• Journal of Conservation Science
• /
• v.23
• /
• pp.103-118
• /
• 2008

Hobun(Oyster shell W.) is a traditional material used as extender and white pigment from ancient times. The production method of it, however, has been discontinued. We have studied the traditional production method of Hobun through calcination of oyster shell, which is one of the traditional ways for preparing Hobun. Our work has the important meaning in that we can reproduce the manufacturing method of the discontinued traditional material and also it provides a solid background knowledge to stabilize the production and supply of Hobun for the cultural asset repairing materials. The result can be summarized as followings: The production processes of Hobun by calcination method are divided into 4 steps - calcination ${\rightarrow}$ slaking(pulverization) ${\rightarrow}$ separating fine powder by submergence in water ${\rightarrow}$ drying. In calcination step, the temperature is required to exceed $700^{\circ}$ to get pure white color of Hobun, since organic materials in the shell cause the final powder to be less white below $600^{\circ}$. And the calcination methods produce significant amount of calcium hydroxide, which is incongruent for pigment materials without additional treatments. The experimental study also demonstrated that the additional treatment process introduced in traditional paintings can be a probable process since the calcium of potassium hydroxide is observed to be promoted by this treatment. It is also concluded that, the calcination method of Hobun is appropriate for a small amount and high quality production.

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.255-287
• /
• 2018

This article deals with one of the pansori master's life and activities. Bak Songhui(1927~2017), who was the holder of National Intangible Cultural Asset No. 5 for pansori Heungboga. She had played a significant role through the modern history of pansori genre including Yeoseong Gukkeuk(Korean classical opera by women) and Changgeuk(Korean traditional opera in pansori style) as well as original pansori itself. In the article, the early stage of her learnings and the way she got involved to pansori from Gwonbeon period are offered, and the activities by group, solo recitals, and educational activity lists are also provided. Bak Songhui began to learn pansori, Geommu(dance), Seungmu(dance), Gayageum, Yanggeum, and Gagok genres at her age of 13 in Gwangju. She fulfilled 5 years of study in Gwangju Gwonbeon, and entered to a Hyeomnyulsa-travelling theater company, led by Gim Yeonsu at her age around 19. Later, Bak used to be an actress in Yeoseong Gugak Donghohoe(Female Korean music fans' club) led by Gim sohui as well as in Haennim Gukkeukdan, and Saehan Gukkeukdan at around her age of 30. She took the main actress' role in several performances. And thanks to her effort, the Yeoseong Gukkeuk can be one of the representative genre in history. As she entered to the National Changgeuk company, her brilliant talents worked well by leading the company's big hit with her talents of taking many different characters, devotions, and know-hows from her experience. After her 70s, she kept the pansori go on its right way to pass down. She unfolded pansori performances as well as her own students' public presentations, recordings, TV and radio broadcasting activities as the holder of National Intangible Cultural Asset. The activities that Bak Songhui showed us can become another chance to make her a great master of pansori, especially in Dongpyeonje style.

• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.257-284
• /
• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.2
• /
• pp.106-115
• /
• 2014

Traditional village forests called Dangsan forests represent unique cultural landscape as a national cultural asset in Korea with a history of more than several hundred years. Cultural heritage can retain their value when they are fully sustained their authenticity and management scheme. The Dangsan forests established in a large area have been designated as a natural monument by Cultural Heritage Administration. Small scale Dangsan forests, however, are not introduced to the public and on the verge of disappearance. Dangsan forests have a value as a core landscape element in rural landscapes of Korea. The two villages at Ijeon-ri, Cheongsong-gun have small Dangsan forests where Dangsan ritual is performed. At one of the villages, there is Jusanji Reservoir designated for Scenic Site # 105, from which the water is used for growing crops. In this study, the landscape characteristics of the Dangsan forests were investigated including rice paddy field, stream, and the Jusanji Reservoir. A conservation measure of rural landscape for sustainable management scheme was suggested by designating 'Conservation area of agricultural landscape ecology'. Dangsan forests, especially where they are in small scale like those of Ijeon-ri, tend to be neglected. The Dangsan forests ought to be recognized for their value and by providing a management scheme including neighborhood elements such as farm fields and streams they can be revitalized to be core areas for conservation of rural landscape.

