• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.28 no.1
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• pp.169-171
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• 2015

• The Research Journal of the Costume Culture
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• v.29 no.5
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• pp.735-746
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• 2021

Uiwon-gun (1661-1722) and Sim Ikchang (1652-1725) were people of the upper classes of the Joseon Dynasty, who's belts woven with thread were found in their graves. The purpose of this study is to find a term suitable for the belts of these two people and to reveal the characteristics of the two belts and decipher the 8-character text marked on Shim Ikchang's belt to understand its meaning. The terms used during the Joseon Dynasty related to woven belts include "Gwangdaho", "Daeja", "Bunhapdae", "Sagagda", "Bangseungah", and "Samunjikdae". Among these terms, "Gwangdahoe" is the most suitable to indicate the belts of for both belts. The belts are made of a silk fabric of narrow width. The size of Uiwon-gun's belt is 2.8×199cm, and because it is folded in half lengthwise and sewn, the original width is 8cm. It was woven in the imitation gauze technique. Sim Ik-chang's belt measures 10.5×258cm and is decorated with a woven net at the end. There are water and mountain patterns on both ends of the belt, with 11 lines of flower patterns equally spaced between. The belt is damask, the inscription part is made of brocade with letters expressed in golden thread. The meaning of the inscription is "Made in Hanbu. May you live a long and healthy life".

• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.4
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• pp.18-31
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• 2024

This study examines the inscription trends and characteristics of 121 cultural landscapes inscribed on the UNESCO World Heritage List to gain a comprehensive understanding of their inherent values and attributes. By employing a dual methodology involving descriptive statistical analysis and in-depth case studies, this research investigates the geographical distribution, temporal inscription patterns, selection criteria, and typologies of these landscapes. The data for this study were collected from official documents and databases available on the UNESCO World Heritage Center website, ensuring the reliability and authenticity of the information. The analysis reveals that cultural landscapes are predominantly concentrated in Europe and Asia, with a steady increase in inscriptions since 1992. These landscapes are primarily recognized for their uniqueness in reflecting human-nature interactions, as well as the importance of traditional culture and land-use practices, resulting in their inscription mainly under criteria (iv), (iii), (v), and (ii). Furthermore, cultural landscapes can be broadly categorized into three types: designed landscapes, organically evolved landscapes, and associative landscapes. Among these, organically evolved landscapes, formed through long-term interactions between human activities such as agriculture and industry and the natural environment, constitute a significant proportion. These findings suggest that UNESCO World Heritage cultural landscapes possess a complex value system encompassing nature and culture, tangible and intangible elements, and material and non-material aspects. This necessitates a fundamental shift in the perception and preservation approaches to cultural heritage, requiring an integrated approach that emphasizes the overall context rather than individual elements and focuses on the dynamic process of landscape evolution itself. Moreover, cultural landscapes have the potential to contribute to sustainable development models by fostering regional identity, strengthening community resilience, and promoting sustainable economic growth. Therefore, the preservation and management of cultural landscapes require a perspective that holistically views the dynamic evolution process of the landscape and a governance system based on the active participation of local communities and stakeholders. This study contributes to enhancing the in-depth understanding of the characteristics and values of cultural landscapes and provides a foundation for the selection and management of future cultural landscape heritage sites.

• Journal of Conservation Science
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• v.35 no.5
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• pp.453-469
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• 2019

The celadon jar with inscription of 'the Fourth Sunhwa Year' is an important chronology that shows the conditions of production of the early celadon due to the inscription on the bottom including its purpose, application, and the producer. This celadon jar has been restored several times in the past. However, concerns over the structural stability, such as the separation and level differences in the joined cracks, have risen because of the aging of the repair materials, which were subjected to various environmental changes over a long time. By examining the conditions of preservation, the major damage was identified as the '入' shaped crack on the front, the 'V' shaped restored part and the crack on its left side, and the 'J' shaped crack on the back side. In the past, the cracks were found to be joined using a refined lacquer containing camphor, drying oil, rosin, etc. mixed with soil powder. The joint line was repainted with the refined lacquer and covered with gold powder. The missing parts were restored with gypsum and colored with acrylic color. After that, the repair materials were aged and emergency treatment was performed at the National Museum of Korea in 1981. At that time, Cemedine C or Cemedine C mixed with microballoons was used for reinforcing the cracks. Conservation treatment focused on removing the past repair materials and reinforcing the physically fragile parts by joining and restoring them based on the examination of the preservation condition. in addition, the area around the restored part was colored for future exhibition.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.54-71
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• 2018

