• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.232-249
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• 2022

The purpose of this article is to review the status of designation and preservation, management of national prehistoric sites and to suggest future applications. Prior to the discussion, the overall status of national prehistoric sites was reviewed. Specifically, the current status of designation, designated area, and distribution by region of national prehistoric sites according to the period and nature of the sites were examined in detail. Next, in order to understand the preservation and management of national prehistoric sites, I report the results of field trips to several sites, such as Geomdan-ri in Ulju, Songguk-ri in Buyeo, and Seoktaek-ri in Hongseong, and propose some measures for preservation, maintenance, and management of the remains. Finally, by referring to cases of US national historic sites such as protection, conservation, operation and management system and academic research project of cultural heritage, it is necessary to consider the need for a direction of the utilization that considers both socio-economic aspects as well as education and research on cultural heritage. The active use of cultural heritage can be a measure that leads to the continuous preservation and management of the sites, and ultimately will be a shortcut to increasing the value of national prehistoric sites.

• KOMUNHWA
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• no.56
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• pp.215-245
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• 2000

필자는 이 글을 통해 제주도 고고학 발달사를 크게 4기로 구분하여 보았다. 제1기는 1945년 이전 일제강점기에 유적과 유물을 단순하게 보고하는 수준에 머물렀던 시기이고 제2기는 1945년에서 1983년 기간으로 향토사가와 한국 본토의 고고$\cdot$역사학자들의 부분적인 학술조사가 있었던 시기이다. 따라서 1$\~$2기는 제주 고고학의 기본적인 틀을 잡지 못한 단계라고 할 수 있다. 제3기는 1984년부터 1995년까지로 제주고고학에 있어 본격적인 발굴이 진행되지만 대부분이 긴급 발굴에 해당하고 소규모적인 발굴이었다. 하지만 이 시기에 와서 그 동안 발굴했던 자료와 그 이전의 발굴자료를 모아 나름대로 제주고고학의 시대 편년, 문화 변천 등의 기본적인 틀과 방향을 설정한 시기이기도 하다. 제4기는 1996년 이후 현재까지로 제주고고학의 기본적인 틀 속에서 이를 보완하고 새로운 선사문화의 단계를 설정하는 연구들이 진행 중이다. 이를 뒷받침하는 계기는 제주 고산리유적, 삼양동유적 등이 연차적, 계획적, 대대적으로 발굴되면서 많은 자료가 나왔기 때문이다. 또한 고고학의 범위가 선사시대에 국한되지 않고 제주목관아지, 성읍객사지, 법화사지, 존자암지, 수정사지, 고내현청터 등 역사유적의 출토자료에 대한 관심이 더욱 집중되기에 이르렀다. 제주도내 매장문화재는 발굴된 유적 대부분이 지정되어 있는 상태이다. 제주목관아지(사적 390호), 항파두리성(사적 396호), 고산리유적(사적 412호), 삼양동유적(사적 416호)로 지정되었다. 제주도 지석묘는 총 24기가 지방기념물로 지정되어 있으며 발굴했던 선사유적 중 곽지패총, 북촌리바위그늘집자리, 용담동무덤유적이 지정되어 있다. 역사유적 중 법화사지, 존자암지가 지정되었고 일부 유적지는 복원 중이다. 제주도 문화재를 보존하고 활용하기 위해서는 강화된 새로운 문화재법의 적절한 활용, 매장문화재 발굴 전문기관 설립, 발굴된 문화재의 원상보존, 문화재 주소록 작성, 문화재 행정 전문인력의 확보, 제주문화재의 상징물 선정과 활용, 지역문화재홍보위원의 위촉과 다양한 문화유산 프로그램의 개발을 들었다.

• (The)Study of the Eastern Classic
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• no.57
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• pp.301-330
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• 2014

Varied opinions have been raised on Sushen's regional activities. These are Hwabuk drift theory, Shandong Peninsula drift theory, Liaotung Peninsula theory and the theory of Eastern Area in Heilongjiang Province. The theory of Sushen Dongbei that Sushen's regional activities are the Eastern Area in Heilongjiang Province is widely accepted in the chinese academia. However, this paper try to criticize the theory of Sushen Dongbei on the basis of archeological data. Prehistoric monuments of the Eastern Area in Heilongjiang Province are Singaeryu remains, Sonamsan remains, Aenggaryeong remains, Seokhoejang remains, Jinheung remains and Aporyeok remains. Residential group in the Eastern Area of Heilongjiang Province lived the economic life of fishing and hunting and were involved with primitive agriculture only in partial area. Its society was patriarchal clan steps of phallocentrism. By considering the cultural exchange between the Eastern Area in Heilongjiang Province and Chinese dynasty, the aspect of cultural exchange in two areas was unascertainable. Therefore, the theory of Sushen Dongbei is a mistake in Chenshou's "Sanguozhi" and nothing but a theory that base on the unified theory of Zhonghua minzu and the nationalistic intention in China.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.1-13
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• 2011

