• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.285-290
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• 2022

With China's tremendous expansion, Chinese art and art museums are also rapidly growing. The purpose of this study was to arrange the growth process of Chinese art museums from modern times to modern times, as well as to examine the present state and tendencies. Although there is a disparity between Chinese art museums and those in Western nations, it is being observed that the gap is steadily closing. Chinese art museums are rapidly expanding and adapting to match current art museum trends, both in terms of number and quality. Despite this expansion, it is suffering operating challenges owing to a lack of cash, as well as issues such as insufficient system and support, opposition to progress, and a lack of professional staff. Since research on the Chinese art museum, which has lately attracted international attention, is limited, this study can add to research on the Chinese art museum in Korea. It is feasible to comprehend the development process, present condition, and challenges of Chinese art museums via this study, and based on this, we intend to provide implications for the development of Korean art museums.

• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.152-161
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• 2014

Beijing, the capital city of China, has gradually increased its amount of culture space and has also introduced a diverse range of cultural facilities to improve the satisfaction of its citizens lives. In particular are its art museums, which are a symbol of the urban culture and enrich the cultural life of its citizens and are also expected to play a role as a psychological pivot point. However, in comparison with the characteristics of various ethics, local, and the influence on the museums of China, studies which analyze the exterior of the art museums are not sufficient. This is because previous research has focused too heavily on the interior of the art museums. This paper aims to derive distinction through the analysis of the exterior of several art museums and present design factors and application methodology. This research looks at art museums in China and analyzes the current state of the art museums that have been developed based on the culture of Beijing. Through analyzing the case study of five art museums that have been selected in Beijing we can improve our understanding of Chinese culture space and derive distinct design factors. Distinct factors in the exterior of art museums include connection, culture, geographic features, public, and creation. This study is expected to contribute to that exterior of the art museum will be as a contact zone to form a spatial connection and a cultural symbol that can reflect Beijing's unique culture characteristics.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.225-238
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• 2022

The purpose of this study is to explore the performance characteristics and laws of the symbol mark design of representative regional history museums in China, as well as the preferences of Chinese audiences for the symbol marks of different types of Chinese regional history museums. First, the performance theme, performance type, and type performance tendency of symbol mark modeling of the regional history museums among the top 100 museums in China are analyzed. Second, design laws based on the interrelationship of performance theme types and design performance types are explored. Finally, the questionnaire survey is carried out to explore preference from the aspects of attention, readability, closeness, originality, aesthetics and comprehensiveness. According to the results, the theme of regional history is the most in terms of themes. As for the modeling performance types, the concrete type and the visualization of Chinese character are the most. According to the content characteristics of different performance types, the following model characteristics are formed: expressing the theme of regional history, architecture, and regional natural ecological environment through the concrete type, expressing the concept through the abstract type, and expressing the concept and implying some building features through the geometric abstract figure. The three forms of the literal type, the concrete type expressing architecture, regional history, and regional natural ecological environment theme content, and the abstract type expressing concept are combined with each other, and expressed through the visualization of character, the mixture of abstract and literal type, the mixture of concrete and abstract type, and the mixture of concrete and abstract literal type in the mixture type. According to the survey results, Chinese audiences have higher preference for the concrete type in the symbol mark performance type and the regional historical theme in the performance content.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.336-342
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• 2012

Chinese society, which maintained the feudal social system, has taken an isolationist policy in response to the Western aggression since $20^{th}$ century. However, in the wake of the Opium War of 1840, China had actively accepted Western culture, not in just politics and economy, but in diverse area of social property. Since these process, the modernization of China had begun and the Chinese museum has been erected and evolved through the process of it. And it can be deducted that the philosophy of socialist society had a considerable influence on the spatial configuration of the Chinese museum since it was at the heart of china's modernization. And another social shift has been made since 2000 that is regarded as the internationalization of China. It brought a new point of de-structuralism to the society since 2000 and it is leading the changes of various areas of culture and arts, including museology in Chinese society. The purpose of this study is to understand what changes have been made to the museums in China since 2000 and how the internationalization of China is engaged with this it, in terms of the spatial structure of a museum. To do this the study examined the spatial changes of the museum in the mathematical approach including Space Syntax tool and it was engaged with the changes of museum type. Throughout the study, it was concluded that spatial structure of museums in china has been changed from structural organization to de-structural one since 2000 of China's internationalization.

• Proceedings of the Costume Culture Conference
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• 2006.09a
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• pp.95-96
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• 2006

• KOMUNHWA
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• no.2829
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• pp.119-134
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• 1986

• Journal of the Korean Society of Costume
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• v.36
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• pp.219-238
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• 1998

