• Journal of North-East Asian Cultures
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• v.28
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• pp.339-363
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• 2011

This thesis examines analyzing how historic knowledge was shaped in museum. Examining by Tokyo Imperial Museum, Government General Museum of Taiwan, Yi Wang Ga Museum, Government General Museum of Chosun, and NanTong Museum of late 19th and early 20th century, tried to find out similarities and differences. These museums are similar in that they adopt museums as modern system considering models of other countries(Europe or Japan) and exhibitions played important roles in gathering relics. Experts who leaded adoption of western civilization played an important role. These experts were conservatives who valued tradition and relics while they aimed for western civilization. It originated in the character of museum system. Historical Knowledge by museums was constituted with five combinations of conceptions which are nationality, locality, coloniality, and artistry. Every museum cannot help having modernity for museum itself is modern system. Modernity was symbolized by museum building of western style in Yi Wang Ga Museum, Government General Museum of Chosun. Tokyo Imperial Museum revealed nationality in that it tried building of imperial history which includes colonies. In early time, Tokyo Imperial Museum pursued modernity and artistry, however it concentrated on artistry than modernity later. We can find locality in that Tokyo Imperial Museum tried to find meaning about Japanese art by relating with natural characteristics. It is Taiwan Governor Museum that extremely expressed coloniality and artistry was not considered. Government General Museum of Chosun could not be exceptions of features of coloniality, but it need to recognize that artistry was focused all over the exhibitions. It was NanTong Museum that most directly expressed locality. Like these, Museums of East Asia established in around 1900 made different historical knowledge by varying weigh of five factors, nationality, locality, modernity, coloniality and artistry.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.306-329
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• 2024

Established in 1909, the Imperial Museum was the forerunner of Korean museums, and its collection formed the foundation of today's National Museum of Korea. However, when the Imperial Museum was first established in Changgyeonggung Palace, a zoo and botanical garden were created in addition to the museum. From 1911 onward, these three facilities were collectively referred to as Changgyeongwon Park. The zoo and botanical garden remained at Changgyeongwon when the museum was relocated in 1938, as did some of the items from the collection of the Yi Royal Household Museum. Among them were palanquins used by the royal family and folk items such as armor, as well as taxidermized birds. These stuffed birds were displayed in the corridor of Myeongjeongjeon Hall in Changgyeongwon, and were also displayed in the specimen hall at the back of Myeongjeongjeon Hall. The stuffed birds in particular should prompt a reconsideration of the nature of the Imperial Museum (Yi Royal Household Museum). The museum had been known as a prominent art museum, mainly collecting masterpieces of ceramics (such as Goryeo celadon), Buddhist sculptures, and paintings. However, this character seems to have been just one aspect of the museum. Along with the zoo, which housed live animals, and the botanical garden, which included greenhouses for tropical plants, the museum also featured specimens like taxidermy, suggesting that its initial aim, from a museological perspective, was to be a more comprehensive museum. Notably, Shimogoriyama Seiichi, who managed the general affairs of the museum, collected and cataloged Korean avian specimens from 1908 to 1917. This suggests that the zoo and botanical garden were not merely for entertainment purposes, but also served a museological purpose. However, the Imperial Museum (Yi Royal Household Museum) lacked the essential research and educational functions necessary for a museum, beyond its collecting and exhibition roles. For instance, although specimens of stuffed Korean birds were collected, they were not thoroughly researched. This indicates that while the museum's collection was acquired from a museological perspective, it did not advance into more specialized research. This study aims to examine how the characteristics of the Yi Royal Household Museum have evolved by analyzing the inventory of the museum's collections and the list of Korean bird specimens it held.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.103-116
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• 2011