• Journal of the Korean Home Economics Association
• /
• v.31 no.1
• /
• pp.225-239
• /
• 1993

The purpose of this study is to look for the basic formative elements of housekeeping space of our cultural life which are worthy to succeed and develop by revaluating in modern view and to reveal what we should maintain form the women's view of the housework in those days. In this study, out look on Chosun Dynasty housekeeping is based on the norm of the women in those days. The research on the housekeeping space for norm of the women in those days. the research on the housekeeping space for Chosun Dynasty upperclass is focused on the house built from early till late Chosun Dynasty, which is now a cultural asset. As a result, norm of Chosun Dynasty have created a social wide atmosphere for women to devote herselves to the housekeeping. Moreover the constructions of Chosun Dynasty's upperclass are affected by Korea's natural environment and socio-cultural environment. Primary factors for natural environment are building materials and the change of seasons. Because of changeable seasons, there were places for storing massive commodities. The other primary factors for socio-cultural environment affecting housekeeping space were social positions, and extended family system, worshipping the ancestors standard of living, the theory of“Poong Soo”(風水, a kind of geomancy) and thought of“Yin and Yang, Five Elements”(陰陽五行) and popular belief of that time. Affected by these two environments, the characteristics of housekeeping space for Chosun Dynasty are ; the main building of the house was used as a diverted area for women to work, and was reconstructed for household affairs. There were inefficient points in the housekeeping space of that time and the space remained stagnant because of the restricted sex and the social position of housekeeping doer. But you could find some points that are efficient and functional to adjust in those living conditions. The storehouse, storage barn, shed and soyjar terrace are the specialized storing place, according to the kinds and characteristics of the commodities. the kitchen, for example, is the combinations of many abilities. It is not only for cooking or heating the room, but also for storing drinking water. The hall which was the storing place, housekeeping place and also the place for family events are used as a diverted place. The linked arrangement of kitchen, store house, boudoir and the other rooms. In addition, we can see that the construction of the kitchen for more than tow people could work in.

• Korean Association of Arts Management
• /
• no.51
• /
• pp.191-219
• /
• 2019

Adoption of applicable law for the international trade of artworks is closely related to the results of lawsuits. Recently, starting with New York, the hub of the international artworks market, a modern, mixed-law is gradually being adopted more. It is difficult to designate an applicable law of an international trade of artworks through private laws regulations of relevant countries, and the public laws regulations must also be considered in relation to individual benefits and the public benefits to the relevant countries. With regards to the foreign relations issues, Korea's private international law embraces a so-called public order theory, and according to the Section 7 of the Act on the Private International Law and its enactment history, the compulsory provision, which seems appropriate for application to the corresponding matter, applies without regards to the selection of the applicable law. The Civil Act of Korea acknowledges bona fide acquisition of a cultural asset, in principle, if the Cultural Heritage Protection Act is not applicable. Moreover, a lost artwork is also a subject of bona fide acquisition; however, if the relevant artwork is either stolen or lost, the original owner has the right to demand the return of that artwork within 2 years of being stolen or lost according to the Section 250 of the Civil Act. Also, if the buyer purchased from a distributor specializing in the artworks, such as auction, open market or gallery, the buyer could request a compensation of the purchase price from the original owner, and if the buyer purchased through a private transaction, the buyer cannot demand a compensation of the purchase price and must return the artwork.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.46 no.6
• /
• pp.97-110
• /
• 2018

This study examined the value of the old roads and roadscapes as modern assets. Topographic maps of the two years (1916 and 1919, which were produced by the Japanese Government-General of Korea) and the digital topographic map produced in 2017, were analyzed. The total amount of roads that have survived for the past 100 years are located in 108 places and total 26.32km. After examining the remnants of the roads in YeongDo, the type of scenery experienced along the roads were classified into nine kinds. The place where a sequential scenery experience takes place due to the survival of the past, the experience is based on the transition of historical scenery, not the scenery of the present time. A new model that can preserve, manage and plan this scenery is required. Therefore, we propose a new landscape model that elevates the concept of gaze from a spatial concept to a spatiotemporal concept. Based on this model, we propose a conservation criterion of the landscape viewed on the road as a viewpoint. As a modern asset for the next 100 years of YeongDo, it is necessary to understand and preserve the meaning of the landscape and roadside scenery as a transit landscape network. The remnant of roads from 100 years ago suggests that the scenery on the road was has been maintained, and it is the historical landscape of the YeongDo area. Through the landscape conservation plan proposed in this study, it is expected that the historical roads and their landscape will be positioned as a modern asset and an aspect of local heritage, and the future conservation and management of the roads and roadscapes will continue.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.49 no.1
• /
• pp.31-41
• /
• 2021

