housed in Yeongsanjeon Hall). The scroll inside the statue, containing information about the background and circumstances of creation of this Buddhist sculpture, indicates that the monk Seung-ho took part in it as the head sculptor-monk.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.98
• /
• pp.130-153
• /
• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.

• 보존과학연구
• /
• s.34
• /
• pp.32-48
• /
• 2013

This study examined the applicability of deterioration monitoring techniques to establish efficient conservation and management system for stone cultural heritage which conservation treatment has been done. It was confirmed that deterioration mapping combined with photography and grid work, and adhesive tape test for the surface were very applicable to investigate the surface change due to deterioration, and assess the degree of granular disintegration quantitatively. The portable microscopic survey and ultrasonic measurement were efficient techniques to observe mineral looseness and microcrack, and to track the strength change of the stone before-and-after the conservation treatment. These techniques can be easily used by manage practitioners in the field through simple guidance and technical education. Also, it can contribute to build a long-term and methodical conservation and management system of the stone cultural heritage.

• Journal of Conservation Science
• /
• v.18 s.18
• /
• pp.89-96
• /
• 2006

Surface layers of stone cultural properties including the soluble salt need consolidation because they are mostly very weak. There is a lot of research on the penetration depth of consolidant in stone and the effect of consolidant on mechanical stability of deteriorated structure. But some conservation experiences show that consolidation with silicic acid ester is not successful on salt contaminated stone cultural properties. In this study, in order to assess the influence of soluble salts$(CaSO_4\;2H_2O,\;NaNO_3)$ on the efficiency of consolidation on the deteriorated stone cultural properties(Nationalgalerie, Berlin, Germany) sandstone samples have been soaked with the salts solution. The impregnation of consolidant based on ethyl filicate have been afterwards carried out on these samples. As a result, it confirms that the soluble salts act as a preventer or consolidation. They fill up the pores in the stone and prevent that sufficient amount of consolidant enter deeply into the stone. According to this result, if use silicic ethyl ester as a consolidant for the research object which is built by Nebra sandstone, desalination is necessary before the treatment with consolidant. But it is also reported by other researches that some soluble salts improve the consolidation effect. Therefore it should be necessary to pre-study about salt and its harmfulness before the consolidation treatment. In order to consolidate without the aggravative damage in salt contaminated stone cultural heritage, we must first of all study the relations among salt, stone and consolidant.

• Conservation Science in Museum
• /
• v.17
• /
• pp.85-100
• /
• 2016

The Bukji-ri Stone Pensive Bodhisattva of Bonghwa in the collection of Kyungpook National University Museum was transported to the National Museum of Korea for display in a special exhibition('Masterpieces of Early Buddhist Sculpture 100 BCE - 700 CE') and therefore underwent conservation ahead of the exhibition's start date. The stone sculpture had visibly encrusted surface dirt, granular disintegration and fissures upon arrival. Notably, a crack running obliquely across its lower half rendered the object unable to support its own weight without a pedestal, so one was created in order to maintain the sculpture in an upright position while on exhibition. The sculpture was further examined using a polarizing microscope and a stereoscopic microscope. SEM-EDS resulted in petrographic analysis of the stone's mineral composition and identification of its surface contaminants. Polarizing light microscopy confirmed biotite granite as the main mineral component of the object. Several urethane resins cast in round cross-sections were inserted into the newly made pedestal and stability tests were perform to measure the frictional force of the resins. An additional test was performed to compare urethane resin and epoxy resin, with results showing urethane to have a higher coefficient of friction. Utilizing a pedestal with urethane resin effectively ensured the stability of the Bukji-ri Stone Pensive Bodhisattva of Bonghwa during the aforementioned exhibition.

• Journal of the Korea institute for structural maintenance and inspection
• /
• v.25 no.1
• /
• pp.103-111
• /
• 2021

Naju Seokdanggan, Treasure No. 49, was dismantled and reconstructed due to poor performance. During construction, the crack area was reinforced and the inclination was improved. It is necessary to analyze the stiffness changes before and after the reconstruction of these cultural properties, and to establish a database of related information. In addition, there is a need for research on a scientific non-destructive testing method capable of predicting or evaluating the reinforcing effect. In this study, a simple equation for estimating the overall stiffness of the structural system was derived from information on the elasticity coefficient and the natural frequency measured by vibration tests before and after reconstruction work, and the applicability of the equation was examined. If the stiffness of important cultural properties is regularly investigated by the suggested method, it is judged that it can be used as data to estimate the time when structural safety diagnosis is necessary or when repair or reinforcement is necessary.