• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.198-216
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• 2024

This article reevaluates the National Museum of Korea's pivotal actions during the Korean War in the 1950s and its aftermath. It argues that the evacuation of the museum's collection to Busan and the subsequent exhibition "Masterpieces of Korean Art" in the United States in 1957 were not isolated events, but rather interconnected facets of a larger narrative shaping the museum's trajectory. With newly discovered archival evidence, this study unravels the intricate relationship between these episodes, revealing how the initial Busan evacuation evolved into a strategic U.S.-led touring exhibition. Traditionally, the Busan evacuation has been understood solely as a four-stage relocation of the museum's collections between December 1950 and May 1951. However, this overlooks the broader context, particularly the subsequent U.S. journey. Driven by the war's initial retreat of the war, the Busan evacuation served as a stepping stone for evacuation to Honolulu Museum of Art. The path of evacuation took an unexpected turn when the government redirected the collections to the Honolulu Museum of Art. Initially conceived as a storage solution, public opposition led to a remarkable transformation: the U.S. exhibition. To address public concerns, the evacuation plan was canceled. This shift transformed the planned introduction into a full-fledged traveling exhibition. Subsequently approved by the National Assembly, the U.S. Department of State spearheaded development of the exhibition, marking a distinct strategic cultural policy shift for Korea. Therefore, the Busan evacuation, initially envisioned as a temporary introduction to the U.S., ultimately metamorphosed into a multi-stage U.S. touring exhibition orchestrated by the U.S. Department of State. This reframed narrative sheds new light on the museum's crucial role in navigating a complex postwar landscape, revealing the intricate interplay between cultural preservation, public diplomacy, and strategic national interests.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.128-141
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• 2020

This study examines the process of Korea's acceptance of the concept of Art Craft through research on ancient remains and relices (朝鮮古蹟調査) and a series of projects undertaken by the Japanese Government-General of Korea, and the traditions and canons of craft established in the process. Crafts defined in law referred to fine and exquisite techniques for creating antiques, or genres of art such as painting or sculpture. The Yi Royal Family Museum and the Museum of the Japanese Government-General of Korea spearheaded the popularization of the term "Mi-sul-gong-ye (Art Craft, 美術工藝)." The artworks displayed in these two museums visually embodied past traditions. In general, the term "craft" was frequently used to refer to ancient art, and crafts specifically became traditions to be protected and conserved by designation as legal treasures for display in museums. The establishment of traditions and canons of craft exerted a great influence on crafts produced during this era. The cultural policies and imperial tastes of Japan played a crucial role in this process. In previous research, scholars divided the concept of craft in the modern era into two categories: industrial craft and art craft. However the so-called "art craft" is not a homogeneous category. It includes both ancient art (antiques) and the pieces made in modern age. Ancient art became canonized and the basis of contemporary production. Moreover, features of contemporary craft were diverse. By subdividing concepts of art and crafts, which have hitherto been discussed collectively, this study will serve as groundwork for accurately understanding "invented traditions" and features of modern craft.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.181-208
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• 2019

This paper presents a new classification and code system on the Archives of the Government-general Museum of Joseon in the National Museum of Korea. Three points were noted that since the Museum belonged to the Government-general of Joseon, the classification system of the Archives should be established to comply with the Archives system of the Government-general of Joseon; based on the concept of the functional provenance, it is necessary to establish a classification system in accordance with the organization structure of the Government-general Museum of Joseon; a systematic and simple classification codes should be given based on the classification system to improve the convenience of searching and using the official document. The classification system and its code are proposed in the order of major function, medium function, small function, and detailed function. The major function of the Archives is 'A-Educational affairs', medium function 'Museum.' The small function may be divided into General affairs (01), Temple (02), Scenic Spot and Natural Monument (03), Historical Site (04), and Museum (05). The detailed function and detailed sub-functions are categorized by the various work assignments in each work units. I hope that this new classification system will make a contribution to organizing and utilizing the Archives of the Government-general Museum of Joseon in the National Museum of Korea.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.311-319
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• 2013

