• Electric Engineers Magazine
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• s.370
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• pp.18-19
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• 2013

2008년 2월 10일, 한사람의 잘못된 행동으로 국보1호인 숭례문이 거의 전소되었다. 그렇게 우리의 마음속에서 아픔과 회한을 남긴채 사라져가던 숭례문은 5년여 간의 정교한 고증을 거쳐 화재가 발생하기 전보다 더욱 예전과 비슷한 모습으로 복원되어 지난달 5월 우리품으로 돌아왔다.

• 공원문화
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• s.33
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• pp.42-44
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• 1986

북한의 관광자원현황 및 개발실태를 국토통일원 자료 (전 영규 조사연구실보좌관연구집필)에 의해 소개해 본다. 북한은 1954년부터 1978년 사이에 평양의 대동문을 비롯한 18개의 주요문화재를 복원한 것으로 기록되고 있으며, 이번 호에는 문화재현황중 50개의 국보급과 53개의 보물급 그리고 지정번호 40호까지의 천연기념물의 현황을 담는다.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.198-216
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• 2024

This article reevaluates the National Museum of Korea's pivotal actions during the Korean War in the 1950s and its aftermath. It argues that the evacuation of the museum's collection to Busan and the subsequent exhibition "Masterpieces of Korean Art" in the United States in 1957 were not isolated events, but rather interconnected facets of a larger narrative shaping the museum's trajectory. With newly discovered archival evidence, this study unravels the intricate relationship between these episodes, revealing how the initial Busan evacuation evolved into a strategic U.S.-led touring exhibition. Traditionally, the Busan evacuation has been understood solely as a four-stage relocation of the museum's collections between December 1950 and May 1951. However, this overlooks the broader context, particularly the subsequent U.S. journey. Driven by the war's initial retreat of the war, the Busan evacuation served as a stepping stone for evacuation to Honolulu Museum of Art. The path of evacuation took an unexpected turn when the government redirected the collections to the Honolulu Museum of Art. Initially conceived as a storage solution, public opposition led to a remarkable transformation: the U.S. exhibition. To address public concerns, the evacuation plan was canceled. This shift transformed the planned introduction into a full-fledged traveling exhibition. Subsequently approved by the National Assembly, the U.S. Department of State spearheaded development of the exhibition, marking a distinct strategic cultural policy shift for Korea. Therefore, the Busan evacuation, initially envisioned as a temporary introduction to the U.S., ultimately metamorphosed into a multi-stage U.S. touring exhibition orchestrated by the U.S. Department of State. This reframed narrative sheds new light on the museum's crucial role in navigating a complex postwar landscape, revealing the intricate interplay between cultural preservation, public diplomacy, and strategic national interests.

• It's Smart Media
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• v.5 no.1
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• pp.1-6
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• 2016

지난 2010년 상하이 세계박람회 중국관(中國館)에서는 1000년 전 중국 북송(北宋)시대의 회화인 '청명상하도(淸明上河圖)' 원작(5m)을 20배(110m)로 확대한 <디지털 청명상하도>를 선보였다. 이 그림은 중국 북송(北宋)시대 한림학사(翰林學士) 장택단(張擇端)이 북송의 도성인 변경(卞京 : 현재의 개봉)의 청명절 풍경을 세밀하게 묘사한 풍속화로 중국인들이 '국보1호'로 여기는 고서화(古書畵)다. 가로 528.7cm, 세로 24.8cm짜리 두루마리 그림에 수도에 드나드는 사람들의 일상이 파노라마처럼 펼쳐진 작품이다. 이를 디지털 복원한 것이 <디지털 청명상하도>다. 이 콘텐츠에는 다양한 전시 기술이 쓰였고 압도적인 스케일을 자랑한다. 지난 6년동안 중국 대도시를 중심으로 디지털콘텐츠 형태로 순회 전시중이다. 2010년 제작당시 어떠한 기술로 <디지털 청명상하도>가 만들어졌으며, 미래 그 어떤 시점에 등장 할 가능성이 있는 "가상현실(VR) 청명상하도(淸明上河圖)"는 어떤 기술의 형태로 나타날 수 있을지 예측해 보고자 한다.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.112-121
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• 2019

Title of management of cultural asset architectures made of wood managed by nation or local government is separated and there is a high concern about the disappearance of many national cultural asset architectures by fire. This study investigated the effectiveness of major installed appliances in terms of disaster prevention, and problems by early suppression in the event of fire and by mobilization of fire engines in depth. Also, this study derived problems by conducting an in-depth individual interview on interested parties for installation of fire extinguishing system by related law and to improve system to make realistic maintenance. As a result, it was identified that they have reached the positive aspects of protecting cultural asset architectures from disaster as fire by maintaining and managing facilities by establishing proper disaster prevention measures because they are surrounded by mountain or buildings are contiguous. Wooden cultural asset architectures are often excluded from regulation for installation of fire-fighting facilities under the Fire Services Act because most of wooden cultural assets are detached buildings, occupy small area, and are one-storied architecture. The best method is having extinguishing ability themselves according to the manual by making fire manual as management policy before the outbreak of fire. This study intends to suggest a follow-up study for practical considerations to establish or designate a professional management agency for them to protect important national cultural heritage buildings at the state level before they are destroyed by fire.

• Journal of the Earthquake Engineering Society of Korea
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• v.5 no.4
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• pp.67-74
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• 2001

Structural engineers lately have an interest in the safety for equipments and facility in buildings subjected to earthquake. The stability of cultural assets was not considered for the earthquake induced vibration, while the integrity of structure has been considered through the resistant earthquake design. The purpose of this study aimed to analyze the behavior of isolation device named as \"Isolation table system\" and to evaluate its isolation performance through the experiment study. Isolation table is one of isolation systems to reduce the vibration which was transferred from slab to exhibition table. Experimental result shows that isolation table can reduce the vibration by 80-90% and its behavior is very stable within its maximal stroke.al stroke.

