• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.36-45
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• 2022

This study examines the historical transition process of Hwanseonjeong Pavilion in Suncheon, identifies the landscape of the original Hwanseonjeong Pavilion in the past and its constituent elements, and compares it with the landscape of the present Hwanseonjeong Pavilion at Jukdobong area. It was intended to identify the problems and draw implications for future restoration of Hwanseonjeong Pavilion. Hwanseonjeong pavilion, the subject of this study, was built in 1543 by Tong-won Shim, the governor of Seungpyeong, as a garden architecture for government. Since then, it has been renovated several times, and as a pavilion representing "Seonhyang(immotal world)" Suncheon in the past, it was located along with an artificially created lake and other elements of the garden at a location where can be seen Dongcheon stream and Jukdobong Peak on the opposite side at a glance. Hwanseonjeong pavilion, which had been safely maintained during the Japanese colonial period, was lost on August 28, 1968 due to a major flood in Suncheon. The difference between Hwanseonjeong Pavilion and other lost is that another Hwanseonjeong Pavilion for the role of archery was built on Jukdobong Peak in 1935, before it was destroyed. The restoration case of Hwanseonjeong pavilion provides the following important implications for the restoration of pavilions as a garden architecture: First, the value of a pavilion is not formed from the building itself, but from the relationship with the surrounding landscape. Therefore, restoration of a pavilion should not be approached in the same way as restoration of buildings. Restoration of a pavilion requires efforts to understand the existing landscape value and to restore landscape elements together with buildings. Second, an artificially created long north-south lake along with Hwanseonjeong pavilion was a very important landscape component and a means of providing a way to enjoy the landscape. For restoration in the cultural context of Hwanseonjeong pavilion, efforts are also required to restore not only the architecture, but also the experience of cultural activities through an integrated examination and restoration based on an understanding of the cultural activities performed in Hwanseonjeong Pavilion. Third, compared to the past original Hwanseonjeong Pavilion, the existing Hwanseonjeong Pavilion shows a different shape, composition, scale, color, etc. In terms of the restoration of buildings, it is thought that restoration will be possible only when restoration is done through more accurate historical evidence, research, and investigation.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.54-70
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• 2023

Surveys and studies on cultural assets using LiDAR measurement are already active overseas. Recently, awareness of the advantages and availability of LiDAR measurement has increased in Korea, and cases of using it for surveys of cultural assets are gradually increasing. However, it is usually restricted to surveys of mountain fortresses and is not actively used for surveys of ancient tombs yet. Therefore, this study intends to emphasize the need to secure fundamental data from LiDAR measurement for the era from the Three Kingdoms to Unified Silla in which recovery, maintenance, etc., in addition to the actual surveys, are unfulfilled due to the sites being mainly distributed in mountainous areas. For this, LiDAR measurement was executed for the area of Jangsan Ancient Tombs and Chunghyo-dong Ancient Tombs in Seoak-dong, Gyeongju, to review the distribution and geographical conditions of ancient tombs. As a result, in the Jangsan Ancient Tombs, in which a precision archaeological (measurement) survey was already executed, detailed geographic information and distribution conditions could be additionally identified, which could not be known only with the layout indicated by the topographic map of the existing report. Also, in the Chunghyo-dong Ancient Tombs, in which an additional survey was not conducted after 10 tombs were found during the Japanese colonial period, the location of the ancient tombs initially excavated was accurately identified, and the status and additional information was acquired, such as on the conditions of ancient tombs not surveyed. Such information may also be used as fundamental data for the preservation and maintenance of future ancient tombs in addition to the survey and study of the ancient tombs themselves. LiDAR measurement is most effective for identifying the condition of ancient tombs in mountainous areas where observation is difficult or access is limited due to the forest zone. It may be executed before on-site surveys, such as archaeological surveys, to secure data with high availability as prior surveys or pre-surveys. Therefore, it is necessary to secure fundamental data from LiDAR measurement in future surveys of ancient tombs and to establish a survey and maintenance/utilization plan based on this. To establish survey/study and preservation/maintenance measures for ancient tombs located in mountainous areas, a precision archaeological survey is currently executed to draw up a distribution chart of ancient tombs. If LiDAR measurement data is secured before this and used, a more effective and accurate distribution chart can be drawn up, and the actual conditions can be identified. Also, most omissions or errors in information can be prevented in on-site surveys of large regions. Therefore, it is necessary to accumulate fundamental data by actively using LiDAR measurement in future surveys of ancient tombs.

