• The Journal of the Korea Contents Association
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• v.21 no.8
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• pp.123-136
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• 2021

The Palace Museum Cultural Creative Products on Attitude and Purchasing Intention. Online surveys were conducted on consumers who had consumed Cultural and Creative Products of the Palace Museum in the past. There were 305 valid questionnaires empirical survey was analyzed. The results of the study are as follows. First, it was found that all three variables of Consumer Perceived Value had a significant positive effect on product Attitude. Second, among the three variables of Consumer Perceived Value, the Cultural Educational Value did not significantly affect the onsumer urchasing ntention, but other variables had a significant positive effect on the Consumer Purchasing Intention. Third, it was verified that Attitude has a positive effect on Purchasing Intention. Fourth, it was found that there was a partial mediating effect of the Attitude between the Perceived Value and the Consumer Purchasing Intention. According to the research results, while maintaining the cultural identity of cultural and creative products, it is necessary to adopt reasonable methods to maximize the sense of enjoyment and comfort, enriching the daily use functions and rationalizing the price standards.

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.

• Conservation Science in Museum
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• v.27
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• pp.57-66
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• 2022

This study conducted conservation treatment of a briefcase used by a soldier who fought in the Korean War as a member of the United Nations Forces. The zooid characteristics of its main material, leather, were analyzed in collaboration with the researchers at the National Palace Museum of Korea who have conducted relevant research. A plan for conservation treatment was established based on the results of this analysis. The briefcase was made of leather with a wooden frame. The many densely arranged tiny pores in different patterns on the leather's surface suggests calf leather. The wooden frame and leather had suffered deformation over long years of deterioration and thus required conservation treatment to enhance their structural stability. The conservation treatment began with the removal of contaminants from the exterior and interior of the briefcase. The stiffened leather was softened through humidification, and torn or separated areas were restored using cowhide glue. It is expected that the results of this conservation treatment and analysis of the leather material will serve as useful sources for basic research on leather items as well as wartime and military items.

• Journal of the Korea Convergence Society
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• v.13 no.2
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• pp.185-200
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• 2022

The innovative development of museum cultural products is an important way for museums to play the function of cultural communication with their collections. In the context of consumer upgrading, traditional cultural product design and sales methods gradually fail to meet the diverse needs of consumers. This study aims to propose the construction of a customized interactive experience platform for museum cultural products, promote the development of museum cultural products, and facilitate the inheritance and preservation of museum culture. The research methodology analyzes the model and characteristics of existing cultural product customization platforms by collating existing literature studies, and distributes 159 questionnaires to investigate the needs of cultural product consumers, and finally combines the customization experience with existing e-tailing platform systems according to user needs, proposes a theoretical framework and conducts design practice and usability testing using the Shenyang Palace Museum as an example. The findings show that users have a high acceptance of the customized platform for cultural products and that the design of the customized platform can be used to promote the dissemination of the cultural connotations of museums, optimize the personalized user experience of cultural products, and provide new ideas for the development, design, and retailing of museum cultural products. Based on the above findings, this paper suggests that museums' cultural product development can utilize the design model of customized platforms to further enhance consumers' personalized service experience.

• Conservation Science in Museum
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• v.21
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• pp.17-28
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• 2019

The term jinjuseon(眞珠扇), meaning literally a pearl fan, refers to a fan decorated with precious stones for use in royal wedding ceremonies. This study examined a jinjuseon housed in the National Palace Museum of Korea (NPMK) which currently lacks jeweled ornaments. In order to determine whether pearls or other gemstone settings originally ornamented the fan,the surface and composition of the gray materials remaining on the washers were investigated and the fan was compared with other artifacts decorated using similar techniques. The analysis revealed that the gray materials visible around the round rims of the washers contain tin-lead alloys. The traces of folded nails suggest that soldering was not applied. The remains of the infill observed in other artifacts with bezel settings indicate that this jinjuseon in the NPMK collection was produced using abezel setting technique wherein pearls or other gemstones were affixed by filling cylindrical bezels with tin-lead alloys.

• Conservation Science in Museum
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• v.13
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• pp.59-69
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• 2012

The flower type ornament of the gilt bronze palace-type sarira reliquary among those sarira reliquaries of the East Pagoda at the Gameunssa Temple Site, which is the Treasure No. 1359 owned by the National Museum of Korea, was separated from the sarira reliquary in November 2010, thus conducting conservation treatments to be done on two items including the gilt bronze palace-type sarira reliquary during the period of March-October 2011. Those conservation treatments were carried out by following the process of removing the coated areas having excessive gross and bubbles, re-coating with Incralac, and then strengthening both the cracked areas and the separated flower-type ornaments with woven glass fiber after rejoining. For those areas where removal of gloss and bubbles at the coating and adhesive areas was not possible, the gloss and bubbles were made less perceivable through matting treatment and coloring.