For the purpose of this Study, the situation of Korean costume properties in the collection of overseas museums was investigated through correspondence, interviews with their curators and persons in charge and survey. As results were made about the situation of museum science (conservation) and practical utilization of costume properties. So, the study result were drawn as follows : Krean costume properties unexplaind of 'Korean cultural Properties' could be found in the Metropolitan Museum of Art of New York(135 pieces), the Brooklyn Museum of New York(20 pieces), the Newark Museum of New Jersey(15 pieces), and the Victoria Albert Museum of London(100 pieces). Korean costume properties in the collection of over-seas museums mostly fall under the rang of period between the 19th century and the early 20th century and are classified into everyday clothing, wedding costume and armors for the most part. In 1900s, museum in several countries began to collected Korean cultural properties through foreign missionaries or diplomats as well as merchants or travellers in who bought Korean objects. Recently, scholars, traditional Korean costume designerss and diplomatic and consular offices in overseas have donated our Korean costume to many foreign museums. Korean costume properties were largely on display in the dependent display of folklore museums or in a part of exhibition gallery for Asian culture and there were the separate exhibition rooms in museums in the United Kingdom, Germany, Denmark, Austria, Japan and the United States America. But the size and level of display room for Korean cultural properties is one third as large as that for chinese or Japanese cultual properties. It was found in this study that the traditional Korean costume in the collection of overseas museums was largely recorded only as general items rather than given their proper names. The typical example of misnaming included bridal's Kimono for Wonsam(원삼) in the Metropolitan Museum of Art, Yeonroksaek-bumunsajeokori for Dangeui(당의) and Jissan-gryongwonmunsadurumagi for Kongdali(동달이) in the Okura collection of the Tokyo National Museum, and so on. And the Victoria Albert Museum modified the way of wearing Daenim(대님) and the National Museum of Ethnology in Osaka seemed to misplace the ornament of Keanggi(댕기) on Mubok(무복) and Josunjuk(조선족: Chinese-Korean) Museum also misplace hansam(한삼). On the one hand, the Newark museum of New Jersey mixed Chinese armor with the Korean one and the Photohraph of King Kojong(고종) with Chinese one. It is corrected to publish and disseminate the book concering Korean costume in order to inform foreign museums of thed proper names and wearing method of our traditional costumed. The repair of costume before cleaning in the process of conservation treatment can prevent damage likely to occur as the properties of fiber itself are weakened in liquid. It is recommended that western 8-figure stitch and tacking stitch is added to Korean traditional stitching method. Museums in the U.S.A and the U.K are concerned about the aftermath of cleaning it-self, specially conservation treatment may exert on remains and predominantly use the vacuuming method to remove dust or bits of straw before the exhibition beings. But in case of Korea, the dry cleaning and wet cleaning method are used according to the nature and state of a sample costume. This comprehensive cleaning method is gradually developing scientifically but it is expected that those concerned will make a chemical analysis of the solvent to be used and also the more precise test of costume properties will be conducted before cleaning them. A partial study was made here because the scope of study was too broad and vast. It is expected that more studies will be conducted concerning our costume culture under the long-term plan and active support at the government level.

• 지역과문화
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• v.8 no.1
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• pp.77-93
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• 2021

The importance of cultural goods marketing in the management of museums is increasing as the museum's cultural goods are taking an important part in the profit.This study analyzes the differences in cultural goods between the National Palace Museum and the National Palace Museum through the 4P strategy of marketing products, prices, channels and promotion. While the National Palace Museum emphasizes cooperation with other companies in terms of products, the National Museum of Korea focuses on developing its own products.In terms of price, the two museums have different strategies because of their different market share.In terms of space, the National Palace Museum sells cultural goods through a variety of electronic merchants, while the National Museum of Korea is distributed through a special website.In terms of promotion, the Palace Museum uses online social media marketing strategies, while the National Museum of Korea collects ideas and develops cultural products through open recruitment activities every year. This research is of new significance to the development of cultural products in China and Korea through comparison between the National Palace Museum and the National Museum of Korea.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.583-590
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• 2023

In today's rapidly developing technology, the traditional exhibition format of museums can no longer meet social needs. By analyzing the advantages and key technologies of extended reality technologies such as virtual reality, augmented reality, and hybrid reality, the museum XR exhibition interaction scheme is analyzed. Come to Discovery Museum. In this regard, this study first delves into the concept of XR technology, the concept and influencing factors of tourist experience, and the relationship between the application of XR technology and tourist experience through theoretical investigation. On this basis, representative paleontological museums in China and South Korea were selected, and the actual experience of visitors at the exhibition site and the application of XR technology were investigated through examples. Research has shown that the use of augmented reality technology can achieve seamless integration of virtual and real worlds in paleontological museums, extend viewing space, expand cultural heritage connotations, and revitalize cultural heritage. It provides visitors with a deeper interactive experience, enhances immersion and enriches display methods, making this type of museum more attractive. On this basis, XR technology helps museums achieve Digital transformation, and makes them have the advantages of sustainable development.

• Korean Association of Arts Management
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• no.50
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• pp.177-212
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• 2019

In an effort to understand the global standing of artists from Japan, China, and Korea, this article presents an analytic study of data from auctions, notable international contemporary art galleries, notable international art museums, contemporary art biennials, and the Venice Biennales' award. We also look at select art exhibitions as they have been covered by international art magazines to analyze the geography of international contemporary art. Our analysis of international art magazines shows that the global position of the three Asian countries we consider is low in comparison with select Western countries. Auction data, on the other hand, reveals that Chinese and Japanese artists are highly regarded in economic terms, while the visibility of Japanese artists is emphasized in the data we consider from art biennials. In the permanent exhibitions and contemporary art biennales we look at, we note that the visibility of Chinese artists is much higher than that of Japanese and Korean artists, who also demonstrate remarkable visibility. We find that Korean artists represent an important presence in our analysis of the Venice Biennale awards, with Japanese and Chinese artists holding noteworthy positions. Through these myriad criteria, we develop a clear idea of the nature of the global position of artists from Japan, China, and Korea. The Asian art world can profit from these findings by considering them when developing strategies for managing the growth of its artists on the international contemporary art scene.