• Conservation Science in Museum
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• v.16
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• pp.138-153
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• 2015

Wooden standing Bodhisattva in the collection of the National Museum of Korea (Bon 8239) was purchased as part of the museum's Central Asian collection during the Museum of Japanese Goverment General of Korea. The wooden statue exhibiting classical characteristics of Song Dynasty Buddhist sculptures is colored on the whone. The result of condition check for exhibition in 2014, it has severely damaged, with discoloring and exfoliation in color pigment and crack of wood observed in various areas. The object was therefore treated for conservation. A series of analysis were performed also at this time to determine the production technique and the materials, including testing of the X-ray penetration depth, X-ray fluorescence analysis and wood species analysis. This revealed that the statue was made by joining several separate pieces of wood. As for color pigments, the white pigment was either chalk (CaCO₃) or gypsum(CaSO₄·2H₂O), and the green pigment was emerald green (Cu(C₂H₃O₂)₂·3Cu(AsO₂)₂). The red pigment appeared to be lead red(Pb₃O₄) and the blue pigment was ultramarine blue (3Na₂O·3Al₂O₃·6SiO₂·2Na₂S). All the pigments were repainted in later eras. The analysis, indicated that the wood was derived from a tree of the genus Populus, family Salicaceae. The wooden standing Bodhisattva was repaired and reinforced with natural materials and was brought to a stable condition necessary for display.

• Journal of the Korean Society for information Management
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• v.39 no.2
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• pp.87-110
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• 2022

This study was conducted based on the need to establish an operational plan following the establishment of the Okcheon-gun Daily Life Culture and Sports Center Library, and for the users of public libraries in Okcheon-gun, the functions and roles of the Okcheon-gun Library, collection related to operational direction, user service related activation, library usage related status survey, preference for the future use and perception of desired services were surveyed. Based on the results of the perception survey, the direction required by the Okcheon-gun residents for the Library was identified, and the research results are as follows. As a result of the study, first, when establishing a collection plan, the data types ought to be based on the printed materials and the multi-media materials to reflect the needs of the users, and it may also be necessary to collect them in consideration of the subject areas including literature, art, history, and technical sciences. Second, to provide various information services, it would be necessary to establish an overall information service plan, and it was identified that it would be necessary to develop various information services according to the user preferences and provide cooperative services. Third, it was determined that the programs appropriate for the various subjects and age groups should be continuously expanded moving forward in consideration of the larges demand for programs by the residents of Okcheon-gun. Fourth, new constructions and spatial improvements are needed, and the overall preference for open spaces was significant. In the case of cultural space, the preference for youth cultural facilities, convenience facilities for residents, infinite loss of imagination, and the (experiential) exhibition halls turned out to be large.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.3
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• pp.47-55
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• 2016

RHS is a core organization with huge influences on the expansion of the base for the garden culture and industry. This study aimed to examine the meaning and value of the professional charity's role through the appearance background and developmental process of RHS. The passion for plant collection in the Victorian Age of the $19^{th}$ century became the background of establishing the society. Such background of the times and the root of the society are deeply related to the British civil garden culture. The consideration of the forming process of RHS and the study can be summarized as below. First, the professional introduction of exotic plants by plant hunters was developed into an organization supporting professional plant research through collection, sampling, and records, which led to the development of horticulture techniques, growth of plant nursery businesses and established the foundation of the civil garden culture in the UK. Second, after John Loudon was involved in RHS, inspired by the press editing more practical information contents, middle-class and women became new patrons to gardening. Therefore, the care of gardens became a source of agreeable domestic recreation, especially to the female sex. Third, $19^{th}$ century plant collection and exhibition was seen in the Chelsea Flower Show which a key role beyond the UK garden culture. Fourth, those acts of RHS and modernity in $19^{th}$ developed British middle-class domestic gardens which have the character of the ordinary and national garden style in the UK. Such history and activities of RHS are connected to the national status as a country of gardens, which suggests clues to practical measures and values we should aim for in order to settle citizen-centered garden culture.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.

