• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.84-97
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• 2016

One of the assimilation policies of Japanese imperialism for the permanent domination in the colonial Joseon is the theory of integration of Japan and Joseon. The theory of integration of Japan and Joseon is a logic that Joseon (Korea) and Japan (Wae) were connected to the same ancestor on the basis of ancient myths. Also it is the assimilation ideology to justify the Colonial rule of those days through the objectification of historical identity or affinity of political and cultural relations of ancient Korean peninsula and Japan (Wae). Japan reorganized our history to meet the colonial point of view, as part of the assimilation policies based on the theory of integration of Japan and Joseon. On the other hand Japan attempted to objectify them through archaeological research and the reinterpretation of the historical remains. The survey, reinterpretation and tourist of the historic sites in historic cities such as Gyeongju and Buyeo were promoted in this context. In particular, the Buyeo, a capital of Baekje, was emphasized upon the close relevance and affinity between Sabi, Baekje and ancient Asuka (飛鳥) in Japan through research and reinterpretation on the Historic Sites. Based on them, Historic Sites Tourism was conducted by reconstructed historic sites toward the colonial Korean. In addition, after the Sino-Japanese war in 1937, Japan tried to realize the politics of space by upgrading and idealizing Buyeo as homeland or Shinto (神都) related to Japanese ancient mythology of the Asuka culture. This paper investigated in what context research, reinterpret and tourist of the historic sites progressed on Buyeo area and how it had soaked through the general public in the Japanese colonial era. First, it is on historic sites. Historic sites research on Buyeo area made an attempt by Sekino Tadashi in 1909 for the first time and the re-excavation of the old burial mounds and temple sites during the Japanese colonial period. Sekino set up a cultural relationship and influences between the ancient China (梁), Korea (百濟) and Japan (倭). Also, he emphasized that Sabi, Baekje largely received influence of Chinese culture and Baekje and Japan Asuka culture had closely relations and affinity. These views had been consistent during the Japanese colonial period. Second, it is the reinterpretation on Historic sites. Buyeo Historic Sites Preservation Society (Buyeo Gojeok Bojonhoe) was established in 1915 and Osaka Kintaro, curator of Baekje exhibition hall redefined the relationship between ancient Japan and Baekje as perspective of the assimilation ideology through the post contextual interpretation. In particular, they emphasized on the close relevance between Baekje's Historic sites and Japan, through the reinterpretation of Nakhwaam, Goransa and Cheongmasanseong. Third, it is the tourist on Historic sites. Buyeo Historic Sites Preservation Society played a leading role in Tourist on Historic sites at the Buyeo region. The main tourist destinations and course were restructured through a reinterpretation on the historic sites. Japan would like to show Buyeo as ideology area, homeland of ancient Japanese culture, toward the Koreans under Japanese colonial era. Thus, research, reinterpretation, and tourism on Historic sites were promoted while they were closely related to each other. The promoting body was Joseon Chongdokbu and pro-Japanese interest group. It's point was 'made' and 'shown' by the eyes of others and a rediscovery of Buyeo as representational space of colony.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.32-47
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• 2018

The purpose of this study is to examine the vegetation maintenance project that was conducted as a part of the Official Development Assistance (ODA) project for the historic site of Angkor, to analyze the aspects and characteristics of the project, and to derive implications for the establishment of future policies and strategies. First, the key words used in the vegetation maintenance project at the historic site of Angkor do not only refer to the concept of plants (and more specifically to 'trees') but also to the concept of heritage. In other words, the concept of heritage is not limited to architectural structures but is also intended to mean the vegetation and surroundings that form the historic site. Second, the expansion of the value of vegetation has contributed to the establishment of the basic principles of conservation based on the 'coexistence' between architectural structures and vegetation; here, vegetation has come to be recognized as an 'essential' element in the conservation of historic sites. Third, the range of vegetation maintenance has expanded from each tree to the surroundings of the temples, and vegetation maintenance came to adopt 'integrative' and 'active' directions to improve not only the growth environment of the vegetation but also the viewing environment experienced by visitors. This change means that it is necessary for the historic site maintenance project to comprehensively deal with the temples and their surrounding areas. Fourth, for the effective performance of the ODA project, the role of the International Coordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC-Angkor), under the influence of UNESCO, was expanded from an examination of the problems with the existing projects to a search for solutions to technical consultation and supervision. This implies that, in order to perform the ODA project in a way that is appropriate to the local conditions, it is important to reach gradual and phased agreements with ICC-Angkor.