The purpose of this study is to investigate the revision of the western-styled court costume in the Daehan Empire. For this purpose, 1) historical documents were reviewed, 2) one set of the court costume of Chigimgwan and another set of the court costume of Juimgwan were probed, 3) the photos of people wearing court costume were analyzed. The results of this study are as follows. First, the $14^{th}$ Imperial order of "official costume statute" had been revised in 1904, 1905 and 1907 through official gazettes. The last version of official costume statute enacted the more detail than the first rule. Second, the $15^{th}$ Imperial order of "official costume rules" had been revised in 1904, 1905, and transformed into official costume rules reform on $12^{th}$ Dec., 1906. The revision in 1905 made gold embroidery of court costume more simple than the first rule. The form of court costume was totally revised by change of the shape of adjusting on the top in the revised rule of 1906. Third, the revision in 1905 was actually manufactured and worn by the people because it can be confirmed in the relics of the court costume of $2^{nd}$ Chigimgwan in Yonsei University Museum, and the court costume of juimgwan in Kwangju Municipal Folk Museum. The relics made by the revision in 1906 had not been reported until now, but they can be confirmed in the photos left. Fourth, the sovereignity of the Daehan Empire was actually lost by $22^{th}$ Imperial family order which urged the servant having the title of nobility of Japan to wear the court costume of Japan. Therefore, the endeavor of the Daehan Empire which wanted to establish and develop the costume system of modern independent nation was discontinued.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.233-252
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• 2021

The Gwan ceremony (冠禮) is a coming-of-age ceremony that takes place through traditional Gwan (冠: the hat) and clothes in the traditional era. The rite is performed by wearing hats and clothes three consecutive times (三加禮). It was an important rite which meant that underage children were formally recognized as members of society. This study examined costumes of people who participated in various coming-of-age ceremony rites in the Ming dynasty imperial court of China. For the research data, this study mainly used authentic chronicles (正史), codes of law and books on Ming dynasty rituals. This study examined the costumes used in the coming-of-age ceremony for the emperor, Prince Imperial, Emperor's eldest grandson, and emperor's sons. The results of this study were divided into an analysis of the document structure, institutional changes by time, characteristics of costumes, and characteristics of the rite. Of particular note in their ceremony, the emperor is presupposed to be a 'human already full-equipped with virtue', which means that the costume is worn only once. It is a case in which the emperor's absolute identity is revealed through the rite and costume.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.207-214
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• 2012

Today, museum exhibition can be divided into two sub-categories: a. informative exhibition with various useful auxiliary media to convey knowledge and b. appreciative exhibition considering aesthetic conveyance and visual/perceptual environment. In addition to this, the concept of memorial exhibition as a field that tangible and intangible memories are transmitted and reproduced is creating another genre of exhibition. As an example of such a memorial exhibition above, the work of de-constructive architect Daniel Libeskind was selected. Jewish Museum and Imperial War Museum North both of which maximized the exhibition space by grafting architectural language to exhibition narrative were analyzed and compared to see if the same architectural language can be displayed differently in another form of exhibition after being drawn into the exhibition space depending on the changes in time and perspective. Therefore, in the narrative display combining the selection of exhibition contents and storytelling, the formative language of space can confirm that exhibition narrative as an ending structure changed into a retelling story with more extended meanings through interactive factors. Eventually, in this formative narrative, when the display of historical facts and exhibition themes is combined with the architectural language in an exhibition hall according to the approach direction, the memorial exhibition can create a formative language stimulating sensibility in the memories of space and a differentiated formative exhibition space where one is truly moved by oneness of contents.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.204-221
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• 2021

The morning ritual was a rite whereby a morning audience with the emperor was held for feudal lords sovereigns and subjects living in the precincts, monarchs or foreign envoys of the outskirts of the capital, and other ethnic group. Distinction between the main and subordinate rituals, changes in the ceremony according to the times, and the position or rank of those participating in the rite, were factors that directly affected the costumes worn for ritual. Accordingly, in this paper, the costumes worn by members of the Ming dynasty (emperor, prince imperial, prince) were examined in terms of the period and detailed ceremonies with a focus on the morning ritual and costume systems presented in the official historical records. Through this study, only Mian-fu (冕服) and Pi-bian-fu (皮弁服) were defined by the costume system ase costumes worn in the morning ritual. However, through comparative analysis with the morning ritual system, it was confirmed that Tongtian-guan-fu (通天冠服), Yishan-guan-fu (翼善冠服), and Bianfu (便服: slightly casual wear) were also worn. It is worth noting that the color of Gunlong-pao (袞龍袍) was differentiated according to status; the Emperor wore yellow, the Prince Imperial and lower levels wore red, which was the traditional perception of academia. However, following confirmation of the custom costume for the morning ritual, it was confirmed that the color of this differentiation appeared during the 3rd year of Emperor Yongle of Ming (1305). Previously five traditional colors (blue, red, yellow, white, and black) were used for the season.

