• Archives of design research
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• v.19 no.2 s.64
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• pp.207-216
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• 2006

Even though the notion exists that wall paper has got a short durability for interior decoration in terms of paper's nature, it can be the most important element among the modern dosing wall papering because of the variation of the walls visual effect. Wall paper hasn't been preserved well according to the paper's character and official records haven't been done well. So, by studying a case in which a room is maintained well, seeing various commercial samples which were used for an advertisement and reading several booklets it is possible to study historical evidence. In regard to wall paper and Papering. data, the commercial historic nature of the traditional wall papering has been recognized again in order to study the root of the technical and commercial background. In theory, the historic background research of traditional wall paper in the past is said to have established its theoretical system and the development of modern wall papering in the middle of Britain in 18th century. Through the theoretical study of wall papering, the following things have been researched: handling don the method of the traditional wall papering and lining paper, stylization of pattern by using the method of continual linking, subdivision of commercial cost and specialization of wallpaper, handing down the past traditional adhesion method, the origin of string wallpaper, utility of traditional wallpaper and its various abilities, the change from the face to face linking to duplicated linking, the development of DIY products by women's wallpaper selections. Put against other materials, wallpaper remains the most popular and preferable product for managing a wall and provides a decorative, wall dosing technique. This study can estimate the source of wallpapering history in order to create a systemic approach towards the future's wallpaper industry. This is very important data in order to establish a theoretical system of traditional wallpapering according to its historical research about wallpapering skills and its commercial aspect.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.212-231
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• 2021

This study examines the types of gods worshiped in the homes of Utsunoya village, the places where they are enshrined, the rituals and food offered to the gods, the decorations during the rituals, and the people's beliefs. Also, by comparing the gods worshiped in houses in remote Utsunoya with those of downtown Shizuoka, the differences and changes in the gods worshiped in the two contemporary spaces were predicted. Today, the gods enshrined in Utsunoya's houses are amatelaseu oomikami (天照大神), ancestor, ebisu, daigoku, kojin, inari, the god of the toilet, the god of land, and the god of water. From December 31st to January 3rd and on January 15th, Obon (July 15th), October when there is a festival at the village shrine, and on Ebisu Day (October 19th and 20th), residents offer drinks and food to the gods. Japanese beliefs at home are polytheistic in nature. They maintain national identity through kamidana and maintain family identity through ancestor worship linked to the Buddhist altar. The Japanese beliefs at home are firmly established in the background of the home, the base of family life. Japanese houses have a strong character as a religious space where they coexist "with the gods," and the residents have a cultural tradition of living with the gods.

• (The) Research of the performance art and culture
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• no.37
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• pp.327-363
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• 2018

Bhutan's mask dance drama, Cham is performed in the festival of Tshechu. Originating from the 17th century, Tschechu is a religious ritual as well as a traditional festival held to commemorate the birth of Padmasambhava, who spread Buddhism in the kingdom of Bhutan. Bhutanese Cham and Tibetan Cham share similar traits in their content of , , and in their characters of Pawo and Pamo. Meanwhile, , , , , , , , are distinctive performances of Bhutanese cham. Moreover, the clown character Atsara in Bhutanese cham is a character that does not appear in the Tibetan Cham. Atsara, a humorous character, can be identified by its use of a long phallus ornament on the head or by a distorted face mask with a phallus in its hand. Bhutanese Cham, originally from Tibet, is a religious mask dance drama handed down in Lamaism temples. In later generations, new performances reflective of Bhutan's history, myth, legends, and religion were added in large amount. Thus, the Cham of Bhutan now has very independent and characteristic aspects.

• Conservation Science in Museum
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• v.28
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• pp.35-50
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• 2022

This study explores the results of the research and conservation treatment conducted on two-peony paintings in the collection of the National Museum of Korea. The Jang-ji(障子) resembles a folding screen, but differs in size, shape, and use. A thick sheet of paper was used to attach the paintings to a wall, and traces of the lattice frame and red pigments, which was mainly used for building structures, remain on the back of the paper. It is confirmed that the paper was used as Jang-ji(障子) attached to adorn the walls or doors of a building and specifically decorated the interior of Seonwonjeon Hall in Gyeongbokgung Palace, which was removed in 1867. The paper also indicates that the mounting was made in the 19^th-century Joseon Dynasty, as the peony painting was finished in a different color from Jang-ji(障子) used for the Seonwonjeon Hall in Changdeokgung Palace. Based on the analysis of pigments and literature research, this study attempts to take a new approach to the colored pigments used in royal peony paintings, and it is believed that the conservation treatment used in this study highlights the necessity of continuous research on wallpaper as reference materials for royal paintings of the Joseon Dynasty.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.191-201
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• 2022

