• Journal of architectural history
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• v.23 no.4
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• pp.57-68
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• 2014

The Korean Legation in Washington, D.C., is a proof that Emperor Kojong of Chosun Dynasty tried to establish relationship with the U.S. in 1891, that was before the declaration to establish Korean Empire. In that sense, the building is a historic place. The legation building is a symbolic place attesting to the turbulent history at the time of 1890 to 1910, when Korea had to suffer the forced treaty with Japan in 1905 and the annexation into Japan, and then to the 20th century up to the present time, 2014. The legation building can be turned into a space to host well-planned exhibits to show Korea's history and culture to local residents, foreign visitors to Washington, D.C., and overseas Koreans. The followings are the basic principles for the future use of the legation in line with the basic direction. The building's use should not be limited to museum, but should be flexible to accommodate various different practical usage. It is necessary to make the Korean Legation building that can incorporate the characters and the history through modern interpretation of the historicity of the place, the Korean culture, and historical events. The future usage of the Korean Legation building should enhance the value as a cultural heritage by linking the interpretation of the historical events and real life shown through exhibits, performance and people.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Journal of architectural history
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• v.19 no.4
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• pp.35-54
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• 2010

This study aims to examine the development process of the early stone pagodas of Unified Silla. The history of stone pagodas traces back to both Baekje and Silla in the Three Kingdoms period, but the styles and structures of pagodas began differently. In other words, Baekje attempted to recreate the wooden pagoda style, while Silla attempted to recreate China' brick pagoda style. These different stone pagoda cultures, around the unification of Three Kingdoms, underwent new style changes, and after the mid-7th century, some changes in the five-storied stone pagodas in Tapri appeared, and the milestone perfection of Silla's stone pagodas was achieved through those of Gameusa Temple and Goseonsa Temple. After the mid-7th century, Silla's stone pagodas accommodated some of Baekje's wooden pagodas' elements, shifted from the wooden pagoda style and developed into its own stone pagoda style. This is shown in numerous stone pagodas. However, in Silla's stone pagodas, including the three-storied stone pagoda in Hwagboksa Temple in 692, the size of the pagoda became small and underwent sudden changes. In other words, a new direction of Silla stone pagodas was presented in terms of how massive stones could be reduced, but they differed only in the reduced stone amount; the basic developed style of the Gameunsa Temple stone pagoda and the Goseonsa Temple stone pagoda inherited the traditional style. Thus, the construction of these two pagodas is considered to be significant in the Silla's history of stone pagodas.

• The Journal of Korean Medical History
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• v.36 no.1
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• pp.23-30
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• 2023

Objective : The role of female medical personnel in traditional East Asian societies was limited. It might be said that there are no known female medical practitioners in the history of East Asian medicine. However, in the case of Joseon, there was a system for female medical personnel, Euinyeo(醫女). After the late 19th century, women's social activities in Joseon were expanded by Christian missionaries who entered Joseon In somehow, and efforts to train female medical personnel were also growing. The authors are trying to get the actual operation aspect of Gyeongseong Women's Medical College, established in 1938 after ten years of effort from establishing the Gyeongseong Women's medical school in 1928. Methods : Through the 『Gyeongseong Women's Medical College Catalog(京城女子醫學專門學校一覽)』 in 1941, owned by the Handok Museum, the authors researched the operation aspects of Gyeongseong Women's Medical College from the application for establishment in 1937 and the opening of the school in 1938 to 1941 when the College Catalog was published. Results & Conclusion : In the early 20th century, when various medical institutions were appearing in Joseon, it could be said that the role of Gyeongseong Women's Medical College is noteworthy with the fact that a specialized medical college for women has been established and operated to train female medical personnel separately.

