• Journal of Conservation Science
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• v.35 no.3
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• pp.259-268
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• 2019

Stone cultural heritage will either be damaged by composite damage or will lose its original historical authenticity starting with the moment it is created. Various artificial interventions to restore them to their original state have been described, centering on the conservation treatment case of the Stupa of State Preceptor Jigwang from the Wonju Beopcheonsa Temple Site. Restoration of the Jigwang stone pagoda was carried out after securing all scientific and technological means for the research and protection of the cultural heritage in question. Since its restoration was promoted to retain its aesthetic and historical value and was based on a careful understanding of the original materials and prototypes, extensive restoration was sought, which contributed to the restoration of the original form, resulting in both preservation and authenticity.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.17 no.2
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• pp.65-82
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• 2006

The purpose of this study is to present some basic information essential for planning long-term preservation of digital audio files, which have been collected through 'Cultural Archetypes Digitization Project' by the Korea Culture & Content Agency. Needs and limitations of digitization of audio resources for their long-term preservation, digital audio archiving models(OAIS Reference Model and AHDS Model), some technical principles for audio digitization and preservation, preservation metadata and storing media for digital audio files were discussed. Compliance to the requisites listed in Audit Checklist for the Certification of Trusted Digital Repositories of RLG & NARA was suggested. It was also recommended to review the appropriateness of collaborating on digital preservation project with other institutions.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.146-165
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• 2016

With the introduction of the system of recognizing masters of craft and performance skills in 1970, the principle of "preserving the original form," which was already in general use, was adopted as a legal principle in the Cultural Heritage Protection Act. While the concept "original form" can be related to tangible elements of heritage through the Act, the intangibility of craft and performance skills does not allow their pinpointing at a particular temporal period or the identification of a particular master from the past as the basis of an original form. Therefore, those craft or performance skills that are available at the point of recognition of relevant masters must serve as the basis of the original form for the intangible heritage concerned. This means that the principle of preserving the original form of intangible heritage has been implemented not based on a fundamental form of materiality, but rather on the craft or performance skills that may be held by a master at the time of his/her recognition as a "temporary original form." This principle has been observed through intangible heritage transmission and education policies for recognized masters and their trainees, contributing to establish an elitist transmission environment in which public were denied to join the education on intangible heritage. Even with policies guided by the principle of preserving the original form, designated craft and performance skills have been transformed contingent upon given social and environmental conditions, thus hindering the preservation of the original form. Despite the intrinsic limitations of the principle of preserving the original form when applied to intangible heritage, this principle has served as a practical guideline for protecting traditional Korean culture from external influences such as modernization and Westernization, and also as an ultimate goal for the safeguarding of intangible heritage, engendering actual policy effects. The Act on the Safeguarding and Promotion of Intangible Cultural Heritage that comes into effect in March 2016 takes the constantly evolving nature of intangible heritage into consideration and resultantly adopts a concept of "essential form" (jeonhyeong) in place of "original form" (wonhyeong). This new concept allows for any transformations that may take place in the environment surrounding the intangible heritage concerned, and is intended to mitigate the rigidity of the concept of "original form." However, it should be noted that "essential form," which is manifested as the unique significance, knowledge, and skills delivered by the intangible heritage concerned, should be maintained according to the guidelines and principles related to heritage conservation. Therefore, the new concept can be understood not as a rupture, but more as a continuum of the concept of "original form."

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.192-214
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• 2023

Wooden architectural cultural heritages are one of the visible legacies that show the national's identity. Even when the concept of 'the original' of cultural heritages was not accurately understood, the emphasis of preservation and management of cultural heritages was placed on 'preservation of the original form' or 'maintenance of the original form'. Moreover, these days, following the trend of international preservation principles, cultural heritages are considered important as "values as historical objects." This paper is the result of an attempt to determine the scope and content of what parts should be monitored to maintain the original form of wooden architectural cultural heritage. The first thing to be done in monitoring wooden architectural cultural heritage is to check the condition of the ground and foundation. The second is the column. This is because the instability of the column causes damage to the joint with each member and the fitting part, resulting in physical changes leading to damage to the wall. The third is monitor the roof tiles. If the leak continues into the building due to the separation or damage of the roof, the defect should be partially dismantled and repaired, so it should be monitored to maintain its original shape as much as possible. The monitoring range of the base, column, and roof serves as a reference point for identifying what damage is being done to the relevant cultural heritages. In other words, the data at the time when monitoring began becomes the 'original' for the year. Alternatives based on the analysis of monitoring for the preservation of original cultural heritages should be actively introduced. In addition, by sharing the current state and situation of cultural heritages as a result of monitoring with various related organizations, preventive preservation should be established rather than preservation of cultural heritages by "intervention."