This year marks the 40th anniversary of the first inscription of 12 UNESCO World Heritage sites in 1978. Based on an overview of the implementation of the 'Convention Concerning the Protection of the World Cultural and Natural Heritage', this article examines the current issues of the inscription of cultural heritage over the past 40 years. In particular, this paper focuses on the case study of 'Sacred Island of Okinoshima and Munakata Region' nominated by Japan, which was inscribed on the World Heritage List at the 41st World Heritage Committee in 2017. Also, it demonstrates the recent trend and investigates the issues of imbalances in the evaluation and the decisions among relevant actors in the nomination process of World Heritage. Furthermore, this article attempts to derive feasible implications and lessons, and to generate heritage discourse by examining Japan's management in 'heritage diplomacy' of the World Heritage Convention, which is rapidly changing in the course of its nearly half a century of implementation. In conclusion, the research is expected to provide Korea with strategic guidance marking the 30th anniversary of its entry into the Convention, and to steer the future direction for the inscription and conservation of cultural heritage.

• Conservation Science in Museum
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• v.27
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• pp.125-146
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• 2022

The Wooden Gamsil with Inscription of "Botajeon" in the collection of the Dongguk University Museum was made in imitation of the wooden architecture style of the late Joseon period. The Gamsil had suffered exfoliation in the pigment and loss of components and thus underwent conservation treatment. Prior to the conservation treatment, the damage was classified by type and form, scientific analysis was carried out on the fiber and the species of wood, and portable X-ray fluorescence (P-XRF) analysis was conducted for the pigment component analysis. According to the analyses, Korea Pine(Soft pine) was used for most parts of the Gamsil, Manchurian walnut (Jugalns spp.) was used for the signboard, and the fiber used was identified as rice straw (Oryza sativa). The P-XRF identified white lead and zinc oxide in the white pigment, red lead in the red pigment, ultramarine blue in the blue pigment, and emerald green in the green pigment. For the conservation treatment, contaminants attached to the gamsil were removed by both dry and wet cleaning, detached parts were reattached in their original places, and lost parts were restored.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.11-31
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• 2019

Taking the painting, 「Landscape of the Jiuqu River in the Wuyi Mountain」 as the study object, which was produced in the middle of Qing Dinasty and collected by the British Library, this paper analyzes the scenery names recorded in the painting, and describes the landscape of the mountain, port and ships, architectural elements, civil elements, character, stone inscription and other scenery in the painting. The investigation results of the cultural landscape properties of each Gok are as follows: According to statistics, there are 28 architectural elements in the painting, including 7 pavilions (25%), 4 temples (14.3%), 3 Colleges and Taoist temple (10.7%), 2 Dowon(道院) and villages (7.1%); 29 civil elements, including 9 holes (31%), 6 Historical Sites (20.7%), 3 Stations(臺) (10.3%), 2 Ferries, 2 Bridges, and 2 Ponds (6.9%), 1 Garden, 1 Gate, 1 Mine(坑), 1 Well and 1 Remains(3.4%). These physical factors and civil factors are the important relics reflected the cultural landscape attributes of Wuyi-Gugok in the middle of the 18th century. Among the shape element in each Gok, the 1^st Gok have 12 shape elements(21.1%), the 5^th Gok 11(19.3%), the 4^th Gok 9(15.8%), the 9^th Gok 8(14%), the 3^rd Gok 7(12.3%), the 6^th Gok 4(7%), the 2^nd Gok 3(5.3%), the 7^th Gok 2(3.5%), and the 8^th Gok 1(2%). Through collation, it is found that the 1^st Gok, 5^th Gok and 4^th Gok have more prominent cultural landscape characteristics. In addition, according to the description of scenic spot types in 『Muisanji(武夷山志)』, there are 38 types of scenery description in the painting, of which, the three scenery of big rock, peak, small rock occupy the vast majority. This reflects the Danxia(丹霞) landform characteristics of Wuyi-Gugok. The cultural connotation of Wuyi Mountain expressed and contained in the painting is analyzed and interpreted, and it is found that the Jiuqu(九曲) River in the Wuyi Mountain has Neo-confucianism culture, Taoism culture, Buddhism culture, Tea culture and so on. In addition, among the 171 scenery names shown in the painting, there are altogether 7 stone inscriptions that are consistent with or have the same meaning as the rock inscriptions site, including 3 for inscriptions praising the landscape, 3 for philosophical inscription and 1 for auspicious language inscription, which is considered as the important basis for the mutual textuality between the pictures and the stone inscriptions.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.62-79
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• 2015

