• KOMUNHWA
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• no.57
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• pp.233-261
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• 2001

This Study was contrived to analyse strategies for developing traditional craft industry as tourist resources through a case of Kyungju Folk Craft Village and to find the way of making economic value from components of Kyungju history and culture. Accordi

• Journal of the Speleological Society of Korea
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• no.72
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• pp.1-8
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• 2006

우리는 한국동굴학회의 요청과 사업계획에 따라, 동북-중앙아시아지역 동굴과학정보망 구축 사업에 동의하고 이를 기원하는 뜻으로 중국 길림성 연변조선족자치주 화룡시 근교의 충천계곡(골)자연동굴을 탐사하였다. 이를 위하여 1년 전 어느 날 화룡시 충천 골에 있는 동굴을 찾아 연길에서 차를 타고 장인촌으로 간 적이 있었다. 그곳에 가서 수소문하여 동굴에 대해 잘 알고 계신다는 김창현 노인을 찾았다. 당시 우리가 그 노인을 찾았을 때는 이미 점심때가 다 되었다. 우리가 동굴을 찾아가 보려고 김창현 노인을 찾아왔다고 하자, 그 노인은 동굴이 이곳에서 멀리 떨어져 있어서 아침 일찍 떠나야 하기에 오늘은 갈 수 없다고 하였다. 그리하여 우리는 김 노인으로부터 동굴에 대한 이야기만 좀 듣고 돌아와서 후에 약속한 날에 다시 탐사방문을 추진하기로 결정하였고, 바로 이때부터 우리는 국제교류와 협력을 통하여 사실상 국제동굴과학정보망 구축 사업에 동참을 시작한 셈이 되었으며, 이를 적극 지지한다.

• Journal of the Speleological Society of Korea
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• no.79
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• pp.1-6
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• 2007

한반도 지역의 장묘 문화와 고려장의 유래를 살펴본다. 삼국시대로부터 고려사회에 이르기까지는 주로 불교문화의 영향을 받아왔고, 그 후 조선사회에 들어와서 우리 민족은 유교문화에 깊은 관계를 형성하여 왔다. 그러므로 오늘의 우리사회에서도 곳곳에서 유교문화의 깊은 뿌리를 찾아볼 수 있으며, 아직도 우리의 생활문화에서 유교적 관행이나 생활관습을 흔히 느껴볼 수 있다. 이러한 종교 사회적 문화 배경이나 충효사상으로 무장된 우리의 사회상을 살펴볼 때 과연 우리가 전해들은 고려장 문화가 실존적인 것인지에 대하여는 강한 의문과 부정적 사고를 떨쳐 버릴 수 없다. 또한 초식을 즐겨하는 우리 식생활 문화로부터 그들의 온순한 성격이 형성되어 왔던 민족 사회적 정서를 살펴볼 때에도 부모나 가족의 연장자가 늙고 병들었다고 하여 그들을 쉽게 버리고 남은 가족들끼리 편안한 마음으로 살아갈 수 있을까(?)에는 역시 강한 의문점을 뗄 수가 없다. 한국동굴학회의 사업계획에 따라, 중국 길림성 연변조선족자치주 화룡시 근교의 충천계곡(골) 자연동굴을 탐사하고, 고려장 굴이라고 전해오는 석실무덤을 답사하였다.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.