• Journal of Conservation Science
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• v.29 no.4
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• pp.379-388
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• 2013

Damaged the Jeoguibon (patterns of the Queen's ceremonial robe) was found during repair work of Daejojeon, Changdeok Palace in 2011. Analytical study on seven colors painted in the patterns has been conducted by P-XRF and Micro-XRD analysis. The result displays that red lead, ultramarine blue, conichalcite or mixed pigment of emerald green and barium white, orpiment and white lead had been used on the patterns. Comparison of the pigments used for the Pyeseulbon (patterns of the Queen's belt ornament covering knees in the front) housed in National Museum of Korea has revealed that not only red lead but also cinnabar and organic pigment had been used in the Jeoguibon and the Pyeseulbon housed in National Museum of Korea. In addition the same pigments has been examined in green and yellow parts of both the Jeoguibon in Daejojeon and the Pyeseulbon housed in National Museum of Korea. The result has shown that western's synthetic green pigment such as emerald green was introduced and used in 1920's. The scientific result from this study expects to be used as useful referencing data for the comparative understanding on pigments used in palace during the 20th century.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1255-1263
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• 2008

Study on Hwal-ot, woman's wedding robe of the Joseon Dynasty, has been limited to the Princess Bock-on's Hwal-ot and some folk remains. In this study, I tried to identify formative characteristics of Hwal-ot by studying embroidery design patterns in the royal Hwal-ot. On Mar 26, 2007, I inspected total of 15 pieces of embroidery design patterns for Hwal-ot held at the National Palace Museum of Korea. I classified them into three types of Hwal-ot by considering characteristics in embroidery design patterns as well as composition of embroidery design patterns held by the private. For the Hwal-ot embroidery design pattern type I, there is a calligraphy called "Embroidery Design Pattern of Red Long Robe for leo-dong Palace", which is presumed to be the embroidery design pattern of Princess Deok-on, the third daughter of King Sunjo and a little sister to Princess Bock-on. Its patterns are very similar to that of Princess Bock-on's, with similar flower patterns and treasure patterns, as well as overall stripy structure. The Hwal-ot embroidery design pattern type II maintains the same flower patterns and butterfly patterns as in the type I, but does not have the striped decorative. The Hwal-ot embroidery design pattern type III has illustrative design with waves and mountain at the background and a pair of water birds flying around lotus. In particular, the type III design has a nine phoenix pattern at the front part of the robe, illustrating nine baby phoenixes (four in the left, five in the right) under a mother phoenix, which is closer to characteristics found in the Hwal-ot embroidery design patterns at the end of the Joseon dynasty.

• 보존과학연구
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• s.29
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• pp.45-64
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• 2008

'No-An-Dang' in 'Un-Hyeun palace' was using as a guesthouse by 'dea-won-goon' built in 1864. 'No-An-Dang tablet' exhibited in 'No-An-Dang' seems to be made by using the letters which were written by 'Choo-sa Kim Jeong-Hee'. This tablet was manufactured by special processes; wood frame which was made of a Korean white pine was drawn patterns by variety pigment and latticed inside are joined with 3 of horizontal square wooden sticks and 7 of vertical square wooden sticks, then several sheets of the paper mulberry put on this frame and sheets cut along the edge of letter attached lastly. This structure of tablet could cause more conservation problems than only made in wooden structures. Therefore, replica was made and exhibited in bad condition and original one kept in museum storage for effective conservation of artefacts.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.10-23
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• 2021

During the Japanese colonial period, the palaces of Joseon were damaged in many parts. Changgyeonggung Palace is the most demolished palace with the establishment of a zoo, botanical garden, and museum. During the Japanese colonial period, the palaces of Joseon were damaged in many parts. This study examined the construction process of Jangseogak(Yi Royal-Family Museum), located right next to the Jagyeongjeon site, which was considered the most important space in the Changgyeonggung residential area of royal family zone, through historical materials and field research. Built in 1911, Jangseogak is located at a location overlooking the entire Changgyeonggung Palace and overlooking the Gyeongseong Shrine of Namsan in the distance. Changes in the surrounding space during the construction of Jangseogak can be summarized as follows. First, in the early 1910s, the topography of the garden behind Jagyeongjeon and part of the Janggo were damaged to create the site of Jangseogak. The front yard was built in the front of Jangseogak, and a stone pillar was installed, and a staircase was installed to the south. In the process, the original stone system at the rear of Yanghwadang was destroyed, and it is presumed that Jeong Iljae and other buildings were demolished. Second, in the 1920s, many pavilions were demolished and the zoo and botanical gardens and museums were completed through leveling. After the Jangseogak was completed, the circulation of the Naejeon and surrounding areas was also changed. Cherry trees and peonies were planted in the flower garden around the front yard of Jangseogak and the stairs, and a Japanese-style garden was created between Yanghwadang and Jibbokheon. Third, in the 1930s, the circulation around Jangseogak was completed in its present form, and the museum, Jangseogak, Zoological and Botanical Gardens, and Changgyeonggung, which became a cherry tree garden, were transformed into a Japanese-style cultural park. After that, the surrounding space did not change much until it was demolished. The restoration of the present palace is a long-term, national project of the Cultural Heritage Administration. The results of this study will provide important data for the restoration plan of Changgyeonggung Palace in the future, and it is expected that it will provide additional information to related researchers in the future.