• Korean Journal of Heritage: History & Science
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• v.38
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• pp.359-385
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• 2005

Red ocher, red lead or cinnabar has been as red colorant for ages. Cinnabar of the red pigments has been highly regarded as a valuable ingredient because it represent a symbol of exorcising and a haute image. It was used as a pigment of painting and mural painting, bowl, clothes, rock writing, gravestone, etc. It is powder which dissolves in perilla oil or glue before using. Because it is high-priced, the use of cinnabar may be limited to the privileged class. Therefore, red ocher or red lead was used instead of cinnabar. "Gongsagyunmunrok" demonstrated that government official's gravestonea has been painted red by two colorants in the period of the Goryeo dynasty. However, cinnabar may be used to paint gravestones for the first time in the period of the Three States because it has been transmitted since the times. This study discuss the results obtained from an analysis of the pigments used on the red pigments of the Stone Monuments. The results can be briefly summarized as below; First, the microcrystalline structures seen on the surface section of analyzed pigments, samples of which were taken from various parts of red pigments show that different sizes and shapes of pigment particle. Second, a result of the analysis on the composition and structure of the pigments shows that the main components in their composition are : Red pigments - Red lead($Pb_3O_4$), Cinnabar(HgS) and Hematite($Fe_2O_3$) White pigments - Calcite($CaCO_3$) Especially, we knew that red Stone Monuments were found to be natural mineral pigments, which were used as a singular or a mixture.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.254-273
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• 2023

In 2023, the Cultural Heritage Administration of Korea is transforming a system that has been in existence for the past 60 years. In these circumstances, an increasing recognition of the need for such changes is intended to start the study of the historical context in the conceptual development of cultural heritage. The employment of imported concepts of heritage created the demand for understanding at least the original contexts. Many European concepts have been introduced. In this study, the French Revolution is selected as the starting point for historical research on conceptual development. France opened a new horizon to national heritage since the establishment of the Republic at the end of the 18th century. The French Revolution placed monuments denied by the collapse of the Ancien Regime back into the boundaries of protection. In this process, the Commission des Monuments and the Commission Temporaire des Arts were created. There were limits to conservation activities in the context of the revolution and war. However, it is meaningful in that they established conservation principles with instructions and created new value for looking at monuments. It was pioneering in that it demonstrated the perspective of national heritage. This is significant because the top flow of conceptual development has led to a monument historique, bien culturel, and patrimoine culturel in France. This history provides a universal essence and has great implications for Korea as a divided country

• 한국문화재보존과학회:학술대회논문집
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• 2007.05a
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• pp.65-66
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• 2007

• Proceedings of the Zoological Society Korea Conference
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• 1999.10b
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• pp.314.2-314
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• 1999

No Abstract, See Full Text

• 보존과학연구
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• s.31
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• pp.103-120
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• 2010

Most of the important stone cultural heritage (National treasures and Treasures) in Korea are mainly located outdoor and considerably affected by the changes of the temperature, humidity and rainfalls. 541 of the stone cultural heritage are preserved as National treasure and Treasure. The pagodas occupy 187 remains and next 127 Buddha statues, 68 monuments, 60 stupas, and the others 74 stone cultural heritages. The shelter has been installed for one pagoda, 60 Buddha statues, 36 monuments and two stupas. The shelters are categorized in three shapes as traditional shape, modern shape, and others (tradition+modern). Approximately 100 of shelters that have constructed in traditional ways, and about nine of shelters have modern ways, and the only one has the combination shape of tradition and modern, which has been constructed since mid 1900s and repaired from the 1980s~2000s. Many researchers are studying for improvement of manners such as repairing, remodeling or removing of the shelter because problems have occured on shelters. Architectural form of traditional style of Korean timber building is respected, but it has problems on importing natural sunlight to the inside as well as ventilation and spacial problems. However, it needs to supplement policies to improve the positive roles of shelters such as prevention of artificial damage, blocking acid rain, and so on. For instance, the rock-carved Buddha Triad in Seosan, it had problems with viewing, contamination, and dew condensation on the surface. These problems decreased after dismantling the shelter, the space was made for improvement of viewing and dew condensation, and moisture problems were in better conditions. The velocity wind is an important factor in drying conditions on the surface of the rock, therefore the condition has improved after dismantling the shelter.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.23-34
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• 2012

