The Sillok as National Supreme Archives : An archival interpretation (실록(實錄) : 등록(謄錄)의 위계(位階))
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- The Korean Journal of Archival Studies
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- no.3
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- pp.91-113
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- 2001
History always be re-interpreted as the time flows. 'The Sillok', Which was registered in Memory of World of UNESCO in 1997, is comprehensive documents of the Chosun Dynasty, which had been compiled after kings' death, The Sillok encompasses 473 years of the reign in their 848 volumes(1,893 chapters). It was a history itself and has been main source in studying Korean history. Due to the rise of studies on the Sillok, time has come to explore the nature of the Sillok and to criticize the text, which would be called 'The Sillok-Study'. In this context, this paper examined three concepts that categorize the nature of the Sillok as historical materials ;Is it book or record?; The Sillok in register system in pre-modern society; And the Sillok as the National Archives. Korean historians, including myself, haven't yet examined the question whether the Sillok is the Book or Record in terms of archival science. At first, I regarded it as history book, and with this presupposition, wrote several papers on the characteristics of the Sillok. However, I recognized that the Sillok are close to record rather that history book as I examined the definition of glossary of librarian study, OED (Oxford English Dictionary) and Encyclopedia of Britannica, etc. Definitely, the Sillok was neither compiled and published to be read and sold publicly, nor meant to the works of literature or scholarship. one may say that the court-historians wrote comments on the facts and therefore it was just scholarly work. However, because the court-historians produced their comments on their own businesses, the outcome of 'their scholarly works' were also records conceptually, as were daily court-journalists in Rome. Its publication also had a absolutely different meaning from that of modern society. It was a method to preserve the important national records and distributed each edition of them to plural repositories for its safety and security. How can we explain its book-like shape and the procedure of compilation after a kings' death. The answer is as follows ; In pre-modern society, it was a common record-keeping system in the world to register records materials in order to arrange the materials of different sizes and to store them conveniently. And the lack of scientific preservation or conservation skill also encouraged them to register original records. Actually, the court-historians who participated in the compiling process called themselves "registering officers". On the other hand, similar to social hierarchy, there was a hierarchical system of records, and the Sillok was placed at the top of this hierarchy. In conclusion, the Sillok was a kind of registered records in the middle ages and the supreme records in the records-world. In addition to this we can also conceptualize the Sillok as archives. Through the compiling process, the most important and valuable records were selected to be the parts of Sillok. This process corresponds to the modem records appraisal. In the next step, it was preserved in the Four Archives(史庫) which located at remote site as archives and only accessible by the descendents in the future, who might be the people of the next dynasty. And nobody could access or read the documents at that time except the authorized court-historians who were archivists of the Chosun Dynasty. From this perspective, I conclude that Sillok was the supreme confidential archives in the register system. I work for the Government Archives as a historian and archivist. Whenever I entered the exhibition hall of the Government Archives and Records Service(GARS) and saw the replica of the Archives of Taebeak Mountain built during Chosun period, I always asked to myself a question whether the Sillok can be a symbol of the archival tradition of Korea and the GARS. Now, I can say, 'Yes!' definitely.
The Korean Culture Contents spread out to Worldwide, because the Korean wave is sweeping in the world. The contents stand in the middle of the Korean wave that we are used it. Each country is ongoing to keep their Culture industry improve the national brand and High added value. Performing contents is important factor of arousal in the enterprise industry. To improve high arousal confidence of product and positive attitude by populace is one of important factor by advertiser. Culture contents is the same situation. If culture contents have trusted by everyone, they will give information their around to spread word-of-mouth. So, many researcher study to measure for person's arousal analysis by statistical survey, physiological response, body movement and facial expression. First, Statistical survey has a problem that it is not possible to measure each person's arousal real time and we cannot get good survey result after they watched contents. Second, physiological response should be checked with surround because experimenter sets sensors up their chair or space by each of them. Additionally it is difficult to handle provided amount of information with real time from their sensor. Third, body movement is easy to get their movement from camera but it difficult to set up experimental condition, to measure their body language and to get the meaning. Lastly, many researcher study facial expression. They measures facial expression, eye tracking and face posed. Most of previous studies about arousal and interest are mostly limited to reaction of just one person and they have problems with application multi audiences. They have a particular method, for example they need room light surround, but set limits only one person and special environment condition in the laboratory. Also, we need to measure