• Conservation Science in Museum
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• v.3
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• pp.15-19
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• 2001

This article examines the conservation process of a donated Gourd-style jar (Object No. Geumja No.124), which was broken into several fragments (more than 60) in the past. After assessing the condition of the object, each of the fragments were re-attached, and missing areas were gap-filled and re-touched. The authors discuss considerations, which were taken into account during the decision making process. These include the integrity of the object and the section of treatment materials, such as the reversibility of adhesives and filling materials. After its conservation, the authors believe that the object is in a better condition and ready for display in the future.

• Conservation Science in Museum
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• v.12
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• pp.89-92
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• 2011

Wooden object lacquerware and grass made object excavated were discovered in water. The object can be dry gradually for a long time when it is not kept at water evaporation. Wooden area of wet lacquerware wet organic materials mmersed kept lacquer only on the exterior after being decayed, and most of grass made object were adhered to the earth. In this study, the author preserved lacquerware and grass made equipment at Dahori Changwon that were relics in the Iron Age by using bees wax, rayon pper and layering technique. And, the author could remove ware from the earth to conserve lacquer and grass made object.

• The Journal of Art Theory & Practice
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• no.2
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• pp.147-168
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• 2004

This study examined the role of interpretation with various practices in art museums to seek a new meaning and a concept of art museum today. The exploration of interpretation would he a starting point to discuss about on art museums with professionals in each art-related field. While museums recognize the concept of interpretation and the scope of the functions in different levels, the study focused on the practices of collecting and exhibiting that will entrust the museum new realms of activities toward the audience. In particular, its emphases are set force on the information on the collections via the museum's web sites, interpretation policies, and theories and methodologies in exhibition development. Art museum websites well reflect how museums utilize the new medium to enhance the understanding of art works by providing in-depth art historical information, comprehensive contexts, and subject/concept based search methods. In recent decades, these have enacted changes to expand dimensions of interpretive functions in most museums, particularly in the United States and others. In an administrative perspective, Tate Gallery Interpretation Policy became an good example how an art museum put its interpretation philosophy as the basis of interpreting collection and public programs. Tate established functions of intrepretation and education not only within a task-based team but also as an intrer-divisional coorperation to provide an interpretation scheme of information provisions such as guide brochure, audio tour, multimedia content, and library. New environment and trends of museum exhibition, and its development processes stem from communication theories, object interpretation philosophy, display strategies, and various evaluation techniques through audiences, with the communication theories of Shannon and Weaver, Berlo's SMCR(Source-Message-Channel-Receiver) models were perceived as to understand the mechanism to communicate museum exhibits to visitors Suzan vogel's insight into object display strategy helped to conceive the mechanism of object recontextualization. She emphasized that the museum's practice to construe opinions and impressions through object display should be discreet and critical, therefore, the professionals to plan the exhibition should reveal the intention and their practices. For a prevailing new methodology from the field, the interpretive exhibition development processes are articulated as the front-end, formative, and summative evaluation, futhermore the team process in industrial product management models was adapted. These have turned out to be more interactive with visitors and effective to communicate the exhibition concepts and messages, hence resulting in enriched museum experiences. Finally the study concluded that understanding the aspects of interpretation should help art museums to set a framework for current practices to expand its public dimension. It can provide curators with a critical view to website planning and its content. And obviously, the interpretive exhibition development methodology will lead museum exhibition developers to be skilled in its current approaches to thematic exhibition concerning diverse subjects and topics.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.5
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• pp.3-10
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• 2020

According to Carol Duncan, the museum can be studied in the aspect of space and object from viewer experience. The paradigm of modern museums is shifting away from the object toward the human. The modern museum begins to have the diversity activities and the experience by the body. The purpose of this study is to analyze methods of Carlo Scarpa's museum works. An Italian architect, Carlo Scarpa had characterized montage architecture through fragments and isolations. This study reviews the works of Carlo Scarpa's museum focused on Museo di Castelvecchio. Carlo Scarpa had left the existing materials and coated it with new materials intentionally. This method makes the layer and it exposes the historical times. The layer is a reinterpreting technic of Venetian architecture. The perceptive experience appears at the exhibition boundary through light, material, pattern, axis, and composition of elements. Through the analysis, the architecture of Carlo Scarpa's museum provides a walking path and the composition of exhibition objects with visual logics. It makes and show us the experience with combining images. Carlo Scarpa had tried to expose the past times in the architecture of museum with expression on the layers and to connect the body's movements with seeing and gazing. This expression makes possible the perceptual experience. It can be understood as the montage characteristic. Through this, Carlo Scarpa's museum makes us relationship with historical architecture. Carlo Scarpa had planned a exhibitional promenade in the architecture of museums. In this regard, this is the museography of Carlo Scarpa's museums that should be paid attention to modern times in historical architecture.