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.78-117
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• 2017

Buddhism, which was subject to repression all over the early Joseon Dynasty, received a certain recognition from the state, because Buddhist monks had participated in the war of the Japanese invasion in 1592. On the other hand, however, one of the results was the destruction of many temples. In the late Joseon Dynasty, the Buddhist monks themselves acted as players of Pungmul(people's percussive band music) for the rebuilding of Buddhist temples. These so-called "the Buddhist monks' Pungmul" is the imitation of former clowns' Pungmul and farmers' one that sometimes request money or rice at houses of villages. In the late Joseon Dynasty, the activities of the Buddhist monks' Pungmul were held all over the country. Today, there are "Bitnae Nongak(farmers'percussive band music)" in Kyeongsangbuk-do, "Beokku-noli(the drum play) in the areas of Yeosu and Gangjin in Jeollanam-do, the song of the Buddhist monks' Pungmul for the people's house spirits in the Gyeonggi-do, Gangwon-do and Chungcheong-do, and Namsadang-pae(the nomadic entertaining groups composed of only men), as clear pictures of it. In these things related to Nongak or Nongak relevant affairs, the shapes of the Buddhist monks' Pungmul in the late Joseon Dynasty remain clear. On the other hand, today the Namsadang-pae, which was formed as a result of Buddhist monks' Pungmul in the late Joseon Dynasty, was left only in the Chungcheong-do and Gyeonggi-do, because the temple construction in the Gyeonggi-do was made especially many in the late Joseon Dynasty. During the late Joseon Dynasty, the Buddhist monks' Pungmul, which had long-lived and had taken place throughout the nation, had a great impact on Pungmul. There are the Buddhist elements, such as Gokkal(the Buddhist monk's peaked hat), paper flowers, the color band, the small drum, and Bara(small cymbals) are often found in the Pungmul of Korea. In the late period of the Joseon Dynasty, it is obviously important place in the Pungmul history of Korea. Research and studies on this subject should be made more in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.40-53
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• 2019

This study was conducted to investigate the changes in Scenic Spots by utilizing the "Sinjeungdonggukyeojiseungram(新增東國輿地勝覽)" and "Joseonhwanyeoseungnam(朝鮮?與勝覽)" to interpret "Joseonmyeongseungsiseon(朝鮮名勝詩選, 1915)". By examining the historical context when "Joseonmyeongseungsiseon" was published, it documented the Japanese's memories of 'Sino-Japanese War(淸日戰爭)' in 1894, which implies the 'policy of assimilation' by the Japanese Government-General of Korea after the Japanese annexation of Korea(1910). Detailed information about the author 'Narushima Sagimura(成島鷺村)' can be found in preface. In the "Joseonmyeongseungsiseon", it dedicates most of the part in describing the Scenic Spot especially in 'Anseong Do (15 lines)', where has the memories of war such as the 'First Sino-Japanese War'. The number of Scenic Spots, commonly mentioned in both "Sinjeungdonggukyeoji seungram" and "Joseonhwanyeoseungnam" in Cheonan province are 13 in total. Most of the content contains a similar structure. But 'Honggyeongwon(弘慶院)' and 'Seonghwanyeok(成歡驛)' has both the common Joseon Dynasty landscape point of view, and the additional historical context which are about the 'Jeongyujaeran(丁酉再亂)' or 'First Sino-Japanese War' consequently enlightens the 'placeness' of the Scenic Spots. Among the newly described Scenic Spots, 'Anseongdo(安城渡)' is the part that focuses on the memory of the 'Anseongcheon Battle' that gave Japan its first defeat in the Sino-Japanese War. Especially, by introducing the poetry of 'Sinobu Shunpei' it maximizes the appreciation through emphasizing the direct correlation between placeness and the poem itself. While the Joseon Dynasty poems are 10 pieces in total and their title and the subject matters are all related to historical spots, and the appreciation also maximizes when fully interpreted with understanding the historical context. However, it's contextual meanings are neglected by dividing the actual structures into separate pages. When looking at the location of famous historic sites, they come in many different types, considering the location, meaning, size, and conditions surrounding them. It appears as a service space for travelers, a place for sightseeing, relaxation or return, a temple space for paying respects or memorial services, a fortress facility for defense and protection, or a fishing area for wages, and an old battlefield. Especially, it is noted that the area is diverse as the cultural landscape of Cheonan, given that the battle space between the hermitage and the Donghangnongmin(東學農民) is shared with each other. It is necessary to establish policies for the preservation and restoration of local cultural assets based on these points in the future.