• The Bulletin of The Korean Astronomical Society
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• v.35 no.2
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• pp.85.2-85.2
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• 2010

우리나라에는 조선 태조와 숙종대에 돌에 새겨 만든 두 개의 천상열차분야지도(天象列次分野之圖)가 남아 전하고 있다. 숙종본 천문도는 태조본을 다시 복각한 것으로 알려져 있으며 천문도의 구성은 태조본의 뒷면과 같은 모습이다. 국보 228호로 지정된 태조본 천문도는 오랜 시간의 흐름에 따른 표면 마모로 명문이나 별자리 확인이 쉽지 않다. 특히, 태조본 뒷면은 심한 훼손으로 별의 크기 뿐 아니라 대부분의 별자리 확인도 어려운 상황이다. 지금까지 천문도 표면의 훼손으로 인해 태조본의 앞 뒷면과 숙종본에 새겨진 별의 위치와 크기를 정량적으로 비교하기가 어려웠다. 본 연구에서는 숙종본 천문도의 별자리와 함께 태조본의 앞뒷면 천문도의 별의 위치 및 크기를 정량적으로 비교하기 위해 2008년과 2009년에 걸쳐 태조본 석각 천문도를 3차원 정밀 측정하였다. 천문도 측정은 삼각측량과 간섭효과를 활용한 3차원 스캐너인 Breukmann을 사용하였으며 0.1mm 이내의 측정 정밀도로 측정하였다. 3차원 정밀 측정 자료는 유물 훼손을 대비한 복원 자료구축, 복제품 제작을 위한 기초자료 그리고 별자리 연구를 위한 천문자료 등으로 활용할 수 있다. 우리는 3차원 측정을 통해 석각 천문도의 전체 형태뿐 아니라 모든 별의 위치와 크기의 측정 자료를 DB화 하였으며, 이를 이용해 태조본의 앞 뒷면과 숙종본에 새겨진 별의 위치와 크기를 비교하고 각각의 특성을 조사하였다. 또한 천문도에 새겨진 별의 크기와 실제 별의 밝기와의 상관관계를 알아보았다.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.114-129
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• 2022

Securing a safe place to keep its collections in Busan, the interim capital during the Korean War, the National Museum of Korea could fulfill its mission to protect the national treasures. Right before Seoul was recaptured by the Communist forces, the museum managed to evacuate its collections to Busan in December of 1950. Until the armistice in 1953, a Korean government warehouse in Busan had to function as a temporary museum building. Protecting the national treasures in this small building, the National Museum of Korea had to maintain its role as a national museum and contribute in revitalizing cultural functions of Busan, the interim capital. The efforts led to hope for reconstructing the museum.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.22 no.1
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• pp.27-46
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• 2011

The present paper is focused on Korea's inscribed heritages, digitization of the Tripitaka Koreana & miscellaneous buddhist scriptures, and public uses of the digital properties in order to describe the Digitization & Popularization of Printing Woodblocks of the Tripitaka Koreana and Miscellaneous Buddhist Scriptures, Memory of the World. The Goryeo Daejanggyeong or the Tripitaka Koreana and miscellaneous Buddhist sculptures refer to printing woodblocks of the Tripitaka(National Treasure No.32), and repositories (National Treasure No.52) where the woodblocks are stored. The woodblocks numbers 1,514 types/81,350 blocks/162,700 pages. Haein temple has worked the digital Tripitaka project 2009-2010 and The project for 2010 will focus on DB correction and modification, improvement of homepage that was made in 2009. For this, the focus was especially put on investigating current status and development plans of the digital Tripitaka project. In popularization of the digital Tripitaka, this study examined the Korea's utilization policy and current situation of knowledge resources about culture, successful cases of digital Tripitaka projects, and popularization strategies. This research can contribute to digitization of other cultural heritages and related researches in the future.

• (The)Study of the Eastern Classic
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• no.41
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• pp.477-516
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• 2010

The Korean art history academia has lately been carrying out active research on the Korean art market and art collectors. This area of research is significant in that it attempts to overcome the limitations of previous research trends focused on tracing back and analyzing preeminent masters, their schools and their influence, and approach new subject matters such as art and society, circulation and consumption of art works, which were unapproachable with previous research methods. This paper examines the life, artwork and art collection activities of Songeun(松隱) Yi Byeong-jik(李秉直: 1896-1973), an outstanding painter, calligrapher and art collector during the Japanese colonial period. The primary purpose of this paper is to advance the research project the author has recently initiated on modern Korean art collectors by reconstructing parts of this major art collector's individual lifestyle and to generally identify the art collection activities and the art works that he kept. Yi Byeong-jik, one of the preeminent art collectors during the colonial period, disposed his voluminous collection through two auctions in 1937 and 1941, and then held another auction two weeks before the onset of the Korean War on June 25, 1950 to sell off the remaining works. It seems that the reason why Yi had auctioned off his collections was for the purpose of investing in education. The tale that Yi safely kept 'Sam-guk-yu-sa(三國遺事),' which is considered a national treasure, even through the time of turbulence is evidence of his exemplary behavior as a model art collector. He may be one of the best examples of what an art collector should be in terms of giving back to the society and preserving things of beauty and value. However, one factor that limited and defined Yi's life was that he was a eunuch. This aspect of his life could be pointed out as the biggest factor that stopped him from becoming a mainstream participant in the art world despite his influence as a great painter, calligrapher, significant art collector, and discerning connoisseur.