• Conservation Science in Museum
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• v.3
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• pp.37-42
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• 2001

The Stone Lamp from Hyeon Hwa Temple is an important piece of buddhist art from the Koryo Dynasty (initiated by King Hyun-Joung). It provides an insight into stone-art techniques employed during the Koryo Dynasty, and serves as an authentic example of work from that period, which had both a refined style and artistic integrity. However, the stone lamp was dismantled and has been stored at the National Museum of Korea since 1986. This was because it was severely damaged, as a result of exposure to an outdoors environment. This article discusses the conservation of the stone lamp, which was carried out by conservators at the National Museum of Korea. It was prepared for a new display of the lamp to the public. The conservation process can be briefly described as follows: Cleaning (this includes the removal of previous repairs that were made), the re-attachment of the object's original fragments, and the gap-filling of missing parts. After its conservation, the object is in a much better condition and ready to be displayed once more. What is more important, in terms of the long term preservation of the stone lamp, is that the condition of the stone lamp needs to be continuously monitored, and appropriate conservation actions should be taken as necessary.

• Korean Institute of Interior Design Journal
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• v.13 no.4
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• pp.127-137
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• 2004

Since 20th century, the exhibition has expanded to more diverse fields and recognized as the medium which can build network among the Art, Human and society. Space design, although developed within mutual interaction and consideration of environment factors, has been treated without those background. Therefore it is straightforward to examine the exhibition space design synthetically not limit it by the analytical elements. Assuming three main mutual interactions, object human, and environment, we have attempt the typological analysis to the museum exhibition space by studying characteristics. While the exhibition space design has been analyzed through two dimensional interpretation, on this study, we structuralize diverse discussion of the exhibition space design by relation-centered and relative analysis. Therefor we examine the characteristic of design expression through typology of both physical and behavioral feature. In the conclusion, the outcome provides insights into the relationships among object, human and environment and useful measurements to designer who outline exhibition space design.

• Conservation Science in Museum
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• v.2
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• pp.35-40
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• 2000

Conservation Science Lab. of the National Museum of Korea recovered Bamboo-plated inkstone case which is used for keeping inkstick, inkstone and inkstone water container by using traditional lacquering and wooden art technology. Texture and construction method of wood, ingredients for lacquering and the method, and the design were analyzed in order to restore the original manufacturing method. Especially, perfect restoration of partially damaged lacquer surface is the most important aspect in restoring Bamboo plated inkstone case, therefore focus was put on investigation of surface lacquering. First, lacquering surface sample was taken off from the object and processed into flake and observed with transmission microscope in order to investigate lacquering method and the pigment in the lacquering surface was analyzed with XRD and SEM-EDS. The result showed that the object was decorated with thin-layered bamboo in the surface which is made of Royal paulownio. and lacquered several times with the mixture of Hematite(Fe₂O₃) and Cinnabar(HgS) in the remaining part.

• Journal of The Korean Association of Information Education
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• v.2 no.2
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• pp.278-285
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• 1998

Computer users frequently request large scale multimedia data such as images. voice, video rather than conventional formal data. Data in virtual fossil museum are represented as points, shape, location in multidimensional space and interrelation with other spatial object. Informations in virtual fossil museum should be maintained to manipulate spatial object and non-spatial object. In this report we propose virtual fossil museum which is consisted of two parts. In the first step, basic system is implemented in internet for non-specialist such as primary students. This system is implemented based on visual multimedia information system so that non-specialist about computer can access easily. In the second step, expert system is designed which allows computer users can store, magnify, reduce, and retrieve the spatial data. This expert system uses animation, spatial query and VRML.

• Conservation Science in Museum
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• v.3
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• pp.43-50
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• 2001

This article is about a joint project carried out by the National Museum of Korea and the Tokyo Cultural Properties Research Institute for the conservation of central Asia Wall painting that has been selected for the exhibition at the new Seoul National Museum of Korea at Yongsan. The investigation of the wall painting revealed very useful information. This includes the condition of the object, and the identification of evident damage, such as cracks, loss of pigment, plus materials and methods employed during the object's creation, as well as previous conservation treatment. The object was mainly made by applying plaster to the body (wall) that consisted of a mixture of soils and rice straws. Then, on the surface of the wall-painting, pigments were used to draw and to colour it. As a part of the investigation, radiocarbon dating was conducted using straw samples taken from the object. The result indicates that the object is probably dated form between the end of the 10th Century and the beginning of the 13th Century. The result of X-ray diffraction also revealed the composition of the pigments used on the surface. These are 1. gypsom [Ca(SO₄)·2H₂O], CaSO₄ and Calcite (CaCO₃) and Calcite (CaCO₃) that were used for the white background. 2. Pb₃O₄ and led Arsenate [Pb(As₂O₆) that were used for the red colouring. 3. Cuprite (Cu₂O), Arsenolite (As₂O₃) and Arsenic Oxide (As₂O₄) that were used for the green colouring.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.377-392
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• 2022

With the development of information and Internet technology, traditional museums have been long followed the trend of integrating innovative technological elements into the changed museums. It is necessary that the museums seize the opportunity of the trend transforming into smart museums, the key is to grasp the characteristics and laws of the Internet era, and use Internet thinking to explore the future development path. However, there are few studies on Internet thinking among the existing results. On the other hand, most of the relevant actual case studies still focus on the micro-level, which has obvious limitations. This paper will start from the current situation and trend, focus on the Palace Museum as a case study object, and discuss the problems and characteristics, so as to put forward the thinking about the development of smart museums in four aspects to explore the optimal path of transformation for smart museums.