Buildings of the de-constructive tendency beyond definite forms are being constructed in countries with economic power, technical skills and open culture because they require social conditions to accommodate those buildings as well as a lot of construction expenses. Frank Gehry and Zaha Hadid can be chosen as the representative architects of de-constructivism series who are currently working hard. Though both of them are architects belonging to the de-constructivism category, their works show different construction due to the differences in architectural philosophy and working ways. Gehry consider Architect as a fine art and enjoy (sculpture) three-dimensional structure work through Rough Model. With increasing demand for landmark atypical buildings, Hadid has been frequently awarded in the recent series of International Competitions and deals with a lot of cultural works. Affected by absolutism, Hadid showed various diagonal lines in her early construction and works based on the theme of dynamics such as lightness, gliding and light contact with the ground etc. Hadid's Architecture which worked under the theme of dynamic contains a variety of diagonal lines that might cause the viewers to have difficulty on spatial awareness, thus It is known that Hadid's Architecture has lower efficiency on the Circulation and difficulty on spatial cognition compared to the typical museum. According to the research findings of the previous paper that space understanding of viewers on Frank Gehry Museum consisting of complicated planes is generally better than that of them on a typical museum, the purpose of this study is to find out the Circulation efficiency and spatial cognition of Hadid Museum by explaining the space structure of dynamic Hadid Museum and the difference compared to typical museum.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.330-355
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• 2024

There are two main perspectives in Korea on Korean cultural heritage located overseas: one views it as items that need to be repatriated since they were scattered abroad under unfortunate historical circumstances. The other considers them as a means to more widely promote Korea's culture and long history. A shift in perspective has gradually been taking place in the decades since Korea's liberation from Japanese colonial rule in 1945. This can be noted through three major types of exhibitions. The first type is exhibitions of repatriated cultural heritage that showcase items that were illegally removed from the country but later returned or otherwise acquired through purchase or donation. The Special Exhibition of Returned Cultural Heritage, which was held in 1966 on the occasion of the normalization of diplomatic relations between the Republic of Korea and Japan, emphasized the legitimacy of reclaiming cultural properties that were illegally removed from Korea during the period of Japanese colonial rule. Around the 1990s, special exhibitions of private donations were held, which also highlighted the legitimacy of repatriation. The special exhibition of the Oegyujanggak Uigwe (Royal Protocols of the Joseon Dynasty from the Outer Royal Library) held in 2011 was seen as an opportunity to raise public interest in repatriation, heal the wounds of history, and restore the nation's cultural pride. The second type of exhibition involves borrowing and displaying overseas Korean cultural heritage in accordance with a theme as a means to reenergize and provide a comprehensive view of Korean culture. The exhibitions National Treasures from the Goryeo Dynasty in 1995 and National Treasures from the Early Joseon Dynasty in 1997 (both held at the Hoam Museum of Art) and the Masterpieces of Goryeo Buddhist Painting held at the National Museum of Korea in 2010 underscored the importance of overseas Korean cultural heritage for exploring Korean cultural history. The third type is special exhibitions on the history of the collection of Korean cultural heritage. With Korea's economic growth in the 1980s and the increase in exhibitions and the number of galleries featuring Korean cultural heritage in overseas museums in the 1990s, interest in the history of acquisition also grew. Exhibitions like The Korean Collection of the Peabody Essex Museum in 1994 and Korean Art from the United States in 2012 introduced overseas galleries focused on Korean art and the diverse history of collecting Korean cultural properties. They also examined the perception of Korean art in the United States. These efforts heightened public interest in establishing and supporting Korean galleries abroad. The initiation of more systematic surveys and research on Korean cultural heritage located abroad and the contribution of overseas Korean cultural heritage to the enhancement of the local understanding and promotion of Korean culture have resulted in changes to the perception of overseas Korean cultural heritage in Korea.

• Journal of Conservation Science
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• v.37 no.2
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• pp.135-143
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• 2021

Conservation treatment that involved filling the lifting parts of wooden cultural heritage is carried out by obtaining wood or wood powder of the same species and mixing it with synthetic resin or natural glue to charge the blank area. Various concentrations and mixing ratios of adhesives and additives are used, depending on the type and condition of the target. Accordingly, in this study, we determined the conditions of the filler suitable for conservation treatment of wooden sculptures with lifted or separated bark in the National Museum of Modern and Contemporary Art. The optimal filler conditions for each adhesive were selected based on drying speed, shrinkage and expansion rates, and physical deformation degree. Then, to verify their actual applicability, these fillers were applied to wood and exposed to high-humidity environment and their cross-sections were observed. The fillers showed stable application in the following order: animal glue, PVAc adhesive, acrylic adhesive. In conclusion, a 1:2 mixture of animal glue and wood powder is a suitable filler for conservation treatment of wooden sculpture with lifted bark. The results of this study suggest appropriate ways to stabilize the bark that was lifted or separated from a wooden sculpture, thus enabling the future conservation treatment of the artworks under similar conditions.