• Journal of Digital Convergence
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• v.10 no.11
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• pp.603-612
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• 2012

When it comes to a country's traditional ideas. that country's geographic setting and religious thought show the people's consciousness, and the characteristics of historic sites and relics show their cultural aspects. Our country has 5000-year cultural history. Especially, the Baekje cultural history created very remarkable relics in our history. With regard to Baekje's own patterns and workmanship, their ornaments were more focused on the beauty of soft and voluptuous curves than that of Goguryeo and Silla This study researched design characteristics of ornaments and symbolic aspects of the patterns by focusing on crowns, crowns' accessories, earrings, necklaces, chignon ornaments of the Baekje's ornaments, To put emphasis on Baekje's ornaments by comparing Baekje's ornaments with Goguryeo's and Silla's. This study collected data on Baekje's ornaments, and reviewed domestic references and specialty publications at the Buyeo National Museum, Gong-ju National Museum, home and abroad, and studied the images of Baekje's metal crafts and patterns through theses. Baekje had splendid and glorious artistic culture, but there are not many historical data and supportive relics left these days. Therefore, a lot of attention, researches and development on Baekje culture are needed. This study found that the ornaments of the Baekje era have not only ornament functions but also the people's creative mind. The culture contents in recent technological development and industrialization change people's recognition, and now they have interest in Baekje culture. Therefore, the purpose of this study is to widely popularize Baekje by studying the patterns of the Baekje era more and developing various and new designs.

• Journal of Conservation Science
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• v.33 no.5
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• pp.371-380
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• 2017

To investigate the pigments used in modern and contemporary oil paintings, thirty-two paintings by Jiho Oh and Bonung Gu were selected. The white pigment found in the ground and painting layers was identified as lead white (hydrocerussite), zinc white (zinc oxide), titanium white (titanium dioxide in anatase or rutile forms), calcite (calcium carbonate), and barite (barium sulfate). Further, this indicated that pigments differ according to the artist and date of the painting's creation. However, both Oh and Gu used zinc white during the modern and contemporary period, while lead white was replaced by titanium white, barite and calcite. Compared with the overseas studies on pigments and oil paints, the change patterns of pigments were the same with them but the periods of the use were partially different. It seems to be due to the fact that South Korea is linked to the historical background of the art material which was imported from Japan instead of Western countries. Therefore, it is inevitable that any change in the white pigments used for domestic oil paintings occurred at a different time from global transitions. If the results of this study are used in the analysis of art works it is suggested that a database recording such aspects as material properties of oil paints, artistic techniques, and chronology would become important for future conservation science and the study of art history.

• Conservation Science in Museum
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• v.24
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• pp.81-98
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• 2020

This paper presents the results of a comprehensive nondestructive analysis of Portrait of Master Gowun at Wunamyeongdang Shrine (Hereafter, Portrait of Choe Chiwon), Tangible Cultural Heritage No. 187 of Gyeongsangnam-do, including the underlying images drawn at the time of its production and the pigments present. The analysis revealed that the portrait was produced in 1793 at Ssanggyesa Temple in Hadong, Gyeongsangnam-do, which makes it the earliest known example among the extant portraits of Choe Chiwon. X-ray examination found images of a half-length boy monk and a full-length boy monk on either side of the portrait, which had been painted over and became invisible to the naked eye. XRF analysis of the pigments indicated that white lead was used for white, cinnabar and red lead for red, malachite for green, azurite for blue, and gold for gold. It was revealed that the overpainted boy monks were colored using the same pigments as those applied in the portrait of the main figure. It is hoped that the analysis of the pigments used for the boy monks can provide basic materials for research on the production of copied portraits and local Buddhist paintings. Also, additional research drawing upon other fields of study is required to examine the details of the inscription of the portrait.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.24-37
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• 2023