After the modern age, the rapid urbanizationhad a big impact on the then architecture. R. Venturi and A. Rossi are two of the leading architects, developing architecture in cities in the US and Europe respectively. This study shed light on a tangible and intangible meaning and interpretation of urban landscapes through their architectural thoughts and architectures. The followings are the physical and intangible meaning and interpretation in architectural thoughts and works of those two architects. Venturi understood that iconological landscapes at the roadside in large citiesare the nature of physical landscapes. To Venturi, the façades of buildings at the roadside are a part of signage such as traffic lights and road signs, and those façades have the meaning of symbolic systems beyond simple physical landscapes. To A. Rossi, types of buildings as physical townscapes are a key role supporting raw data of classification in architecture. And also, those types have significance of the basic data shedding light on the principles and history of cities. For intangible factors in R. Venturi's architecture, daily routine, function and use, time, a use for a building and others form complex architecture. And also, those factors describe shared values of the same period as the façades of buildings and complex symbols and formative lexicons in metaphorical terms. For A. Rossi's intangible factors, 'collective memory' is buried in inhabitants of the city, and with that, the city is a place for memory to its inhabitants. What is more, cities' monuments have intangible landscapes like 'sustainability', 'permanence' and so on. With lots of events happening throughoutcities, those monuments are the whole images of cities giving the value to the urban buildings that reside in cities. Finally, R. Venturi's all-encompassing complex architecture concept was extended on a tangible and intangible point of townscapes. It was found that A. Rossi's tangible thought was formed from the whole landscape of historic cities in then Italy as the background of time and place. Also, With types of urban buildings and 'collective memory', A. Rossi drew architectural norms and formats of unchangeable types.

• Journal of architectural history
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• v.9 no.2 s.23
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• pp.101-116
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• 2000

Many cultural heritages for the modern ages in Korea are becoming lost rapidly as a result of subsequent technological innovation and changes in industrial structures and other reasons. But they are indispensable for an understanding of history, tradition culture of Korea, and form the basis for development and advancement of future culture at the same time. Therefore, this study is aimed to review the protection of cultural heritage in Japan, establishing the protection policies in Korea. In Japan, The Advisory Committee for the Preservation and Utilization of Modern Cultural heritage was organized by The Agency for Cultural Affairs. And this classified modern cultural heritage into four fields, as like; (1)monuments, (2)buildings, (3)fine arts and historical heritage, and (4)life, culture, and technology to pursue concrete research and study. The next step is tarrying out investigations to identify these cultural heritages, which were once the backbone of Japanese modernization and are now in the process of being lost, in an effort to preserve them as cultural heritage of the Japanese modernization period. The investigation will have conducted on an about eight year scheme starting with 1996. And it's will ask all local boards of education(of the prefectures, cities, towns, and villages throughout the country) to supply all related records or documents available and to cooperate in field studies. So now, many cultural heritages for the modern ages in Japan have been designated as Important Cultural Properties, Registered Tangible Cultural Properties, Monuments, etc. And they have been prepared various tax policy(ex, reduction of the real estate tax). Also, that's examples are not only one by one but magnified with protection of large-scale construction associated with region. In addition, magnified with region's activities. In conclusion, in the process, protection has been extended to a broader variety of cultural properties and much consideration has been given to the methods of protection in Japan.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.127-133
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• 2019