This study targets the city of Paju, Gyeonggi-do, where many challenges are facing ecological assets management due to the increase in recent development. Using the survey data provided by the National Institute of Ecology in Korea, the study analysed the differences in the local residents' perception of local ecological assets. The Q methodology, which is useful for revealing differences in opinions, was applied to classify the narrative groups, which had different points of view in evaluating each asset. Next, the study compared the differences in perceptions of the vulnerability of ecological assets. As a result of the analysis, the city of Paju was divided into two main narrative groups: a 'Nature Conservation Group' and a 'Heritage Conservation Group'. The Nature Conservation Group wanted to prioritize ecologically valuable assets, such as wetlands, brackish zones, and forests. The Heritage Conservation Group preferred preserving ecological assets having a cultural contexts, such as royal tombs, graves, and the surrounding landscape. Evaluating the ecological assets, the two groups identified 23 ecological sites under threat from development among the 25 ecological sites considered. The Nature Conservation Group noted the importance of sites such as the Sannam Wetlands, Gongneungcheon, Gongneungcheon Brackish Zone, and Simhak Mountain. These were considered to be the most vulnerable ecological assets in the city. The study found differences in the perceived values for each ecological asset by residents. The results can serve as useful data for decision-making on ecological asset management in the city of Paju.

• Korean Journal of Heritage: History & Science
• /
• v.44 no.1
• /
• pp.30-51
• /
• 2011

During the process of modernization, many rural villages in Korea have experienced degeneration and breakdown, losing sustainability. However, Oeam village in Asan City, South Chungcheong Province (State-designated cultural heritage, Important Folk Material No. 236) has established itself as a unique folk village, which evolves with sustainability, pursuing the revival of Neo-traditionalism. Oeam village is a tribal village of the Yis from the Yean region and has maintained environmental, economic, and social sustainability and soundness for over five centuries. Thus, the village has sustained itself well enough to be a cultural asset with 'Outstanding Universal Value', in terms of its value as world cultural heritage. The village maintains its own identity, filled with a variety of traditional and scenic cultural assets that symbolize a gentry village. Those assets include Confucian sceneries (head family houses, ancestral shrines, tombs, gravestones, commemorative monuments, and pavilions), various assets of folk religion (totem poles, protective trees at the entrance of a village, shrines for mountain spirits, village forests), tangible and intangible cultural assets related to daily lives (vigorous family activities, rigorous ancestral rituals, family rituals, collective agriculture and protection of ecosystem), which have all been well preserved and inherited. In particular, this village is an example of a well-being community with a well-preserved folksy atmosphere, which is based on environmentally sound settlements (nature + economy + environment + community) in a village established according to geomancy, East Asia's unique principle of environmental design. In addition, the village has kept the sustainability and authenticity for more than 500 years, combining restraint towards the environment and the view of the environment which respects the natural order and cultural values (capacity + healthy + sustainability). Therefore, the Oeam folk village can be a representative example of a folksy and scenic Korean community which falls into the category of IV (to exemplify an outstanding type of building, architectural or technological ensemble, or landscape which illustrates significant stages in human history) and V (to exemplify an outstanding traditional human settlement, land-use, or sea-use which is representative of cultures, or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change) of Unesco's World Cultural Heritage.

• Journal of Environmental Impact Assessment
• /
• v.6 no.2
• /
• pp.61-80
• /
• 1997

This study tried to propose the guidelines for the ecological preservation zoning in Korea. So some related laws and regulations were inspected, which were Natural Environment Preservation Act, Nature Park Act, Cultural Asset Conservation Act, Forest Act and Urban Planning Act. In these acts, I could find several concepts related to the ecosystem that are described as the protection area. But there aren't detailed and practical characteristics in those concepts. So for making the practical concept of ecosystem preservation, I considered Multiple Use Module, Wildlife habitat model, and Environmental evaluation model. Thorough this step, the process and methodology was established for evaluating and analysing. The potentiality of the GIS system was inspected. So the TM5 scene of the site was acquired and processed by ER-Mapper, Idrisi, Arc/Info and Arcview. And several digitized data were input by scanning and vecterizing. The Erdas format was mostly exchangeable to any program. The site is the Byonsan Peninsula National Park. The forest stand information and topographic data were digitized, types of which are forest year, DBH, density, slope, aspect etc. And also the watershed boundary, roads and paths, natural and cultural resources were mapped and analysed. Modelling of preservation suitability found the dispersed patterns for the best suitable zone through all the site. And the development potential areas were checked on downwatershed. This patterns are thought to result from the forest location for the wildlife habitat and the low altitude and no-steep slopes for developing. And Early warning system concept was introduced by overlapping these two patterns on the both potential area. As the conclusions, I proposed that the preservation zone be assigned according to the watershed unit as the main ecosystem zone. This main area should be linked by the eco-corridor through the point type eco-system. Finally, I thought the comprehensive information system should be established for making the rational and efficient decision making in natural area.