• The Korean Journal of Archival Studies
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• no.80
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• pp.43-88
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• 2024

The National Archives and Records Administration (NARA) is a relatively quiet latecomer to the traditional archives of the Western world. Although the United States lacks a long history of organized public records·archives management, it has developed a modern system optimized for the American historical context. This system focuses on the systematic management and preservation of the vast amount of modern records produced and collected during the tumultuous 20th century. As a result, NARA has established a modern archival system that is optimized for the American historical context. The U.S. public records·archives management system is based on the principle that records·archives are the property of the American people and belong to the public. This concept originated during the British colonial era when records were used to safeguard the rights of the colonies as self-governing citizens. For Americans, records and archives have long been a symbol of the nation's identity, serving as a means of protecting individual freedoms, rights, and democracy throughout the country's history. It is natural, therefore, that American life and history should be documented, and that the recorded past should be managed and preserved for the nation's present and future. The public records·archives management system in the United States is the result of a convergence of theories, practices, lessons learned, and ideas that have been shaped by the country's history, philosophies, and values about records, and its unique experience with records management. This paper traces the origins of records and archives in the United States in a historical context to understand the organic relationship between American life and records. It examines the process of forming a modern public records management system that is both uniquely American and universal to the American context without falling into the two forms of traditions that reflect the uniqueness of American history.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.68-81
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• 2014

This study was conducted to identify the spacialty, to illuminate the existence and values of Myeongwoldae(明月臺) and Forest Myeongwol, and to suggest the sustainable usage, preservation and management plans with the purpose of ecological and cultural landscaping characteristic and value identification. The result of the study is as follows. Castle Myeongwol and Port Myeongwol shows the status of Hallim-eup Myeongwol District which is the administrative center of western Jeju as well as is the fortress. Building Wolgyejeongsa and School Woohakdang, the head temple of education and culture, located in Myeongwol District represents the spaciality of Myeonwol-ri which was the center of education. Stand Myeongwol is one of the most representative Confucian cultural landscapes in Jeju Island and the field of communion with nature where scholars enjoy poetries, nature, changgi(Korean chess), and go in the Joseon Dynasty period. It was found that the current relics of Myeongwoldae was recovered through the maintenance project conducted by Youth Group Myeongwol composed with Hongjong-si(洪鍾時) as the center during the Japanese colonial era in 1931. It seems that the stonework of Myeongwoldae composed of three levels in the order of square, octagon, and circle based on the heaven-man unity theory of Confucianism and the octagon in the middle is the messenger of Cheonwonjibang(天圓地方), in other words, between the square-shaped earth and the circle-shaped sky. It is assumed that both Grand Bridge Myeongwol and Bridge Myeongwol were constructed as arched bridges in early days. Bridge Myeongwol is the only arched bridge remaining in Jeju Island now, which has the modern cultural heritage value. In Forest Myeongwol, 97 taxa of plants were confirmed and in accordance with 'Taxonomic Group and Class Criteria of Floristic Specific Plants', eight taxa were found; Arachniodes aristata of FD IV and Ilex cornuta, Piper kadsura, Litsea japonica, Melia azedarach, Xylosma congestum, Richosanthes kirilowii var. japonica, Dichondra repens, Viburnum odoratissimum var. awabuki of FD III. Otherwise, 14 taxa of naturalized plants including Apium leptophylihum which is imported to Jeju Island only were confirmed. In Forest Myeongwol, 77 trees including 41 Celtis sinensis, 30 Aphananthe aspera, two Wylosma congestum, a Pinus densiflora, a Camellia japonica, a Melia azedarach, and an Ilex cornuta form a colony. Based on the researched data, the preservation and plans of Myeongwoldae and Forest Myeongwol is suggested as follows. Myeongwoldae, Bridge Myeongwol, and Forest Myeongwol should be managed as one integrated division. Bridge Myeongwol, an arched bridge which is hard to be found in Jeju Island is a high-standard stonework requiring long-term preservation plans. Otherwise, Grand Bridge Myeongwol that is exposed to accident risks because of deterioration and needs safety diagnosis requires measures according to the result of precise safety diagnosis. It is desirable to restore it to a two-sluice arched bridge as its initial shape and to preserve and use it as a representative local landmark with Stand Myeongwol. In addition, considering the topophsis based on the analysis result, the current name of Jeju Special Self-Governing Province Monument No. 19 'Myoengwol Hackberry Colony' should change to 'Myeongwol Hackberry-Muku Tree Colony'. In addition, the serial number system which is composed without distinction of hackberry and muku tree should be improved and the regular monitoring of big and old trees, specific plants, and naturalized species is required.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.