This study analyzes the materials and external characteristics of the Angbu-ilgu, a kind of scaphe sundial, which was newly designated as a Korean Treasure in 2022. The Angbu-ilgu Treasure is owned by three institutions - the National Palace Museum Of Korea, Gyeongju National Museum, and Sungshin Women's University Museum - and is similar as a twin in its material, size, outward appearance, as well as production techniques that include casting, silver inlays, and metal joints. The Three-Treasure Angbu-ilgu is made of brass in the ratio of 90.6: 6.0: 1.8 with Cu: Zn: Pb. This composition clearly differs from Treasure No. 845, an Angbuilgu which has a composition ratio of 82.2: 3.7: 11.8 with Cu: Zn: Pb. In this new Angbu-ilgu Treasure, the hemisphere's stand has four vertical pillars sculpted in a dragon pattern and bilateral wings carved in a cloud pattern on the pillars, which are joined to the hemisphere's horizontal ring with rivets and silver solders, respectively. The dragon-in-clouds pillar (雲龍柱) shows the most outstanding formative beauty of the various Angbu-ilgu pillars produced in the late Joseon Dynasty. It can be seen that the altitude of the north pole engraved on the Angbu-ilgu was made after 1713. Production is, however, actually estimated to have occurred close to the 19th century, the era of the Jinju Kang family, who were professional Angbuilgu makers. Hopefully, this study will lead to a historical science and technology review with modern scientific instruments analyzing the materials and external characteristics of the three Angbu-ilgus designated as a Korean Treasure in 2022.

• Journal of The Korean Association For Science Education
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• v.27 no.9
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• pp.832-847
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• 2007

The purpose of the study was to analyze and interpret parent-child dyadic discourses in depth with emphases on the ZPD system in a museum, an informal learning setting. Second graders and their parents from Seoul and its environs were voluntarily participated in the study. Data were collected from the museum documents, the photos of exhibits, and the video recordings of dyadic discourses at and between exhibits. The documents and the photos were analyzed to investigate what the topics, medium and goals of the exhibits were. The video recordings were all transcribed and analyzed to understand what and how they talked to each other through the lens of the ZPD system; situation definition, intersubjectivity, and semiotic mediation, The results of the study consisted of two parts. First, it showed that parent-child dyadic discourses were categorized in four: (1) within the actual developmental level; (2) in the zone of proximal development; (3) toward the potential developmental level; and (4) out of developmental level. The most common categories were the dyadic discourses within the actual developmental level and in the zone of proxima I development. Second, the representative cases in each categories were described and interpreted to understand the nature of parent-child dyadic discourses. It can be concluded that we gained some important understandings of an intrinsic attribute of parent-child discourses in a museum, an informal learning setting. Based on the results of the study, it can be suggested that museums make efforts to cultivate the affordance of exhibit environment to promote visitor's learning.

• Journal of the Korean Society of Costume
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• v.28
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• pp.169-186
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• 1996

Wangeja Chulgungdo (The Painting for a Crown Prince's Outgoing for Schooling to Sungkyunkwan) for this study which is held by the Korean university Museum is a kind of documentary paintings which not only have the value of art history but also give a glimpse of the court ceremonies for a Crown Prince. This painting offers various historical clues to understand the procedure for a Crown Prince's official entrance of Sungkyunkwan participants of the ceremony and other ceremony-related items$\ulcorner$Wangseja chulgungdo$\lrcorner$ was the painting drawn for a series of court procedures of Crown Prince Munjo's official en-trance of Sungkynkwan. When he was old enough to begin learning Sohak on March 11. 1817 that is ; he held Heonjakrye(a ceremony for offering drinks to the ancestors) at Munmyo passed Iphakye(a ceremony for en-trance of school) at Myungryundang and received Suharye the next day. $\ulcorner$Wangseja Chulgungdo$\lrcorner$ had the strong char-acteristics of documentary paintings in terms of art history which was intended to leave the historical event of a Crown Prince's entrance. It reflected the traits of documentary painting style in late Chosun Dynasty; a technique that strongly relieved the ceremonial scenes against the background such as mountains and rivers; a painting that not only captured the vivid actions of personalities ar the crucial moment of the ceremony but also depicted the cer-emonial vessels and items very realistically. Authors could confirm the ceremonial think-ing of the traditional society through a Crown Prince's entrance which controlled the details of every part of the performances of the court ceremony.