This study intends to discuss the system improvement of landscape architecture field in the cultural heritage protection system, which is changing continuously. The results are as follows. First, the status of landscape architecture in cultural heritage, including natural monuments and scenic sites, must be defined. If possible, careful consideration should be given to establish the natural monuments law and scenic sites law, respectively, related to landscape architecture. Second, natural heritage must be preserved by focusing on "space" to include cultural artifacts and landscapes that may be missing through the method of "object" focused protection. Institutionally, the scope of work should be clearly shared by reviewing the redundancy and interrelationship of related laws. Third, in order to protect and manage natural heritage, a department that is wholly responsible for landscape architecture should be established independently at the Cultural Heritage Administration. Fourth, the landscape architecture field should be specified as the requirements for the commissioner of commission at the Cultural Heritage Protection Act. In addition, it is necessary to improve the system such as expending the roles of the repairing technician for landscape architecture and plants in the Cultural Heritage Protection Act.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.1
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• pp.167-175
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• 2001

After World War II, Japan experienced a great political and social shift, which brought a concern of emerging public landscape in urban development. This paper analyses the management of the aesthetic intentions in urban design effort. We reviewed the development of various public installation of artworks concerning urban landscape aesthetics through its administrative process in chronological order. The monuments during the first decade marked a shift in emphasis from the militarism of the pre-war and wartime period to one of peace. However, some of the monuments and sculptures are not immune to controversy. This became an issue that could no be ignored by public officials whose responsibility was to place the sculptures while maintaining sensitivity to public opinion. As public administrators began to consider the possibility that sculptures may contribute to improving public amenities, the contextual concepts were basically ignored. Some of the programs in 1970s began to show more respect to the context, while other programs in this period expressed more interest in educational aspects of sculptures in the public spaces. Urban development projects also seek to introduce artworks integrated to their urban design concepts in 1990s. Generally, the administrators responsible for these programs were rarely trained in any relative field study other than public administration. Installing sculptures tended to be considered as part of public works projects on the level of urban planning and construction. The general public is basically removed from participating in the critical decisions that actually impact their lives in relation to the artworks. In conclusion, public art in japan has unique social and historic background both in its advantages and disadvantages. Issues pertaining to art in public spaces have evolved over the decades as the term "sculpture pollution" began to appear by the mid 1990s. most of the problems originated in either the lack of monumentality, contextual consideration, quality, or public participation. From another point of view, these programs played great roll in the development of modern Japanese sculpture and patronizing process, and the creation of new urban landscape with aesthetic value. In this sense, they must be considered as successful and noteworthy examples of cultural administration and urban design policy.

• English & American cultural studies
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• v.14 no.2
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• pp.311-336
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• 2014

The essay examines two different editions of Anne Askew's Examinations published in the sixteenth century: John Bale's the First Examination and the Latter Examination and John Foxe's Acts and Monuments, and argues that retelling and rewriting one's experience is the process of storytelling that necessitates the repetition and communication of the experience. The essay looks at the parts the sixteenth-century editors particularly rewrote or retold the original version, and discusses how Askew's story was retold, repeated, and communicated through various storytellers who delivered not only the original text but also the original experience toward larger audience. While attempting to interpret, analyze, and expand on the story she did not tell, or the story she could not tell, Bale and Foxe developed her personal and anecdotal story into a communal narrative to share. Bale wrote a weak woman's martyrology by adding his interpretation and analysis, showing the way for the readers to follow in understanding her enigmatic silence and gestures. On the other hand, Foxe made the story a more dramatic and more seamlessly flowing narrative of the heroic sacrifice of a martyr. Foxe filled the room left by Askew's silence with directly quoted conversations and the graphic that could help explain what was between the lines. Apart from the rewritings of the reformists, the essay focuses on the fact that the editing, rearranging, and reinterpreting process already started with Askew's own writing. Although Askew declares herself an objective recorder of the series of events, her writing is carefully constructed with complex ideological fractures and rhetorical tactics, and her experience is tailored to fit a particular purpose. Along with Bale's and Foxe's rewritings, Askew's story of a reading woman should be also read as an intentional and interpretative storytelling on her own experience.