The Stele for State Preceptor Doseon and Seon Master Sumi of Dogapsa Temple in Yeongam was erected in the fourth month of 1653. It was made with stone obtained from Yeosan(present-day Yeosan-myeon, Iksansi), and contains an inscription - engraved in the spring of 1651 - commemorating the two priests. The project to erect the monument was led by eminent monks, including Gakseong and Sucho, with the support of royal patrons and powerful statesmen including Prince Inpyeong(1622~1658). This monument is thought to be the first of its kind to have a capstone in the shape of a 'dragon loop' handle of the kind traditionally attached to the top of a temple bell. Stone stelae with a dragon-loop-shaped capstone continued to be used by the royalty and nobility of Joseon until the 18th century. The inscription engraved on the rear face of the monument reveals that it was made by Jo Mal-ryong, a renowned stonemason who worked on stone monuments and figures for royal tombs in the mid-Joseon period. He is known as the only stonemason to have been awarded the third highest rank(Jeong-sampum) of government, including the posts of Grand Master(Tongjeong Daebu) and General(Jeolchung Janggun), as recorded in the inscription. The monument corroborates the prevalent view that he was the creator of monumental capstones of the highest aesthetic merit in Joseon, and provides valuable insights about the leading artisans who produced monumental stones for royal tombs in the 17th century. This particular monument is highly regarded as a valuable historical relic because of the detailed information contained in the inscription, including the dates, work processes, patrons and artisans related with its creation, and because it features outstanding workmanship by some of the greatest artisans of the period. The monument also provides important clues about the transition from the Buddhist monuments created under the auspices of the royalty and nobility of mid-period Joseon to the symbolic stone structures and figures made for the tombs of royalty and nobility.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.162-182
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• 2024

Since the adoption of the World Heritage Convention, sites associated with dark histories have been inscribed as World Heritage sites over the past fifty years. However, in 2018, the review of nomination dossiers for these sites was temporarily suspended to prevent additional discomfort or the conflicts these inscriptions might cause. Despite concerns raised by experts about nominations of these sites, the increasing demands from State Parties led to the adoption of the Guiding Principles for the Preparation of Nominations Concerning Sites of Memory Associated with Recent Conflicts. These Guiding Principles have made it possible to inscribe such sites as World Heritage sites. The Guiding Principles play a crucial role in outlining the nature and criteria for inscription, the components required in the nomination dossier, and mechanisms for notifying a contestation in cases of differing interpretations of the site. Their primary aim is to minimize further conflicts that may arise from the inscription of sites of memory. They affirm that such sites can contribute to achieving the objectives of the World Heritage Convention and represent a significant step in addressing heritage interpretation in the World Heritage system. The amendment of the Operational Guidelines to incorporate a contestation mechanism has arguably established a more transparent and open inscription process. However, the Guiding Principles also have limitations. Among the ten criteria set by the World Heritage Convention, sites related to conflicts or dark histories can use Criterion (vi). This criterion focuses on the site's outstanding universal value linked to historical events or associations, regardless of physical evidence. If a State Party chooses not to use Criterion (vi), the application of the Guiding Principles cannot be expected. Furthermore, while the Guiding Principles require a heritage interpretation strategy in the nomination dossier, the lack of detailed guidance may confuse nominating countries. Sites of memory associated with recent conflicts are not just places that need protection and remembrance due to their association with dark histories. They have also evolved to become spaces for reconciliation and healing. The inscription of these sites as World Heritage sites is not just a recognition of their historical significance, but also a platform for discussing the impact of past conflicts on modern society. It opens up a dialogue on how current generations can address these issues. With the adoption of the Guiding Principles, we hope that inscribed sites will not only promote reconciliation and healing but also serve as a starting point for addressing present and future challenges.

• Journal of Information Display
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• v.9 no.4
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• pp.6-10
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• 2008

In this study, the selective-wettability-inscription (SWI) technique for the wet-etchingless fabrication of surface microstructures applicable to wide-viewing liquid crystal displays (LCDs) on plastic substrates was demonstrated. On the basis of the selective wetting of the photopolymer, the bi-level microstructures were spontaneously formed to serve as spacers for maintaining uniform cell gap and protrusions for the generation of multi-domains. The LC cell that has bi-level microstructures shows good extinction in the field-off state and a wide-viewing property in the field-on state. The SWI technique would be useful for the fabrication of flexible displays on plastic substrates.