• Journal of the Mineralogical Society of Korea
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• v.31 no.4
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• pp.267-275
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• 2018

The purposes of this study were to analyze the mineralogical characteristics of slaked lime used for wall repair of traditional buildings in Bagan, Myanmar and to evaluate the physical properties of lime plaster produced by the same method as Bagan region. In the X-ray diffraction and thermal analysis of the Myanmar slaked lime, portlandite ($Ca(OH)_2$) and brucite ($Mg(OH)_2$) were detected as main constituent minerals, and a carbonate rock mainly composed of dolomite ($CaMg(CO_3)_2$) minerals may be used as a raw material to make slaked lime. The field-emission scanning electron microscope analysis showed that the Myanmar slaked lime was composed of irregularly shaped crystals of $0.5{\mu}m$ or larger and a small amount of $0.1{\mu}m$ of plate - like crystals. The size and uniformity of crystals in Myanmar lime is different from that of Korea slaked lime. This may be attributed to the effect of the mineral composition and the lime hydration method of Myanmar, which produces slurry by immersing the burnt lime in excess water for a long period of time. The compressive strength of the lime plaster in Myanmar resulted in a mean value of $1.13N/mm^2$ for the specimens cured for 28 days. The strength of the specimens with Bale juice was $1.03N/mm^2$, respectively. The lime is an air setting material that exhibits strength through long carbonation process. Therefore, it is necessary to evaluate physical properties according to curing period through long-term curing over 28 days in the future.

• (The) Research of the performance art and culture
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• no.20
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• pp.163-204
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• 2010

"Nectar of Immortality", also known as Suryukwha, is a painting which is hung on the wall during Suryukjae, a rite to console the spirits residing on both land and water. The Suryukwha at Bonyung Temple in the Ming Dynasty consisted of 139 scrolls depicting separate scenes. In Korea, however, Nectar of Immortality combines all the scenes into one large painting. The lower part of Nectar of Immortality describes pain, disasters, and the frailty of human life in this world. This is intended to inspire people to embrace Buddhism and be delivered from their worldly existence. However, it reflects the social realities of that time as well. The scenes at the bottom of the painting of nomadic troupes of entertainers and their performances are part of this reflection. In this section, various scenes of traditional Korean performance are illustrated, such as double and single tightrope walking, Sotdaetagi (performing atop a pole), Ssangjulbaegi (one form of Sotdaetagi), tumbling, bell juggling, mask dramas, dish spinning, puppet shows, the dance of Sadang, and sword dancing. Among these performances, some, such as Sotdaetagi, Ssangjulbaegi, double tightrope walking, bell juggling and sword dancing (Punggakjaengipae), have since ceased to exist. The troupes of entertainers depicted in Nectar of Immortality are Sadangpae, Namsadangpae, Sotdaejaengipae, Choranipae, Punggakjaenipae, Gutjungpae, and circus troupes. When, after itinerant lives, these entertainers die, they become forlorn wandering spirits with no descendants to perform their memorial services. The entertainers in the performance scenes are the embodiment of souls who are the subjects of salvation through Suryukjae. Among these entertainers, Sotdaejaengipae, Sadangpae, Choranipae, Punggakjaenipae and Gutjungpae no longer exist. In sum, Nectar of Immortality provides insight into the vanished content of numerous historic forms of performance and the activities of nomadic troupes of entertainers.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.154-169
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• 2009

Korea is famous for a number of stone pagodas. In particular, it is noticeable that the stone pagodas came after wooden pagodas in all the Kingdoms of Goguryeo, Baekje, and Silla. Since the advent of wooden pagodas, it was during the latter half period of Three Kingdoms(especially, in the early Seventh century) that the first stone pagoda appeared at Mireuksa Temple site in imitation of the wooden ones. Now that no one can deny that Korean stone pagodas have developed, imitating the wooden pagodas. It is also obvious that the Stone Pagoda at Mireuksa site is the prototype of Korean stone pagodas. However, this study casts doubt on the theory that the stone pagodas in the Silla Kingdom originated not from the wooden pagodas, but from the brick pagodas, whereas the stone pagodas in Baekje Kingdom which has been said to come from the wooden ones. The fact that the temples and pagodas in both Baekje and Silla were erected by the same builders and technicians is one of the evidences supporting the assertion of the study. This study, accordingly, examines on the origin of the Silla pagodas by supposing the two genealogies. The first one can be summarized in chronological order as follows: starting from wooden pagodas, Stone Pagoda at Mireuksa site, Stone Pagoda at Jungrimsa site, Stone Pagoda at Gameunsa site, and Stone Pagoda at Goseonsa site. The second one, on the other hand, runs as follows: starting from bick pagodas, Stone Pagoda at Bunhwangsa, Uiseong Tapri five-storied Stone Pagoda, Seonsan Jukjang-ri five-storied Stone Pagoda, and Seonsan Naksan-ri three-storied Stone Pagoda in order. As the above genealogies show, the origin of the stone pagodas has been an controversy, especially because of the two different points of view: the one is that the roof-supporting strata(Okgaesuk-Bachim) originated from the brick structure and the ancient tomb ceiling of Goguryeo Kingdom, and the other is that the strata is a sort of the simplified design of the wooden roof structure. This study, however, takes note of the difference in length of the strata between the brick pagodas and the stone pagodas; the former stretches out its strata longer than the latter. Consequently, the study points out that the roof-supporting strata of the stone pagodas is originally a sort of modification of the wooden roof structure.