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.100-119
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• 2016

The concept of "original form" and the principle of "maintaining the original form" take center stage in conservation, management, and promotion of the domestic heritage. Introduced in the 20th century, there were little discussion or deliberation about the concept of "original form" therefore it remains a vague and somewhat abstract notion subject to individual interpretation. Without a specified practical meaning, "maintaining the original form" became the fundamental principle for heritage conservation and management in the 1999 version of the Cultural Heritage Protection Act, engendering difficulties in applying the principle in practice. Conceived as an important first step toward resolving the issues stemming from the indistinct concept of "original form," this paper explores the process through which the concept was introduced to Korea and then established and developed as a legal principle for heritage conservation, management, and promotion. While the examination of the related documents and various cases shows that the development of the concept of "original form" has centered on specific periods and architectural styles, this essay explicates that the notion "original form" is commonly used as a term referring to the form at the earliest possible temporality. It also explains that this view emanates from perceiving heritages not as multivalent objects, but as a material object that exclusively carries aesthetic and, more importantly, historical value, and that comes from the history awareness of the times. This essay suggests that the concept "original form" should be reestablished with full consideration of the diverse values of heritage and diverse forms through which heritage can be expressed. After reviewing the feasibility and practicality of the concept a set of concrete guidelines should be presented for application in practice.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.26-47
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• 2010

When the term conservation is used with regard to excavated features, it means not only conservation but also restoration. Restoring the features here does not imply restoring their original form but restoring their form at the moment of excavation. That means, the conservation of excavated features includes the concept of both reparation and restoration. The way of conserving excavated features can be largely categorized into on-site conservation and transfer conservation. On-site conservation means to conserve excavated features as they were at the excavation site. It can be further categorized into soil-covered on-site conservation, in which excavated features are covered with soil to prevent them from being damaged, and exposed on-site conservation in which the features were conserved as they were exposed. Transfer conservation is operated on the premise that excavated features are transferred to another place. It can be further categorized into original form transfer, transcribing transfer, reproduction transfer, and dismantlement transfer. Original form transfer refers to the method of moving the original forms of excavated features to another place. Transcribing transfer refers to moving some of the surfaces of excavated features to another place. Reproduction transfer refers to restoring the forms of excavated features in another place after copying the forms of excavated features at the excavation site. Dismantlement transfer refers to the method of restoring excavated features in a place other than the excavation site in the reverse order of dismantlement after dismantling the features at the excavation site. The most fundamental issue regarding conserving excavated features is the conservation of their original forms. However, the conservation of excavated features tends to be decided depending on a variety of conditions such as society, economy, culture, and local situations. In order to conserve excavated features more effectively, more detailed and specialized conservation methods should be created. Furthermore, continuing research is needed to find the most effective way of conserving them through exchange with other neighboring academic fields and scientific technology.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.120-145
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• 2016

An understanding of 'original form' plays an important role as it is the starting point of heritage conservation. This paper delineated several types of understanding on 'original form' over times, and aims at analyzing the way how such concepts has provided a platform of repair works of timber buildings in Korea over times. Conservation in Korea was initiated by the attitude of the Japanese authority during the Colonial period and 'restoring into the earliest form', which had been set in the early stage of the Japanese conservation, has strongly influenced on Korean practice during the period. Such attitude has lasted even after the independence of Korea. In Japan, however, the attitude has shifted to taking a careful decision on the alteration of the existing form during the 1930s. In addition, examination and research in the repair work became essential steps to conduct along with the publication of the report of works. In Korea there has been lack of understanding on the importance of examination and research in repair works and the publication of report of the works has not been mandatory so that it has emphasized on the 'form' in conservation aiming at 'restoring the earliest form'. Such attitude has created the problem of replacing original material during the work which should aim at preserving and maintaining heritage in Korea. Because of these circumstances in preserving the architectural cultural properties in Korea, cultural buildings had succeeded in preserving the outer appearance but there are remaining questions on preserving the original states of them. This paper has pointed out that it is necessary to set out the principles of conserving 'original condition' through further study and discussion based on the careful consideration on both the international principles and Korean context.

• Conservation Science in Museum
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• v.2
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• pp.41-49
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• 2000

The most important aspect in preserving ancient paintings is to return the painting to the original state and conserve it in the original state. One traditional recovering method is the use of frame, for which scientific analysis such as X-rays, infrared and microscope are used and materials are carefully selected. Arhat, a Buddhist painting of Koryo Dynasty, one of the Korean National Museum collections has lost its original shape. With conservation treatment, the cause was found, that is to change frame scroll method to mounting method. In the main body, pre-analysis and conservation method of Arhat will be introduced.

• KOMUNHWA
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• no.65
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• pp.5-29
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• 2005

The purpose of this study is to understand a basic concepts and a series of individual processes for the planning of cultural heritage sites management in order to establish effective cultural heritage sites management plans in South Korea. In order to pr

• Journal of Conservation Science
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• v.12 no.1 s.15
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• pp.71-82
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• 2003

The paper relics excavated from the 4th excavation of the historical spot No.259 Seonwon temple area were analyzed and conserved. Because these works remained folded, the most important conservation treatment was a separation. This process depended on the state of the works: dry state works were separated using Gore-Tex chamber and the filtrated water, wet state works were separated through vacuum freeze drying method. Analyses of the paper relics performed were examination on the paper to find its distinction, binocular microscope and SEM on fiber, and XRF on character ingredient. This study presumed the times though $C^{14}$ dating of these works. The works were able to be classified through analysis and conservation treatment. This separation made lost part of the works conserve an archetype. This study presented the application of conservation methods on the paper relics which are in the bad condition and obtained information through carbon dating of it.