• 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.

• Proceedings of the Korean Society of Computer Information Conference
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• 2020.07a
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• pp.409-411
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• 2020

4차 산업 시대의 흐름에 따라 디지털 문화유산 컨텐츠의 생산이 이루어지고 있다. 문화재의 위치와 해설을 사용자에게 제공하거나 문화재 사진을 보고 이름을 맞추며 간략한 정보를 얻는 등 학습을 위한 어플리케이션이 제작되고 있으나 사용자 경험을 고려한 지속적 교육 컨텐츠의 개발은 부족한 상황이다. 이에 따라 본 논문에서는 게이미피케이션을 통해 사용자가 문화재에 대한 정보를 지속적으로 학습할 수 있는 모바일 어플리케이션을 제안한다. 사용자의 흥미를 동반하여 학습을 이어가기 위해 수집형 롤플레잉 게임 시스템을 응용하고 이를 크게 네 가지의 항목으로 세분화하였다. 이 연구를 통해 우리 문화유산을 활용한 지속적 교육 컨텐츠 개발에 기여하길 기대한다.

• Journal of the Korean Society for information Management
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• v.39 no.4
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• pp.241-268
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• 2022

Records related to a certain cultural heritage are concrete evidence that prove the value of the cultural heritage and become a criterion for long-term preservation of its records. The value of the records is as important as cultural heritage value. In the case of specific cultural heritage with national or socially important values, various studies are conducted on cultural heritage as one theme, and various programs about cultural heritage are developed. However, it is difficult to grasp the scope, record types, and contents of the records because they have been distributed and managed in many institutes. They also appear in various forms. As a solution to these problems, this study collected records of a major cultural heritage with social and historical values such as Hwangnyongsa from 11 public institutions and web services and analyzed the types of records, activities related to the records, and metadata. Through data analysis, an ontology that can understand the range and relationship of the entire record was suggested so that the record can be understood with a focus on specific cultural heritage.

• Journal of Conservation Science
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• v.38 no.2
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• pp.124-132
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• 2022

Through scientific analysis, this study identified the material characteristics of metal foil decorating the border line and knotting of the National Folklore Cultural Heritage 'Pouch for the Sutra Embroidered with a Sun and Moon Design'. Through Scanning Electron Microscope-Energy Dispersive Spectroscopy results, it was estimated that silver (Ag) and sulfur (S) were present in the metal foil, and silver leaf was also attached to the medium. S may discolor Ag from yellow to black depending on its concsentration and contact time. Yellow color could not be identified in metal foil at present. But there existed an example of the preparation of a gold-colored flat silver thread; therefore, further research is needed to estimate the original color. The lamella was reddish brown on the back. Aluminum, silicon, and iron were also detected and were the main components found in red soil. This is believed to be the red adhesive in traditional flat gold thread and is considered to be an adhesive-related component of the metal foil. From the gas chromatography mass spectrometry results, the adhesive component was confirmed to be animal glue.

• The Korean Journal of Archival Studies
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• no.68
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• pp.243-279
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• 2021

Rep. Roh Hoe-chan is a representative politician in Korean progressive politics. From the labor movement to the workers' political organization movement, they devoted themselves to the movement to build a progressive party. As a member of the 17th, 19th, and 20th National Assembly, he carried out legislative activities. The record he left is the record of the political power of workers, the record of the progressive party, and the record of a politician who suffers and practices. Also, as the son of a displaced person, as a student activist suffering from the restoration period, it is also a record of a human being of cultural literacy who played the cello. Archivist's basic research is expected to play a role in creating a virtuous cycle of archive management by structuring the archive and presenting various access points to various users, allowing more diverse research and use in the future.