• Korean Journal of Heritage: History & Science
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• v.41 no.1
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• pp.109-125
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• 2008

Recently, there has been an increase in excavation studies of wood pagodas from the Three Kingdoms and Unified Shilla periods and new data related to wood pagoda erection are being found bringing about progress in research on this field. In other words, studies on wooden pagodas in Korea were composed mainly of flat, axis construction techniques and sarijangeomgu, but by acquiring new data, it has now become possible to study not only the stylobate construction procedure and transition, but also studies on restoring wooden pagodas. Furthermore, pagoda sites similar to this were found in China and Japan as well, making it possible to make comparative studies among ancient wooden pagodas possible. In this paper, the main remains were set as Baekjae wooden pagodas, which were the most frequently studied and among the wooden pagodas, the simcho (central base stone) and sarira housing locations. In result, simcho can be found changing its position from underground ${\rightarrow}$ halfway underground ${\rightarrow}$ above ground. Baekjae wooden pagodas up until the mid sixth century located at Neungsan-ri saji (AD 567) and Wangheungsaji (AD 577) had its simcho located underground and later it was constructed halfway underground and then above ground. It was confirmed that in the 7th century, it became customary to place above ground as seen in the Jaeseoksaji (AD639) and Hwangnyongsaji (AD645) wooden pagoda sites. The sarira was usually located on the south side of the simcho, but gradually changed to the center. In particular, sarira were combined in the simcho in the mid sixth century at the Wangheungsaji. This is approximately 11 years earlier than the Bijosa (AD 588) simcho found in Japan and this was not found even in the simcho of wooden pagodas in Yeongnyeongsa (AD 516) and Jopaengseong temple (AD 535~561) of China showing that the Wangheungsaji simcho was the earliest of its kind.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.61-78
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• 2008

Celadons painted in underglaze iron brown 'Sung(成)' inscription are characteristic celadons excavated only at the No. 7 kiln site located at Sadang-ri(沙堂里), Daegu-myeon(大口面), Gangjin-gun(康津郡), Jeollanamdo(全羅南道), Korea and has inscription in the inner center of the foot by brush. The inscription was marked where it is not easily seen. it can be assumed that since it showed a variety of hand writings, many people were involved in manufacturing these celadons and the 'Sung' inscription was marked after workshop rather than manufacturer. It was also found that quality of glaze, paste, shape, pattern and firing method were same and these were manufactured with the same techniques in the same period. Kinds of these celadons were mainly sets of tablewares including bowl with handle, bowl, plate, cup, bowl with cover and bottle. Raised relief designs using extrusion technic were especially preferred rather than incised designs and inlaid designs. Cases of using inlaid designs were not frequently found compared to incised designs, thus it can be assumed that in this period, inlaid designs were not generally used. Special designs having the meaning of authority or dignity such as chrysanthemum, peony, parrot and lotus plate designs were not found. Foot was molded with 'U' type except some bowls with cover and plates and firing was done after glazing the whole surface of the ceramic with the support of quartzite at 3 to 4 places of inner bottom of foot. Production period of these celadons with 'Sung' inscription can not be confirmed from other excavation sites outside of No. 7 kiln site at Sadang-ri since there are no other excavation sites whose relics bear 'Sung' inscription. Through comparison research with other relics bear the characteristics of these celadons from tombs, temple sites, shipwrecks, production period of these celadons with 'Sung' inscription can be assumed as second quarter of 13th century. And since the quality of these celadons are generally inferior to the top-quality celadons which were supplied to royal familes and high-ranking aristocrats, it can be deducted that these celadons with 'Sung' inscription were supplied to classes lower than royal familes and high-ranking aristocrats. So it is considered that Celadons with 'Sung' inscription have a great significance as a chronological material to complement the blank of the first half of the 13th century because most of celadons with raised relief designs and engraved relief designs were attributed to 12th century, the period of prosperity.