In this study, we are going to derive problems for fire and safety management in multiple-user Buildings and suggest improvement measures to prevent recurrence through analysis of legal operation status for safety management of multiple-user Buildings and case studies of large-scale fires in multiple-user Buildings. For this study, first, the current state of the industry and fire occurrence status were investigated through theoretical considerations of the multi-use industry, and then the previous research on the multi-use industry was analyzed. and by analyzing the legal and institutional status of multiple-user Buildings, problems were derived through cases such as the Jecheon fire in Chungcheongbuk-do, the Inhyeon-dong fire in Incheon, and the Songpa-gu fire in Seoul. As a result, first, the necessity of strengthening the initial fire response capability. Second, thorough maintenance and management of emergency exits. Third, the need for rational regulation of upholstery. Fourth, reinforcement of fire safety education and training. Fifth, strengthening of installation standards for firefighting and safety facilities. Sixth, we derive the result that it is necessary to raise awareness about safety management, compare and analyze it with legal and institutional contents, and suggest solutions accordingly. When looking at the causes of fires in multi-use buildings, building owners, business owners, and employees think that there is no possibility of a fire occurring in their business premises, so there is a lack of awareness. It is necessary to raise awareness through education and publicity of firefighters and related administrative agencies.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.146-165
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• 2022

The purpose of this study is to identify differences in the formative characteristics and system of Jobok by comparing the three relics Ui, Sang, and Daedae, which comprised Jeon-Sik's Jobok, with the data in the literature and five excavated Jobok relics, Sin Kyung-yu, Kwon-Woo, Hwasan-Gun, Milchang-Gun, and Lee Ik-jeong, from the 17th and 18th centuries. Jeon-Sik'sJobok was designated as a Gyeongbuk tangible cultural heritage, Sangju JeonSik Jobok and Crafts, in 2021. The three components of Jeon-Sik's Jobok are valuable as historical data since they are the oldest relics confirming colors. Regrettably, the edging fabric of the Ui made of red twill was mostly lost, with only traces remaining. Based on records, it was presumed that the edging fabric was black. It was confirmed that white decorative lines were yet to be used. In Jeon Sik's Sang, only the three front widths and one rear width remain, but the shape of the four rear widths can be inferred, and the creases were held only at the waist. Eighteenth-century Sang was connected at intervals at the end of the waist. Seventeenth-century Sang was connected with a slight overlapping of the rear Sang below the front Sang; therefore, it is assumed that Jeon Sik's Sang was also connected by overlapping the rear by more or less than 5cm below the front. After Hwasan-gun, the Sang was first made using black lines, then white lines were inserted, and, finally, it was pleated from the waist to the hem. The Daedae made the Yo and the Sin by folding the corners to form a 冂 shape with a single long band. The white Ju(紬) and the green yumunsa were used for the Daedae and the edges. This matches the color of the Daedae seen in the Jobok portraits of Milchang-gun, Lee Ik-jeong, and Jeong Hwi-ryang from the 18th century. In the 17th century, the Daedae made the Yo and the Sin by folding a long band like the Daedae of Jeon-Sik. After the 18th century, the Yo and the Sin were made separately and connected. To tie the Daedae to the waist, thin straps were attached at both ends. The relics of Jeon-Sik can be evaluated as reflecting the 17th-century Jobok system in terms of color and shape. Furthermore, it can be said that they are important historical data complementing the insufficient or inaccurate records of the Gukjoolyeui-seolye and Gyeongguk-daejeon.