• The Korean Journal of Archival Studies
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• no.3
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• pp.115-137
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• 2001

The Museum of Chosen General Government(MCGG) was a supreme organ to take charge of business affairs of historical remains Japanese imperial rule. The MCGG was established in Kyongbok Palace in 1915. The MCGG was changed the reorganization of the Chosen General Government(CGG) setups, the MCGG was to maintain the cultural assets, to excavate the ruins and to put on display the remains. However, the Japanese colonist took advantage of the MCGG for political purposes. They didn't use the MCGG to promote the research of Korea culture. Therefore, the MCGG was an organization to belong to the Department of Education of the CGG. In this reason, the MCGG produced the amount of public document to business affairs. Now, This document left in the Museum of Korea. We have seen the document to study the cultural policies and the cultural assets of the CGG. This document includes the abundant information for the historical remains and ruins at that time. Accordingly, this document will help to survey the archaeological research and historical research. In addition, this document will help to manage the cultural assets. What then is the advantage of this document? The first is to see the cultural policies of the CGG through this document. The Japanese colonist took advantage of Korea history, which was low-grade culture, to justify rule of the colony. Therefore, they needed collect Korean assets to verity their theory. The second is to see the administration system of the MCGG. Indeed, this document includes information of organization of the MCGG, the policies and the process of the MCGG. In substance, we can see the systemic proceedings of the MCGG. The third is to provide historical materials to the historian. This document has the persons to plan the colonial culture policy of the MCGG, and events to rule the Korea culture. Moreover, the document of the MCGG would help to inquire into the truthfulness of history and to get the national identity.

• Journal of Ginseng Culture
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• v.3
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• pp.54-73
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• 2021

The Natural Products Research Institute (NPRI, 生藥硏究所), an institution affiliated with Keijo Imperial University (京城帝國大學), was the predecessor of the NPRI at Seoul National University and a comprehensive research institute that focused on ginseng research during the Japanese colonial era. It was established under the leadership of Noriyuki Sugihara (杉原德行), a professor of the second lecture in pharmacology at the College of Medicine in Keijo Imperial University. Prof. Sugihara concentrated on studying Korean ginseng and herbal medicine beginning in 1926 when the second lecture of pharmacology was established. In addition to Prof. Sugihara, who majored in medicine and pharmacology, Kaku Tenmin (加來天民), an assistant professor who majored in pharmacy; Tsutomu Ishidoya (石戶谷勉), a lecturer who majored in agriculture and forestry; and about 36 researchers actively worked in the laboratory before the establishment of the NPRI in 1939. Among these personnel, approximately 14 Korean researchers had basic medical knowledge, derived mostly from specialized schools, such as medical, dental, and pharmaceutical institutions. As part of the initiative to explore the medicinal herbs of Joseon, the number of Korean researchers increased beginning in 1930. This increase started with Min Byung-Ki (閔丙祺) and Kim Ha-sik (金夏植). The second lecture of pharmacology presented various research results in areas covering medicinal plants in Joseon as well as pharmacological actions and component analyses of herbal medicines. It also conducted joint research with variousinstitutions. Meanwhile, in Gaesong (開城), the largest ginseng-producing area in Korea, the plan for the Pharmaceutical Industry Complex was established in 1935. This was a large-scale project aimed at generating profits through research on and the mass production of drugs and the reformation of the ginseng industry under collaboration among the Gaesong Ministry, Kwandong (關東) military forces, Keijo Imperial University, and private organizations. In 1936 and 1938, the Gyeonggi Provincial Medicinal Plant Research Institute (京畿道立 藥用植物硏究所) and the Herb Garden of Keijo Imperial University (京城帝國大學 藥草園) and Pharmaceutical Factory were established, respectively. These institutions merged to become Keijo Imperial University's NPRI, which wasthen overseen by Prof. Sugihara as director. Aside from conducting pharmacological research on ginseng, the NPRI devoted efforts to the development and sale of ginseng-based drugs, such as Sunryosam (鮮麗蔘), and the cultivation of ginseng. In 1941, the Jeju Urban Test Center (濟州島試驗場) was established, and an insecticide called Pancy (パンシ) was produced using Jeju-do medicinal herbs. However, even before research results were published in earnest, Japanese researchers, including Prof. Sugihara, hurriedly returned to Japan in 1945 because of the surrender of Japanese forces and the liberation of Korea. The NPRI was handed over to Seoul National University and led by Prof. Oh Jin-Sup (吳鎭燮), a former medical student at Keijo Imperial University. Scholars such as Woo Lin-Keun (禹麟根) and Seok Joo-Myung (石宙明) worked diligently to deal with the Korean pharmaceutical industry.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.176-199
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• 2020

