• Journal of the Korean Society for Library and Information Science
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• v.56 no.3
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• pp.213-239
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• 2022

This study attempted to organize the transition process of Royal Library (Gyujanggak) in chronological order, analyze the flow and find diachronic meaning during Gojong period, the most confused time at home and abroad prior to modernization. For this, first, the total status quo of King Gojong's library and book storage which played role of Royal Library and a personal library in Gojong period was investigated. Second, based on the current status of the investigation, the transition process from the Royal library in the early days of King Gojong to the Imperial library during the Korean Empire and its meaning were considered with the Annals of the Joseon Dynasty, Seungjeongwon diary, various catalogs and historical records. Third, the changes of space-time and aspect of Royal library through the palace of Gyeongbokgung, Changdeokgung, and Gyeongungung were examined to draw a sociopolitical meaning by schematizing each palace. As a result, first, King Gojong conjugated Kyujanggak as a device to strengthen the royal authority and accommodate Western culture in the process of modernization. Second, the crucial spaces containing the political orientation of King Gojong, such as the present king's portrait storage place, library(book storage), and office, formed a separate hall across Gyeongbokgung, Changdeokgung, Gyeongungung, and gradually changed into a Western architectural style.

• Journal of Ginseng Culture
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• v.5
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• pp.77-96
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• 2023

This study looks at the origin of a wild-ginseng, Korean ginseng, and traces the origin of associated wild-ginseng digging customs back to the Annals of the Joseon Dynasty. These historical customs helped Korea gain control over its wild ginseng resources following Japanese colonization acts, Korea's present-day forest laws, and Korean Civil Law. Prior to Japanese colonial rule in Korea (1910-1945), ginseng digging was a common custom, but Imperial Japan distorted Korea's own legal principles of the public rights of wild-ginseng digging during this colonial period. Distorted legal principles concerning digging customs continued after Korea's liberation from Japanese rule and were maintained until the enforcement of the Korean Civil Law in 1960, when legal principles of the right of common were changed to special servitude. The origin of the right of common can be found in the Sichojang of the Joseon Dynasty. The Sichojang, a place where local residents jointly collected firewood and fed livestock, was the minimum right to life and interest at the time. Since the right of common was the right to life, Imperial Japan attempted to abolish it, but it was never successful. In addition, distorted legal principles have been maintained in present-day forestry-related laws and regulations. Over 75 years since the liberation from Japanese rule in 1945, it is imperative to break away from the distorted legal principles and acknowledge that digging custom rights have changed from common customs to a special servitude under Korean Civil Law. Hence, an organization of wild-ginseng diggers is an unincorporated association, and their wild-ginseng digging customs can be constituted as a special servitude. Hence, their practices should be considered valid under customary law. Through this, it will be possible to clarify the legal nature and grounds for ginseng-related wild-ginseng digging activities, as well as the civil responsibility for the activities of wild-ginseng diggers.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• Journal of the Daesoon Academy of Sciences
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• v.25_1
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• pp.1-22
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• 2015

This paper took Jeonkyeong (典經) of Daesunjinrihoe(大巡眞理會) as the basic text and studied how Kangjeungsan(姜甑山), the Sangje (上帝), had embraced Chinese myth in process of formation of his religious thought focusing on Yan Emperor(炎帝) Shennong(神農) myth and Shanrangang(禪讓) myth (namely Danchu myth). First when we examine the myth surrounding Kangjeungsan's birth, it deeply emraced a feeling-birth myth(感生神話), we could realize that this is a universe motif through myth of hero birth in East Asia. Further judging from the analysis of geographic space of Kangjeungsan's activity, it included a variety of mythical and Daoist related place names. I think this is because of the fact that birth place of Kangjeungsan and the surrounding area is the locality of Xian(仙) tradition where major characters of Danhak sect(丹學派) have been turned out, and that Korean way of Xian suppressed by the regulatory system has been widely rooted in the public. Especially it's interesting that Jeungsan, the pen name of Kangjeungsan, ambiguously connotes Siru mountain(甑山), a place of his training, and the spiritual realm of the 『Zhouyicantongqi(周易參同契)』. Then I examined the God of fire Shennong myth which has been actively admitted and embraced by Kangjeungsan. Kangjeungsan put the root of his pedigree on Shennong and there is a close affinity between Shennong and Dongyi(東夷) such as Buyeo(夫餘), Goguryeo(高句麗), etc. These Dongyi spirits are losers against the Chinese major myth and beings of ressentiment. At the same time the predecessor of Jiutianyingyuanleishengpuhuatianzun(九天應元雷聲普化天尊) who shares mythical characteristics with the God of fire Shennong was a formerly Taishi(太師) Wenzhong(聞仲) of Yin(殷) dynasty. He was defeated and died by Zhou(周) dynasty, and was deified. The fact that Kangjeungsan regarded himself as a descendent of Shennong and possessed divinity of Jiutianyingyuanleishengpuhuatianzun connotes that he represents all beings of ressentiment such as family of Yin and Dongyi. However, Kangjeungsan set a religious milestone by turning revenge for such ressentiment at tribe level into religious sublimation. At the end Shanrang myth which has been critically embraced by Kangjeungsan was reviewed. According to the existing Shanrang myth, Danchu(丹朱) was unworthy and not succeeded in the succession to the throne. Then good natured Emperor Shun(舜) succeeded to the throne from Emperor Yao(堯). However, the reality of Shanrang myth was a violent change of sovereign power and Danchu was a victim in the process of such violent change. Kangjeungsan shrewdly grasped the reality of ancient China and cast light on presence of Danchu. And he emphasized the need of religious sublimation of revenge, Haewon(解冤). His such awareness of culture had a close relation with revisionist standpoint of independent Danhak sect expressing a skeptical glance at systematic, commensurate and authentic historical view of Chinese civilization. And further Kangjeungsan cosmologically and causationally reinterpreted revenge of Danchu. He established a universal salvation theology which has a corresponsive connotation in regard to embracement of Shennong myth. In conclusion, embracement of Chinese myth by Kangjeungsan was a creative work of reinterpretation resulting in an inherent religious connotation through a process of appropriation, that is independent and selective introjection.

