• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.81-91
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• 2019

Fashion exhibitions in museums are an important media to deliver ideas of fashion. Although it still arouses controversy, museums have become an ideal platform for fashion exhibitions since some fashion exhibitions have garnered successful results in mega museums. This can be considered as a cultural phenomenon and a new paradigm since fashion exhibitions in museums are closely related to new museums and fashion museology. Thus, this study examines the definition of 'fashion exhibitions in museums' based on new museums and fashion museology, and then lays the groundwork for its typology through an analysis of preceding research about fashion exhibitions from the 1970s to the present day. In consequence, fashion exhibitions in museums are categorized into five types; retrospective exhibition, survey exhibition, fashion photography and film exhibition, and consider both virtual exhibitions and fashion brand exhibitions.

• Journal of the Korean Society for information Management
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• v.26 no.2
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• pp.83-103
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• 2009

The Computer Interchange of Museum Information (CIMI), operating from 1990-2003, was charged with creating and introducing the international museum community to the concept of adopting metadata industry standards. The CIMI consortium exceeded its original mission by; creating a standards framework, profile, testbeds, important metadata publications, free downloadable metadata software and protocols, and providing instrumental guidance and support in development of new projects. However, CIMI's emphasis on the importance and utility of a standards-based approach and the necessity for implementing the CIMI Standards Framework is probably its most important achievement. During CIMI's tenure, museums reaped the benefits by learning how to apply the model and standards to meet their individual needs while not having to invent new ones or bear the cost of software development. Although CIMI operations ceased in 2003, its impacts on museum related metadata application and research were unprecedented in that it provided the standards prototype and foundations on which to build. This paper discusses what CIMI bequeathed to the next generation of museum metadata field developers and describes the anticipated realm of future projects and advancement.

• The Journal of the Korea Contents Association
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• v.10 no.9
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• pp.212-219
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• 2010

Modern museum, along with the basic roles of a museum that display to the public through the exhibition of physical evidences that collected, preserved and researched about human environment, it is changing in a way to appropriately fulfill the desire of new culture of the public and to fit the paradigm of the digital era. Diversification of expression method using multimedia played a big role in effective meaning delivery and technology development made possible for interaction-able of digital media build up and application to made possible of interactive communication for visitors. If the main purpose of the past museum exhibition was the delivery of information and knowledge, modern museum's exhibit has been identified as the purpose being diversified through the use of digital media. Exhibition planner, as for museum exhibition that used many characteristics of the digital media as mentioned above, should plan so that past unfamiliar relic can communicate with us living in the modern society. But obsessive usage of the digital media should not shade the interest of the visitors towards the relic in overall exhibition; and what is most important is that other than the exhibition and exhibit, enforcement of translation through systematic coherent approach and its appropriate digital technology and creative application and harmony are more important.

• Journal of the Korean earth science society
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• v.24 no.4
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• pp.281-289
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• 2003

The purpose of this study is to isolate characteristics of exhibits particularly considering educational perspectives and effectiveness in attracting the attention of visitors in famous Natural History Museums. The target exhibits were selected from the Natural History museum in London, the Australian Museum in Sydney, the American Museum of Natural History in New York, and the Smithsonian Museum in Washington D.C. A total of 107 sample exhibits used in this study from these four museums were selected as representative solid earth science education related exhibitions including fossils, geological history, and minerals. For the investigation, this study developed a checklist with seven items based on reviewing previous literature and articles pertaining to exhibit characteristics of natural history museums and science centers. Also the educational perspectives focused on classifications of exhibitions by Hein (1997). In this study, all the sample exhibit, were taken pictures of and stored on slide films for lated examination. Respectively exciting and positive results were found in all four museums. The analyses, however, indicated weaknesses as well as strengths in the four museum exhibits.

• Conservation Science in Museum
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• v.1
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• pp.9-14
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• 1999

The responsibility of keeping and caring of unearthed cultural properties belongs to the National Museum according to cultural properties protection law(law No.3644). So unearthed cultural properties are possessed by the museum after going through the regular course. Number of those cultural properties is increasing swiftly. Every year more than ten thousand units of cultural properties are unearthed. The number of unearthed cultural properties is expected to increase in the future. Howeve, the keeping facilities of the National Museum are already over-saturated. So many unearthed cultural properties are being entrusted to university museums that have bad facilities and few personnel. It makes many problems including inadequate caring. More pressing problem is that those cultural properties are not under the protection of scientific conservation processing and caring. The reason is that there are so few conservation scientists in Korea. There is no independent department of conservation science even in the National Museum, where only five members are working as conservation experts. To solve those problems, new system and organization which win take charge of conservation and care of cultural properties, that is, an organization which will consist of scientific keeping facilities and expert personnel (conservation scientists) is needed immediately.