arousal in the contents, but is difficult to define also it is not easy to collect reaction by audiences immediately. Many audience in the theater watch performance. We suggest the system to measure multi-audience's reaction with real-time during performance. We use difference image analysis method for multi-audience but it weaks a dark field. To overcome dark environment during recoding IR camera can get the photo from dark area. In addition we present Multi-Audience Engagement Index (MAEI) to calculate algorithm which sources from sound, audience' movement and eye tracking value. Algorithm calculates audience arousal from the mobile survey, sound value, audience' reaction and audience eye's tracking. It improves accuracy of Multi-Audience Engagement Index, we compare Multi-Audience Engagement Index with mobile survey. And then it send the result to reporting system and proposal an interested persons. Mobile surveys are easy, fast, and visitors' discomfort can be minimized. Also additional information can be provided mobile advantage. Mobile application to communicate with the database, real-time information on visitors' attitudes focused on the content stored. Database can provide different survey every time based on provided information. The example shown in the survey are as follows: Impressive scene, Satisfied, Touched, Interested, Didn't pay attention and so on. The suggested system is combine as 3 parts. The system consist of three parts, External Device, Server and Internal Device. External Device can record multi-Audience in the dark field with IR camera and sound signal. Also we use survey with mobile application and send the data to ERD Server DB. The Server part's contain contents' data, such as each scene's weights value, group audience weights index, camera control program, algorithm and calculate Multi-Audience Engagement Index. Internal Device presents Multi-Audience Engagement Index with Web UI, print and display field monitor. Our system is test-operated by the Mogencelab in the DMC display exhibition hall which is located in the Sangam Dong, Mapo Gu, Seoul. We have still gotten from visitor daily. If we find this system audience arousal factor with this will be very useful to create contents.
Surveys of Buddhist ruins at Namsan in Gyeongju began in earnest during the Japanese colonial era, undertaken by Japanese scholars. These surveys of Buddhist remains in Namsan made during the colonial period should be seen as previous research which cannot be ignored in any in-depth study of Buddhist ruins in Gyeongju. Full-scale surveys of Buddhist ruins at Namsan began in the 1920s. Previous surveys conducted around the time of the Japanese annexation of Korea in 1910 are generally viewed as only representing preliminary investigations and, thus, have not received much attention. However, these early surveys are significant in that they led to the Buddhist ruins on Namsan becoming widely known in the 1910s and served as the foundations for later studies. The removal of the Seated Medicine Buddha from Samneung Valley in Gyeongju in 1915 and its subsequent exhibition at the Joseon Local Products Expo, which marked the fifth anniversary of the Japanese administration of Korea, was especially important in garnering attention for Namsan's wealth of Buddhist artifacts, as the statue was placed in the main hall of the art museum and attracted a great deal of interest from visitors. It is typically thought that this Seated Medicine Buddha was exhibited in 1915 because it was the most beautiful and well-preserved statue from Namsan. However, the removal of this statue was closely related to the proposed move of the Seokguram statue to Seoul around the time of Korea's annexation. The plan to move Seokguram to Seoul was primarily devised by Terauchi Masatake, and the plan, based on Ilseontongjo-ron ('日鮮同祖論'), a historical theory that prehistoric Korean and Japanese people were of the same blood, and Joseon Jeongcheasoeng-ron ('朝鮮停滯性論'), a historical theory arguing that development had stagnated in Korea, was intended to be a visual demonstration of a new era for Korea. This new era was to proceed under the rule of the Japanese Empire through the dissolution of Gyeongbokgung, the symbol of the Joseon Dynasty, which would be replaced with past glories as symbolized by the statue of Buddha. However, as the plan floundered, the replacement for Seokguram in Seoul ended up being none other than the Seated Medicine Buddha of Samneung Valley. Surveys of the Seated Medicine Buddha began in 1911, administered by Sekino Tadashi, but he likely learned of the statue's location from Moroga Hideo or Kodaira Ryozo, Japanese residents of Gyeongju. It is also probable that these Japanese residents received a request from the Japanese Government General of Korea to find a Buddha statue that was worthy of being displayed at exhibitions. In this way, we can say that the transfer of the Seated Medicine Buddha to Seoul was the result of close cooperation between the Government General, Sekino Tadashi, and Japanese residents of Gyeongju. This also had the effect of removing the magical veil which had shrouded the Buddhist ruins of Namsan. In other words, while the early surveys of Buddhist ruins on Namsan are significant, it is difficult to argue that the surveys were undertaken for purely academic purposes, as they were deeply related to the imperial ambitions of Governor-General Terauchi which encompassed the plans to move Seokguram to Seoul and the successful hosting of the 1915 Expo. It should also be pointed out that the failure of the plan to move Seokguram to Seoul and the preservation of the Seated Stone Buddha of Mireuggok at Namsan was in no small part due to resistance from Korean residents in Gyeongju. Although it is not described in detail in the paper, research is needed which shows that the Korean residents of Gyeongju were not simple bystanders, but agents of history.
Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.