• Conservation Science in Museum
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• v.29
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• pp.33-46
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• 2023

Modern and contemporary cultural assets are defined as a collective term for tangible historical and cultural assets produced in the modern and contemporary period (around the opening of Joseon to the present) in Korea. Among them, rickshaws have been used as a major means of transportation for about 40 years since the opening of the ports in Joseon. The repair process for rickshaws divides the rickshaw into three parts, namely the body, the cover, and the wheels, applying a plaster treatment process by referring to the outcomes of the condition assessment and material analysis for the metal, wood, fiber, and paint used. Overall, the repair process is carried out through dry/wet cleaning, joining, stabilization, reinforcement of damaged parts, and other restoration treatments, which reveal metal decorations and patterns on the scaffolding (flowers, arabesque patterns, etc.) that were previously not observable with the naked eye, while also adding to the stability of the artifact. In addition, props were produced to ensure the artifact's safe exhibition.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.282-294
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• 2023

Efforts are being made internationally to pay attention to the landscape value of modern and contemporary heritage and to pass it on. However, in Korea, the registration of modern and contemporary landscape heritage as registered cultural properties is insignificant. There has also been little discussion on ways to improve the system in this regard. This study sought ways to improve the registration criteria and classification system of the registered cultural property system so that modern and contemporary landscaping heritage could be protected. Currently, the registration criteria for registered cultural properties are not stipulated for each type of heritage, but are stipulated as a single comprehensive standard. Registration criteria should be separately prepared so that the landscape value of the heritage can be reviewed. First, the registration criteria have an important value in understanding the development of landscape culture. Second, well-preserved landscaping reflects or characterizes the times. Lastly, it should be defined as related to the works of major artists or important figures or historical events. The classification system must match the studied building cultural property classification system, and the detailed types of modern and contemporary landscape heritage should be specified. The major classification follows the building cultural property classification system, but parks and green spaces, squares, and gardens, which can be called a single landscape heritage, should be added to the middle classification. Landscaping heritage, such as gardens combined with building heritage, shall be specified in the subcategory based on building use.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.247-259
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• 2019

This study aims to develop Korean film music by using Korean traditional music with proper technique. As of 2019, current Korean film music is mostly modeled after Western music. The usage of traditional music instruments is significantly lower than the usage of western instruments and is merely used in Korean historical movies as embedded music. This supports the many views that Korean traditional music seems too difficult to appeal to the general audience in these modern times. Furthermore, there aren't any such cases to apply traditional music techniques to western instruments whereas there have been many occasions where traditional music instruments imitate western instruments with its tones. The suspected reason for this is due to the lack of proper understanding and techniques of traditional music that Korean film composers have utilized, and its limited exposure in popular music. However, traditions are special and unique way to represent the history, culture, lifestyle and characteristic of countries. Therefore, it is our duty to protect our own traditions. As both a Korean, and as a musician, new film music is needed which uses traditional music instruments and its techniques. When film composers create music with better understanding of Korean traditional music, this unique music will be able to transcend borders and spread throughout the world.