• Conservation Science in Museum
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• v.3
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• pp.37-42
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• 2001

The Stone Lamp from Hyeon Hwa Temple is an important piece of buddhist art from the Koryo Dynasty (initiated by King Hyun-Joung). It provides an insight into stone-art techniques employed during the Koryo Dynasty, and serves as an authentic example of work from that period, which had both a refined style and artistic integrity. However, the stone lamp was dismantled and has been stored at the National Museum of Korea since 1986. This was because it was severely damaged, as a result of exposure to an outdoors environment. This article discusses the conservation of the stone lamp, which was carried out by conservators at the National Museum of Korea. It was prepared for a new display of the lamp to the public. The conservation process can be briefly described as follows: Cleaning (this includes the removal of previous repairs that were made), the re-attachment of the object's original fragments, and the gap-filling of missing parts. After its conservation, the object is in a much better condition and ready to be displayed once more. What is more important, in terms of the long term preservation of the stone lamp, is that the condition of the stone lamp needs to be continuously monitored, and appropriate conservation actions should be taken as necessary.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.81-88
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• 2019

This article aims to identify the characters and theme shown in dance costume and utilize them from an educational perspective by constructing digital museum archiving, which can be systematically collected, classified and stored from dance costume. It deals with definition of digital museum archiving as theoretical background and examples of how to create digital museum archiving as research content. The role that archiving plays in digital museum and effectiveness have been demonstrated. Archive is a term used to indicate extensive material and its storage and referred to as an integrative model of display in the computer-generated space. When it comes to producing dance costume as a form of digital museum, the museum is to be made in the computer-generated area of dance costume. The museum shows each division of major, medium and minor classification. The major classification divides genre of dance performance into Korean dance, modern dance and ballet. The middle involves choreographers, costume designers. The minor categorization includes newspaper, interviews, performance pictures, and programs. Digital museum has the value of space utilization, creation, culture, utilization of multiple educational programs, offering of digital museum content, two-way communication, and program development of the new display form.

• Journal of Conservation Science
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• v.36 no.5
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• pp.351-367
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• 2020

The pigments of three old and new celestial charts folding screens(『Celestial Chart(Folding Screen)』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 of National Folk Museum of Korea and 『Koudou-Nanboku-Ryousouseizu』 of National Diet Library of Japan) were analyzed to estimate their dating. It was estimated that the 『Celestial Charts(Folding Screen)』 was painted using traditional pigments from the Joseon dynasty such as azurite, indigo lake, malachite, atacamite, vermilion, iron oxide, cochineal, gamboge, orpiment, lead white, talc and soot. The green and blue colors of the 『Old and New Celestial Charts, Eight-Panel Folding Screen』 and 『Koudou-Nanboku-Ryousouseizu』 were painted using artificial inorganic pigments such as emerald green and ultramarine blue. These pigments were imported from Europe post the mid-19th century. In the 『Old and New Celestial Chart, Eight-Panel Folding Screen』, only artificial inorganic pigments were used for green and blue colors. However in the 『Koudou-Nanboku-Ryousouseizu』, emerald green and atacamite in green color, and ultramarine blue and indigo lake in blue color were used together. Based on both the results of pigment analysis and the study of star charts and inscriptions, the 『Celestial Charts(Folding Screen)』 was painted post mid-18th century. The 『Koudou-Nanboku-Ryousouseizu』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 were painted after green and blue artificial pigments were imported in the mid-19th century. The 『Koudou-Nanboku-Ryousouseizu』 in which both traditional and western artificial pigments were used, can be dated earlier than the 『Old and New Celestial Chart, Eight-Panel Folding Screen』.

• Animal Systematics, Evolution and Diversity
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• v.40 no.1
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• pp.88-93
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• 2024

In this study, we conduct a review of the genus Taeniogonalos Schulz, 1906, which belongs to the subfamily Trigonalinae (Hymenoptera: Trigonalidae) from Korea. The genus Taeniogonalos Schulz is recognized as a relatively small genus. Taeniogonalos comprises 53 described species worldwide, including nine species identified in the Eastern Palaearctic region. A total of four species have been recognized from Korea. This paper enumerates the known species in Korea, including the new record. We provide the diagnosis and photographs for the newly recorded species. Additionally, we present a key to the Korean species of Taeniogonalos Schulz, 1906.

• KOMUNHWA
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• no.20
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• pp.39-49
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• 1982