Cheongpyeongsa Temple was originally built in the early years of Goryeo Dynasty, but its current structural framework was made by the Lord Jinrakgong Lee Ja Hyeon(1061-1125) of the middle Goryeo period based on the Zen thought after he began living in the Cheongpyeong mountain around the temple in 1089. The purpose of this study is to conceptualize, based on old documents, historical changes of the appearance and survival of man-made structures with in the Zen garden formed and developed after Lee Ja Hyeon laid the foundation for Munsuwon Zen garden. Among the eight, outside-the-temple hermitages built at the time of Lee Ja Hyeon's Munsuwon Zen garden, only three hermitages, which are Sik-am, Gyeonseong-am, Yangshin-am had been remaining thanks to restoration and repair until late Joseon Dynasty and preserved as symbolic hermitages. Also, the Yeongji Pond built at the time of Lee Ja Hyeon still remains as precious landscape relics which is meaningful as a genuine Goryeo-period pond. The nine pine trees said to be planted by Lee Ja Hyeon remained until middle 1800s through their descendant trees. When the Buddhist monk Bowoo Daesa(1509-1565)changed the name to Cheongpyeongsa Temple in middle Joseon based on the Munsuwon Zen garden built by Lee Ja Hyeon and greatly expanded it, he newly built and expanded all buildings inside the temple except for Neunginjeon(main temple building), resulting in the present temple structure. In addition, by greatly enhancing the level of scenery by reconstructing Yeongji Pond outside the temple area and transplanting garden plants from the royal court, he made Cheongpyeongsa Temple the most prosperous Zen garden in its history. But after the mid-1800s, which is late Joseon period, Cheongpyeongsa Temple failed to thrive further and began to decline, and so currently most buildings of the Zen garden have disappeared except for some parts of the temple and other facilities are neglected.

• Journal of the Daesoon Academy of Sciences
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• v.31
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• pp.49-92
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• 2018

I have examined some beliefs in the Thunder God and their magico-ritual techniques in Korea from the perspective of Korean national religious history and have classified these types of beliefs. In several myths from ancient nations in Korea, the Thunder God was the Supreme being governing the Universe including the sky, earth, and water, and he justified political power transcendently. In the medieval period, the Thunder God who was called 'the Supreme God and Celestial Worthy of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin' was the object of Daoist ritual for rain. In the early Joseon period, people believed that the prehistoric stone tools known as thunder axes were the tools of the Thunder God, and thereby were imbued with medicinal power. In the late Joseon period, beliefs in the Thunder God developed in various ways such as the overcoming of wars and healing of diseases. Modern Korean national religions including Daesoon Jinrihoe reappropriated the Thunder God called 'the Supreme God and Celestial Worthy of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin' from the perspective of the Great Opening (Kaebyŏk) and the resolution of grievances (Haewon).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.4-19
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• 2017

Kim Jeong-gi (pen-name: Changsan, Mar. 31, 1930 - Aug. 26, 2015) made a major breakthrough in the history of cultural property excavation in Korea: In 1959, he began to develop an interest in cultural heritage after starting work as an employee of the National Museum of Korea. For about thirty years until he retired from the National Research Institute of Cultural Heritage in 1987, he devoted his life to the excavation of our country's historical relics and artifacts and compiled countless data about them. He continued striving to identify the unique value and meaning of our cultural heritage in universities and excavation organizations until he passed away in 2015. Changsan spearheaded all of Korea's monumental archeological excavations and research. He is widely known at home and abroad as a scholar of Korean archeology, particularly in the early years of its existence as an academic discipline. As such, he has had a considerable influence on the development of Korean archeology. Although his multiple activities and roles are meaningful in terms of the country's archaeological history, there are limits to his contributions nevertheless. The Deoksugung Palace period (1955-1972), when the National Museum of Korea was situated in Deoksugung Palace, is considered to be a time of great significance for Korean archeology, as relics with diverse characteristics were researched during this period. Changsan actively participated in archeological surveys of prehistoric shell mounds and dwellings, conducted surveys of historical relics, measured many historical sites, and took charge of photographing and drawing such relics. He put to good use all the excavation techniques that he had learned in Japan, while his countrywide archaeological surveys are highly regarded in terms of academic history as well. What particularly sets his perspectives apart in archaeological terms is the fact that he raised the possibility of underwater tombs in ancient times, and also coined the term "Haemi Culture" as part of a theory of local culture aimed at furthering understanding of Bronze Age cultures in Korea. His input was simply breathtaking. In 1969, the National Research Institute of Cultural Heritage (NRICH) was founded and Changsan was appointed as its head. Despite the many difficulties he faced in running the institute with limited financial and human resources, he gave everything he had to research and field studies of the brilliant cultural heritages that Korea has preserved for so long. Changsan succeeded in restoring Bulguksa Temple, and followed this up with the successful excavation of the Cheonmachong Tomb and the Hwangnamdaechong Tomb in Gyeongju. He then explored the Hwangnyongsa Temple site, Bunhwangsa Temple, and the Mireuksa Temple site in order to systematically evaluate the Buddhist culture and structures of the Three Kingdoms Period. We can safely say that the large excavation projects that he organized and carried out at that time not only laid the foundations for Korean archeology but also made significant contributions to studies in related fields. Above all, in terms of the developmental process of Korean archeology, the achievements he generated with his exceptional passion during the period are almost too numerous to mention, but they include his systematization of various excavation methods, cultivation of archaeologists, popularization of archeological excavations, formalization of survey records, and promotion of data disclosure. On the other hand, although this "Excavation King" devoted himself to excavations, kept precise records, and paid keen attention to every detail, he failed to overcome the limitations of his era in the process of defining the nature of cultural remains and interpreting historical sites and structures. Despite his many roles in Korean archeology, the fact that he left behind a controversy over the identity of the occupant of the Hwangnamdaechong Tomb remains a sore spot in his otherwise perfect reputation.