• Journal of Conservation Science
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• v.34 no.5
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• pp.387-396
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• 2018

Exposure to the natural environment can cause damage to domestic wooden cultural assets, such as temples. Deterioration is accelerated by biological damage and various environmental factors. In this study, meteorological factors were monitored by equipment installed at Beopjusa temple of Boeun province and Seonamsa temple of Suncheon province. A statistical model was applied to these data to predict the meteorological factors and to compare the predictive performance of each meteorological factor. The resulting correlation coefficient between air and dew point temperatures was highest, at 0.95, while the correlation coefficient for relative humidity had a moderate value(0.65) at both the Beopjusa and Seonamsa temples. Thus, a general linear model was found to be suitable for predicting air and dew point temperatures. An analysis of correlation between meteorological factors showed that there was strong positive correlation between air temperature and dew point temperature, and between solar radiation and evaporation at both sites. There was a weak positive correlation between air temperature and evaporation at Beopjusa temple. Wind speed was negatively correlated with both air temperature and relative humidity at Seonamsa temple. The wind speed at this location is higher than average in winter and lower than average in summer, and it was hypothesized that the low wind speed plays a role in reducing water evaporation in summer, when both air temperature and relative humidity are high. As a result, damage to the wooden buildings of Seonamsa temple is accelerated.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.22-44
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• 2022

Lacquer, in addition to high-end crafts such as lacquerware inlaid with mother-of-pearl, was an important strategic material used in a wide range of fields such as industry, architecture, and munitions during the Japanese colonial era. In particular, as the demand for lacquer used in munitions soared in the 1940s when the war started, a ticket system was introduced to restrict its distribution. Meanwhile, Japan experienced a chronic shortage of lacquer as a result of the rapidly increasing demand for it, and thus went on to import Chinese lacquer after the late 19th century. After the 1910s, the market share of Chinese lacquer reached 90%, and the local situation in China began to affect the supply and demand for lacquer in Japan. To counteract the issue, the Japanese government increased the production of lacquer in Joseon. As for the project to increase lacquer production in Joseon, objective indicators were prepared through a number of tests in the 1910s and 20s, which paved the way for the project to begin in earnest in the 1930s. Lacquer trees were planted and training classes on how to collect lacquer were held throughout the country. The Japanese government promoted the lacquer production industry as a promising side job for Koreans. The project, implemented in various parts of the country, reaped fruitful results, and it provided the basis for lacquer production in Korea that has continued to this day. At that time, the major regions in the southern part of the country where the project was concentrated were Wonju, Okcheon, and Hamyang, regions that are still known today as major production sites. The improved method of collecting lacquer taught to Koreans by the Japanese has now become the main method of collecting lacquer in Korea. This study attempts to identify the current status of the project to increase lacquer production through various records from the Japanese colonial era with a view to contributing to the study of modern lacquer craft history.

• Journal of Conservation Science
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• v.7 no.2
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• pp.80-85
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• 1998

The structure, dimensions, condition and other characteristics of the Koryo Buddhist Canon (the Koreana Tripitaka) Printing Wood Blocks stored at the Haein-sa Monastery were surveyed to obtain basic data needed for the conservation of the Wood Blocks. The dimensions of the Wood Blocks Were measured and we could figured out the blueprint designed at the time of the carving the Wood Blocks. The dimensions of the wooden board were as follows: width, 8'chi'('cun' in Chinese, 24 cm);thickness, 1 'chi' (3 cm); length, 2'cha' ('chi' in Chinese) and 3 'chi' (68 cm) or 2 'cha' and 6 'chi' (78 cm). The dimensions of the end pieces were as follows: width, 1 'chi' and 5 'fun' (4.5 cm; thickness, 1 'chi' and 4 'fun' (4 cm); length, 8 'chi' and 2-4 'fun' (24.6-25.2 cm). There were 6 types of metal strips and the length of the nails employed was 1 'chl' (3 cm). Investigation on the differences in the length of the wood Blocks and the shapes of the metal strips will be of interest. Since we surveyed only small portion of the Wood Blocks. the result may be different if entire Wood Blocks were examined. The data acquisition of the entire Wood Blocks will be the basis to the conservation of the Wood Blocks.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.