In 2018, the National Museum of Korea purchased a pair of Japanese folding screens, respectively entitled Gathering on the Year's First "Day of the Rat" and Boating on the Oi River. Both of these two screens (hereinafter collectively referred to as the "NMK edition") have a gold background that bears the seal and ink inscription of Tosa Mitsuyoshi (1700-1772), who served as edokoro azukari, a painter in the court of Kyoto. According to the seller in New York, the screens were brought from Japan to the United States in the early twentieth century, but no other details are known. Each folding screen has six panels. The screen on the right (i.e., Gathering…) depicts "nenohi no asobi," an annual event conducted on the first "day of the rat" (according to the Asian zodiacal calendar), wherein the Kyoto imperial court ventured to the woods to gather pine seedlings. The left screen (i.e., Boating…) shows three boats traveling down the Oi River in Kyoto, representing the ritual known as "mifune" (literally, "three boats"), which involves three boats representing Chinese classical poetry (kansi), Japanese classical poetry (waka), and Japanese imperial music and dance (gagaku). Notably, these two screens are identical in theme and iconography to two screens with the same respective titles that were commissioned by Emperor Komei (1831-1867) and painted by Ukita Ikkei (1795-1859), an artist of the Yamato-e Revivalist School (fukko yamato-e), now in the collection of Sennyu-ji Temple in Kyoto (hereinafter collectively referred to as the "Sennyu edition"). While both of these themes have been painted independently numerous times, the NMK edition and Sennyu edition are the only known cases of the themes being painted as a single set. According to Diary of Official Business Between the Court and Shogunate (the journal of a court official named Hirohashi Kanetane, 1715-1781), Tosa Mitsuyoshi was commissioned in 1760 to replace the fusuma (rectangular sliding panels) of Tsunegoten, one of the buildings of the Kyoto Imperial Palace, which had been built in 1709. Notably, records show that Tsunegoten once contained a series of fusuma painted by an artist of the Kano school on the themes "Outdoor Procession on a Spring Day" and "Three Boats Cruising on the Oi River." Hence, it seems probable that Tosa Mitsuyoshi was influenced by the theme and iconography of the existing fusuma in producing his own folding screens depicting the court's visit to the forest and a cruise on the Oi River. While the practice of collecting pine seedlings on the first "rat day" of the year was an auspicious event to pray for longevity, the mifune ritual was intended to honor the greatest talents of the three aforementioned arts, which were of crucial importance to the court of Kyoto. Folding screens with such auspicious themes were commonly featured at the ceremony to enthrone the emperor or empress. Significantly, the Diary of Official Business Between the Court and Shogunate also records that Tosa Mitsuyoshi, while working as a court artist, produced two pairs of folding screens for the coronation of Empress Go Sakuramachi (1762-1771), which was held in 1763. Hence, research suggests that the NMK edition is one of the pairs of royal folding screens produced at that time.

• Conservation Science in Museum
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• v.18
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• pp.93-114
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• 2017

This paper reviewed a total of eight sites in Vietnam inscribed on UNESCO's World Heritage List. The sites include the five cultural heritage sites(the Central Sector of the Imperial Citadel of Thang Long, Citadel of the Ho Dynasty, My Son Sanctuary, Hoi An Ancient Town, and Complex of Hué Monuments), two natural heritage sites (Ha Long Bay and Phong Nha-Ke Bang National Park), and one mixed heritage site (Trang An Landscape Complex). All these sites are situated in the northern and central areas of the country, and no inscribed site exists in the south. The two natural heritage sites and the Trang An Landscape Complex, a mixed heritage site, feature a typical Karst topographic landscape with limestone caves, cliffs, stalactites, and underwater rivers. The four cultural heritage sites as well as Hoa Lu of the Trang An Landscape Complex mainly consist of remains of the citadels of the capitals of ancient Vietnamese dynasties from the northern region. Due to the complex political situation in the aftermath of the long Vietnam War and the subsequent unification of the country, the Vietnamese government has been giving priority for inscription on the World Heritage List to sites with historical legitimacy in the northern region. It is hoped that the Vietnamese government will pursue more integrated cultural policies in the future that can help reduce north-south regional disparities.