• Korean Journal of Environment and Ecology
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• v.25 no.5
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• pp.787-798
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• 2011

An arboretum is defined as a collection of facilities that conserve plant species by surveying, collecting, and proliferating and preserving the plants in nature, perform diverse researches on plants and display the plants in exhibition spaces or outdoors as well as provide the public with educational programs and refreshment spaces according to the laws concerned. The public, however, recognizes the exhibition and education functions on plants of arboretum more importantly compared with the roles to survey, collect, and proliferate plants as regulated by the laws. In particular, arboretum plays a role to offer a pivotal educational place in urban area where the public can obtain an hands-on experience and understanding on a wide range of plant species and natural environment. The study aims to estimate the non market environmental values of Daegu Arboretum operated by Daegu Metropolitan City government by using the Contingent Valuation Methods (CVM), which yields the current monetary estimates for the arboretum. The value estimation was undertaken by using the Double-Bound Dichotomous Choice (DBDC) method, and each estimated value was derived from respective functions based on a logit distribution known to include relatively stable estimates according to the shape of the distribution. Considering the statistical fitness test results, the author estimated the amounts of the Willingness To Pay (WTP) such as mean WTP of 12,718 KRW, median WTP of 11,033 KRW, and truncated mean WTP of 11,468 KRW, which represented the annual recreational values per a person visiting Daegu Arboretum respectively. The analysis showed that Daegu Arboretum created the annual environmental values which were estimated to be approximately 16 to 19 billion KRW. The study also has an implication that the valuation method for the environment of Daegu Arboretum may be effectively applied for estimating the values of other types of environmental goods by altering the locations or goods to be analyzed.

• The Korean Journal of Archival Studies
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• no.74
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• pp.45-78
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• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• Conservation Science in Museum
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• v.8
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• pp.13-24
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• 2007

The Department of Fine Art requested the conservation science team to examine the technique of painting with gold powder on the gold painted porcelains, which were made in Korea and China, among the items possessed by National Museum of Korea in order to publish it in the research paper collection of the Exchange Exhibition of Korea and China Porcelains. Among the items possessed by National Museum of Korea, such items were included as, an item of Koryo inlaid celadon (No. Gaesung 106), called the celadon with inlaid work (Korean name: Cheongjasanggam suhawonmun geumchaepyunho), which was decorated in the layer of glaze using gold power, an items of tea cup called "Temmku da wan" (No. Bongwan 10011), which was manufactured in the time of Song dynasty of Chinese history, an items of gold cup called "Siyuchohwamun hwageumwan" (No. Bongwan 2027), and an items of a porcelain called "Siyuwan" (No. Duksoo 3322). As the result of the examination, the stabilizing method of baking the decorated porcelains is similar, after they are painted with the pigment mixed with fine gold powder and the glaze solvent, but the treatment method of the colors is a little different among them. In other words, there is a big difference between them, for example, in the case of Koryo celadon, because the gold coloring was painted carefully one by one on the splendid decorations of inlaid works, while in the case of Chinese porcelains, butterflies or arabesque designs are decorated on the layer of the glaze in the porcelains of no decoration, using the stencil skill. According to the result of this examination, the part of the porcelain, whose layer of gold color was peeled off, could be restored, and as the result of the restoration, it was confirmed how beautiful and splendid the gold porcelain had been at the time of being manufactured.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2019.10a
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• pp.47-47
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• 2019

