• The Korean Publising Journal, Monthly
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• s.331
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• pp.13-13
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• 2003

• Journal of Korean Electronics
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• v.6 no.10
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• pp.6-20
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• 1986

• Journal of Korean Electronics
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• v.7 no.10
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• pp.4-19
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• 1987

• 보존과학연구
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• s.32
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• pp.185-193
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• 2011

The Wallace Collection in London (one of the national museums in the UK) has a gallery dedicated to conservation related displays. As well as permanent displays on the manufacturing techniques and materials of artifacts, there is a specially designed space for temporary conservation exhibitions. Through the example of the current conservation exhibition at the Wallace Collection and similar exhibitions and displays from other museums in the UK, this paper will study how the relationship and communication between the conservation profession and the general public have changed, from conservation as a behind-the-scenes and little-known activity to a closer interaction with the public and as a direct educational tool. The general function of a museum can be seen to have evolved from providing passive information to its visitors to offering more active and various forms of education. Conservation has developed with this change towards more awareness of the profession and its role in the preservation of cultural heritage through public outreach programs and displays.

• Vending industry
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• v.7 no.1 s.19
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• pp.22-26
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• 2007

지난 3월 23일(금)부터 25일(일)까지 코엑스 대서양관에서는 제23회 프랜차이즈 서울 스프링 전시회가 성황리에 개최되었다. 131개사 288여 부스의 전시가 이루어져 다양한 프랜차이즈 사업모델을 제시했던 이번 전시회가 더욱 뜻 깊은 것은 자판기 창업 특별관이 성공적으로 구성되어 많은 참관객들의 뜨거운 호응을 이끌어 냈다는 점이다. 비록 단독 전시회는 아니지만 자판기 전시 마케팅의 새로운 전기를 마련했다는 점에서 높게 평가할 만 하다. 자판기 유관업체 9개사가 참가하여 뜨거운 경연을 펼쳤던 제23회 프랜차이즈 서울 스프링의 현장을 되돌아 봤다.

• 프린팅코리아
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• s.69
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• pp.74-77
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• 2008

• 한국상하수도협회지
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• s.8
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• pp.114-115
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• 2004

• KOMUNHWA
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• no.62
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• pp.113-125
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• 2003

• KLA journal
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• v.11 no.11
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• pp.21-23
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• 1970

이 해제 목록은 제16회 독서주간을 기념하기 위하여 9월 24일부터 30일까지 서울특별시립 종로 도서관에서 본 협회가 개회한 ‘제1회 한국잡지전시회’에서 출품 전시되었던 잡지를 해제한 것으로 해방이후부터 1960년까지 우리나라에서 간행된 것 중 김근수 선생이 소장하고 있는 것만을 실었음을 밝혀둔다.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.330-355
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• 2024

There are two main perspectives in Korea on Korean cultural heritage located overseas: one views it as items that need to be repatriated since they were scattered abroad under unfortunate historical circumstances. The other considers them as a means to more widely promote Korea's culture and long history. A shift in perspective has gradually been taking place in the decades since Korea's liberation from Japanese colonial rule in 1945. This can be noted through three major types of exhibitions. The first type is exhibitions of repatriated cultural heritage that showcase items that were illegally removed from the country but later returned or otherwise acquired through purchase or donation. The Special Exhibition of Returned Cultural Heritage, which was held in 1966 on the occasion of the normalization of diplomatic relations between the Republic of Korea and Japan, emphasized the legitimacy of reclaiming cultural properties that were illegally removed from Korea during the period of Japanese colonial rule. Around the 1990s, special exhibitions of private donations were held, which also highlighted the legitimacy of repatriation. The special exhibition of the Oegyujanggak Uigwe (Royal Protocols of the Joseon Dynasty from the Outer Royal Library) held in 2011 was seen as an opportunity to raise public interest in repatriation, heal the wounds of history, and restore the nation's cultural pride. The second type of exhibition involves borrowing and displaying overseas Korean cultural heritage in accordance with a theme as a means to reenergize and provide a comprehensive view of Korean culture. The exhibitions National Treasures from the Goryeo Dynasty in 1995 and National Treasures from the Early Joseon Dynasty in 1997 (both held at the Hoam Museum of Art) and the Masterpieces of Goryeo Buddhist Painting held at the National Museum of Korea in 2010 underscored the importance of overseas Korean cultural heritage for exploring Korean cultural history. The third type is special exhibitions on the history of the collection of Korean cultural heritage. With Korea's economic growth in the 1980s and the increase in exhibitions and the number of galleries featuring Korean cultural heritage in overseas museums in the 1990s, interest in the history of acquisition also grew. Exhibitions like The Korean Collection of the Peabody Essex Museum in 1994 and Korean Art from the United States in 2012 introduced overseas galleries focused on Korean art and the diverse history of collecting Korean cultural properties. They also examined the perception of Korean art in the United States. These efforts heightened public interest in establishing and supporting Korean galleries abroad. The initiation of more systematic surveys and research on Korean cultural heritage located abroad and the contribution of overseas Korean cultural heritage to the enhancement of the local understanding and promotion of Korean culture have resulted in changes to the perception of overseas Korean cultural heritage in Korea.