• Journal of the Daesoon Academy of Sciences
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• v.24_1
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• pp.315-349
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• 2014

This paper was carried out to bring the researches on Cultivation Practice of Daesoonjinrihoe which have been at a standstill after analyzing the directions of studies on Cultivation Practice and diagnosing its problems, in addition to that, the paper was also conducted in a way of discussing the research directions in the future. This work enables scholars who have interests in Daesoon Thoughts to easily comprehend over the length and breadth of Cultivation Practice of Daesoonjinrihoe as well as help them understand what level of researches regarding Cultivation Practice has been demanded. Furthermore, this paper will be a step-stone for scholars to ponder how and on what perspective they approach a wide variety of studies on Daesoon Thoughts. The problems reflected on the previous researches on Cultivation Practice are summarized as follows: first, except a few researches in general, problem recognition, research target, style, method, and content are not diverged from the frame defined by Jang Byeong-Gil, who set it up in Daesoon Religion and Thought (Daesoon Jonggyo Sasang) in 1989. Proliferating overlapped researches without developing problem awareness is of great concern. And such researching climate has gradually set in. Secondly, there are numerous researches intending to reveal the researcher's forceful attitude implying faith. Thirdly, most of the previous researches neglect to focus on defining the range of researches. Fourthly, when defining concepts, more thorough insight is needed. Lastly, the researches on analysing symbols and attempting signification analysis are relatively few, only to find many errors. To solve these problems, this paper suggests to develop theories which back up Cultivation Practice by researching on the fields of theory of mind-nature(心性), theory of mind-qi(心氣), theory of pain, Religious Ethics, viewpoint of God/gods, and psychology. Secondly, all the symbols and meanings of elements shown in Cultivation Practice need analyzing more elaborately sophisticatedly and more in-depth. In order to fulfil this goal, by adapting the recent trends of historical studies, it is essential to attempt to engraft Cultivation Practice of Daesoonjinrihoe on cultural phenomena, to analyze thick layers of meanings beneath its surface, to interpret differently, utilizing various perspectives such as focusing on the gender problems, and to extract true meanings out of Cultivation Practice by analyzing everyday events which can occur in real cultivation practices. Thirdly, the terms and concepts regarding Cultivation Practice base the principle themselves. Fourthly, by utilizing methodology of comparative studies on religions, the comparative researches on cultivation practice of different religious traditions are also needed. Lastly, the history of aspects on Cultivation Practice such as transition of mantras, processes which have been conducted through proprieties of prayer and training should be collected and classified. In this context, this work is very important since it helps understand the aspects of transition of originality and characteristics in Cultivation Practice of Daesoonjinrihoe according to passage of time.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.100-115
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• 2023

The modernization of najeonchil, or mother-of-pearl lacquerware, began in the latter era of the Joseon period and started to set in during the phase of industrial development after the Korean War. Especially, the rise and fall of najeonchil during the first half of the 1900s fluctuated more compared to other types of craft. This paper focuses on the production, supply and demand activities of the works by Min Jong-tae, who was born in 1915, began his career in 1929 and devoted 70 years of his life creating najeonchil craft and furniture. As an apprentice under Jeon Sung-gyu, who revived the craft of najeonchil, Min Jong-tae was not only an artisan who ranked alongside Kim Bongryong, Song Juan, Shim Bugil, Kim Taehee, but also a businessman. In particular, Min led the boom of modern najeonchilgi during the 1970s-80s in Seoul, which was the most important market at that time. However, studies about Min Jong-tae are almost non-existence, despite his accomplishments. This study first describes how Min Jong-tae began the craft of najeonchil and early days of his career around the liberation period, then retraced his efforts in building a supply and demand system in the 1950s-60s. Moreover, this paper covers not only his creations of large-scale najeonchil furniture in the advent of an era of 'wardrobe culture' in the 1970s-80s, but also his exported pieces to Japan, including incense boxes and tea containers. In conclusion, this research derives the historical significance of Min Jong-tae's role as an artisan of najeonchil- designated as Seoul Intangible Cultural Heritage No. 14 in the field of craft.

• The Korean Journal of Archival Studies
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• no.80
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• pp.89-128
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• 2024

This study believed that records could help 'strengthen identity' and that job archives could help provide pride and identity in one's job by preserving the history and culture of it. This study investigated whether building a librarian archive could help preserve records related to librarians, share experiences and knowledge among librarians, and confirm the history and identity of oneself and the group. In-depth interviews were conducted with librarians to examine what records should be included and what records could help strengthen the librarian's identity. As a result of the interview, various records related to the work of librarians were identified, and records related to the history of librarians were also confirmed. It was found that historical events related to librarians and library services provided by previous generations of librarians will help strengthen the identity of librarians. Thus, the Librarian Archive can help librarians reflect on themselves as librarians and decide on their own direction. This study presented a plan to build a librarian archive as a participatory archive through cooperation between institutions and communities. In this study, it was expected that through building a librarian archive, it would be possible to strengthen the professional identity of librarians, share the history of librarians, create a collective intelligence platform, efficiently process work, and improve the social status of libraries and librarians.