• Journal of Global Scholars of Marketing Science
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• v.10
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• pp.45-70
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• 2002

The purpose of this study is to obtain more insight into the explanation and prognosis of consumer behavior in real and virtual museums. The analysis focuses on the influence of the museum environment on the museum patrons (rather than on the influence of the art objects). On the basis of the emotional approach to environmental psychology by Mehrabian and Russell (1974), a behavior model has been developed for museums. The model, which is based on the emotional variables pleasure, arousal and dominance (PAD), is also enhanced by cognitive variabies (learning attractiveness, education standard and information demand). The enhancement of the classical model was necessary because cognitive variables play a major role in cultural institutions such as museums: One important objective of museums is the communication of cultural knowledge to visitors. The model is tested empirically using structural equation modeling. 301 visitors were interviewed individually. Two different museum environments were represented using visual stimuli. The theoretical model for museums can be proved empirically. The degree to which the model fits the empirical data was extensively tested. The model showed high compatibility with the data and could be accepted. The study proves that a model can be developed, which explains visitor behavior in museums. The model shows museum designers how museums should be designed to be both emotionally appealing and a learning environment. Based on empirical studies in virtual stores on the Internet, it is discussed whether the research findings in these environments may be applied to virtual museum environments. In order to create an emotionally appealing virtual museum, it is recommended that one uses a 3-dimensional representation to offer various possibilities for interaction and to create a multi-sensual environment that appears highly realistic.

• Archives of design research
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• v.12 no.4
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• pp.231-241
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• 1999

This study propose to analyze the design method and the form elements of museums, of works by Richard Meier, and through the analysis, spacial characteristics of museums will be understood. The museum works of Richard Meier, as an exhibition space, not only display the art works efficiently, but they also offer visitors the opportunity to experience the art of architecture, as a cultural space. Richard Meier, when working on the projects, has utilized the design methods and the architectural language, learned from Mies van der Rohe and Le Corbusier, resourcefully. Having the structural grid as basis, the rational rectangular forms were intended for exhibition space, while the circular and partial circular forms of geometry were utilized in formative space. This was able to maintain the balance between functional and formative space. In the museums of his works, the ramp and the glass wall separated from the structure become very important means of expression. The ramps, not only make people to enjoy the interior and exterior of museum, but also able them to see the works of art from different distances and angles repeatedly and the large glass wall reveals the various shapes of interior to exterior. In comparing with the design method and language of two masters mentioned, the design principles and elements, developed by Meier were applied to the site plans, exhibition space planning and elevations to manifest its originality. The design concept, derived from the urban fabric and historical buildings around, gave harmony to the museum with its surroundings, and employing the deformed axis brought variation and the effect of diversion to the site plan. The exhibition space is much vitalized by the well arrangement of various exhibition fixtures in the museum. The exhibion fixtures, which the partitions, shelves, miches, and stages were put together in flexibility, play multiple roles as partitions dividing spaces, as furniture displaying art works, and as elements creating forms. The systematically arranged fixtures, also produce several visual axes and centers, which have visitors appreciate the works of art in various perspectives, hence create a unique environment.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.159-171
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• 1992

Renaissance Age is called the Period of Discovery because of great development of the economy and the science, and is known the Period of scientific analysis of Man and of interest of Nature out of a blind obedience in the Middle ages. Especially in visual art architecture, painting and sculpture, the rational spirit of Renaissance actually and distinctly communicates the meaning of Work through the scientific and mathematical expression after a finding Perspective by Brunelleschi. So the puropse of this study is to clarify the substancial meaning of Renaissance Art by investigating the expression applied Perspective to the works of Brunelleschi's architecture, Donatello's sculpture and Masaccio's painting.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.120-127
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• 2001

The study aims at finding out the spatial configuration of a small art museums through the analysis of visual Perception in spatial layouts. In so doing to analyze the characteristics of spatial perception in visual layouts and identity of space to evaluate the spatial construction with relation to the role of small art museums. Purpose of this study is to offer basic data to contribute effectiveness of the architectural planning of a small art museums by understanding of visual element of design and ultimately to make efficient use of space.