• Journal of Science of Art and Design
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• v.11
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• pp.5-35
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• 2007

When it comes to art, the two conflicting themes of 'scientific progress' and the 'nature' have often motivated the advent of the new mode of arts. By the late 20th century, uniform and simplified mode of arts, inspired by scientific and technological progress of that time, was gradually disillusioned by the contemporaries due to the adverse effect of science on human life. In this context, naturalism pursuing for harmony of human and the nature came up as an alternative to those living in the 21st century. The pendulum has swung from minimalism to naturalism. Though the quantitative improvement of human life cannot be denied, the uprise of such problems as environmental pollution and exhaustion of natural resources degraded the quality of human life, which, eventually, shifted the attention to the theme - 'revival of naturality.' Therefore, this thesis intends to represent the modem interpretation of the 'revival of naturality' by applying the major expressions of Art Nouveau that also emphasized naturalism. Art Nouveau found its motifs from organic figures of natural beings and put them to designs of decorative arts. This carries a historical significance in that Art Nouveau boldly revolutionized historicism, which only repeated adoption and modification of the existing modes of arts, and opened it to the modem design with new attempts to practical applications of the arts. Art Nouveau, which means 'new art', prospered from the late 19th century to the early 20th century, and even after one century, it is highly appreciated, reviving as novel and vivid forms in this contemporary art. Art Nouveau based on naturalism has revisited our contemporary period when naturalism and feminized romanticism came into fashion and its common motifs revive in different jenre of arts such as fashion, furniture, glass works, and jewelry works. This study illustrates and analyzes the works of four major artists who gave a specific attention to botanical motifs of Art Nouveau and applies decorative beauty of highly sophisticated and organic curved lines and the expressional forms of botanical figures to design. Art Nouveau proved this; the nature herself is as beautiful as she can be. Within Art Nouveau, the true humanism can be revitalized with the 'revival of naturality'. This study rediscovered the boundless potential of modern interpretation and application of Art Nouveau in decorative art and design.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• The Journal of Engineering Geology
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• v.25 no.4
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• pp.473-484
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• 2015

Geophysical exploration using electric resistivity, ground penetrating radar (GPR), and impedance high-frequency (ZHF) surveys was conducted in Gujwa-eup, Jeju City, Jeju Island, an island in the Korea Strait, to confirm the existence of new caves near known caves. The exploration revealed a number of anomaly zones, presumed to be caves; 27 sites at suitable locations and depth ranges were selected for drilling and further surveys. However, contrary to predictions, most of the anomaly zones were clinker layers or paleosols intercalated with lavas. Only five boreholes intersected caves. The clinker layers and paleosols were possibly detected as anomalies owing to their different physical properties from the other rocks. Two of the five cave-finding boreholes penetrated Yongcheon Cave; a new cave was found at the other. The two boreholes that penetrated Yongcheon Cave were drilled in areas where the cave has not been previously reported, and thus helped correct an error in the cave distribution map. The cave newly discovered in this boring exploration is 180 m long, and it is connected to the upstream part of Dangcheomul Cave (110 m). The cave contains well-developed lava helictites, lava levees, and ropy structures; carbonate speleothems such as soda straws, stalagmites, columns, and curtain shawls are also well preserved. Notably, the unique shape of the carbonate speleothems is attributed to their growth in relation to the cavern water that flowed into the cave along plant roots.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.1-13
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• 2016

The Back garden in Wanggung-ri Site, Iksan clearly presents an aspect of the landscape gardening techniques of the Baekje, which are significantly unique in the landscape gardening history of East Asia as the structure connected to the main garden through a complex waterway system on a hill. The rear garden has a complex waterway system comprising a large inverted U-shape waterway and its branch waterways, sinuous waterway and water catchment system to enhance the landscape effect with a minimum amount of water on a hill, reducing damage by floods in the case of heavy rain and securing the amount of water required by the main space in the palace. A landscape element using various kinds and sizes of oddly shaped rocks decorated the water catchment area inside or around the large inverted U-shape waterway. On the top of the hill, the center in the Back garden, a building site in the size of 4 Kans each on the front and side was made on a square base surrounded by a round base stone. The building was identified on a space partially surrounded by the rectangular stonework on the left and right slope of the hill. While the functions and roles of the rectangular stonework are not accurately identified due to the poor conditions of the present site, the stonework may be related to the building inside it. The back garden in Wanggung-ri Site, Iksan has a winding pond-shaped waterway to pull or push water into or out of the garden in a rectangular pond shape, which was a conventional landscape gardening technique during the Baekje period. Since the main garden and the back garden in Wanggung-ri Site, Iksan form a systematic connection system, this paper tried to newly establish the main garden inside Iksan Wanggungseong as the 'royal garden'.