미얀마 Indo-Burma 지역은 13,500종의 식물종이 분포하고 있는 생물다양성 핫스팟이다. 북부 산악지역에서 남부의 망그로브 지역에 이르는 다양한 특성의 생태계로 구성되어있다. 그러나, 풍부한 생물 다양성은 인간에 의해 인위적인 간섭, 개발, 모노크림 재배와 같은 지속적인 삼림 벌채로 위협 받고 있다. Dprovidedc와 Krupnick (2018년)은 123과 472종의 미얀마 약용식물을 학명, 영명, 미얀마 식물명 그리고 미얀마 현지에서 쓰이고 있는 약용식물의 활용 및 보존 상태를 종합적으로 정리했다. 이 중 약 13%가 보존 상태에 대한 평가를 받았으며 IUCN의 멸종 위기 종 목록(IUCN2017)에 등재되었다. 비록, 전국에 다양한 식물 및 생물 다양성이 분포되어 있지만, 미얀마는 여전히 지속 가능한 관리와 사용을 위한 인적자원과 시설이 부족하다. 국립수목원(KNA)은 2013년부터 미얀마 천연자원환경보전부(MINISTRY OF NATURAL RESOURCES AND ENVIRONMENTAL CONSERVATION, MONREC)와 미얀마 산림과학원(Forest Research Institute, FRI)과 함께 미얀마 보호지역 및 Saggaing 지역 내 식물 다양성 보존을 위한 공동 현장조사, 연구 및 출판 등의 협력사업을 진행하고 있다. 또한 국립수목원(KNA)는 약용으로 가치가 있는 미얀마 식물 생체를 수집, 현지외 보전 중이며 이중 65과 326종의 식물 생체를 국립수목원(KNA)에 있는 열대식물자원연구센터에 보존과 교육 목적으로 전시 중이다. 이 기증은 미얀마에서 식물생체를 국외로 반출한 첫 번째 사례이며 국립수목원(KNA)은 2008년 독일에서 열대식물을 기증받은 사례 다음으로 두 번째로 외국 정부의 공식적인 대량 식물 도입 사례이다. 도입한 식물 중 Santalum album L. 과 Amorphopallus paeoniifolius (Dennst.) Nicolson. 은 IUCN Red List of Threated Spiences (IUCN2017)에 취약(Vulnerable, VU), 관심필요(Least Concern, LC)로 분류되어 있다. 국립수목원 (KNA)는 2019년 6월 17일 개최된 "2019 아태지역 산림주간 및 28차 아태지역 산림위원회"에 참가하여 미얀마 도입식물 전시회를 개최 하였고, 국내 최초로 Amorphopallus paeoniifolius (Dennst.) Nicolson.의 Leaf Cycle을 타임랩스 촬영하여 국립수목원 웹진(10월 호) 과 YouTube에 연구성과를 홍보하고 있다. 또한 국립수목원 열대식물자원연구센터는 2,700여종의 미얀마, 라오스 등 무한한 가치를 지닌 열대식물의 수집 보전으로 기초 응용 연구기반을 구축하여 국민들에게 열대식물의 중요성과 잠재적인 자원가치를 알리는 역할을 하고 있다.

• Conservation Science in Museum
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• v.27
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• pp.39-56
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• 2022

The purpose of this project was to improve the stability of a pair of leather socks for use on snowy days in the collection of the National Museum of Korea (Namsan1567) by conducting conservation treatment and restoring the socks to their original form for use in research and exhibition. Leather socks are referred to in ancient documents with names combining the word "mal" for socks with a term indicating their material (e.g., pimal, meaning leather socks; nokpimal, meaning deer leather socks; jangpimal, meaning roe deer leather socks, or lipimal, meaning racoon dog leather socks) and are mentioned mostly in connection with Jeju Island. Related documents include the Seungjeongwon ilgi (Daily Record of the Grand Secretariat), Injaeilnok (Diary of Injae Jo Geukseon), and Hamel's Journal and a Description of the Kingdom of Joseon. Extant examples of ancient leather socks display the same form as beoseon (traditional Korean socks) and are made of either leather or a combination of leather and fabric. It is likely that such leather socks were worn on Jeju Island to protect the feet from the cold. A condition survey of the leather socks was first conducted to establish a plan for their conservation treatment. Since the socks were in rather poor condition, it was decided to identify their original form through an investigation of relics and pertinent previous studies. The socks were cleaned in consideration of results of the condition survey, and the missing parts around the necks of the socks were reinforced in a reversible manner using counting stitches with cloth dyed to match the original color. Since the bottoms of the socks had lost much of their original form due to deterioration and disintegration in the leather, supports were made and inserted inside the socks to help retain their shape. Through these processes, the structure and characteristics of the socks and the techniques used in their production could be analyzed, their condition was stabilized, and their original form was recovered.

• Journal of Conservation Science
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• v.38 no.2
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• pp.133-143
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• 2022

In this study, we analyzed the rickshaw (Owned by the Daegu Modern History Museum) by measuring each material. The purpose of the study was to identify the materials in modern cultural assets that utilize a variety of materials in a complex way, and establish basic data for preservation and management. Using portable X-ray fluorescence analyzers (P-XRF), species identification, fiber identification, paint film analysis (microscope observation, SEM-EDS, FTIR) on metal, wood, fiber and paint was carried out. Brass, an alloy of Copper, Zinc and Iron, was measured in the metal parts. Further, wooden parts, such as Oak (Quercus acutissima), Japanese Cedar (Cryptomeria japonica), Bamboo (Bambusoideae). Torreya nucifera (Torreya spp.) were identified in the body. Fiber parts consisted mainly of cotton, but some parts were also made of leather. In terms of paint, rickshaws were applied with multiple layers, using cashew (synthetic paint used in place of lacquer). In sum, the rickshaw body part appeared to overlap with layers of fiber, metal (soild), paint, and colored (black, red) layer.