• Journal of the Korea Institute of Building Construction
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• v.20 no.1
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• pp.61-71
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• 2020

The Cultural Heritage Administration is operating the resident supervision and non-resident supervision system to prevent poor repair and ensure the quality of cultural heritage repairs And recently, responsible supervision system was introduced to enhance the supervision of cultural heritage repairs. However, many problems have arisen in the operation of the supervision work, and need improvement. Accordingly, this study improved the resident and non-resident supervision of cultural heritage repair and developed work guidelines for the responsible supervision. First, this research has derived unreasonable sectors and problems of work guidelines for resident supervision about cultural heritage repair and has suggested supervision work guidelines which are improved. Second, we have derived the problems of work guidelines for non-resident supervision about cultural heritage repair and has suggested non-resident supervision work guidelines which are improved. Third, this paper has proposed the development direction and detailed supervision work to perform responsible supervision as a result of the adoption of the supervision system for cultural heritage repair.

• Korean Journal of Construction Engineering and Management
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• v.14 no.1
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• pp.32-42
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• 2013

The Korean Government introduced a cultural heritage supervision system in January 2010 to control quality and to prevent poor construction. However, cultural heritage related constructions that require supervision, a scope of supervision, supervision cost and placement of supervisors have not been standardized yet. For this reason, standards of supervision for repair works of cultural heritage that reflect the characteristics of small-scale repair works and restoration of cultural heritage are required. Accordingly, this study has suggested standards of supervision works and cost by analyzing the average construction period that is suitable for the characteristics of cultural heritage repair works. In other words, this study has suggested standards of full-time supervision costs by applying the fixed amount-added method (adding direct labor cost, direct expenses, overhead expenses, engineering fee, charges for additional works and VAT) which is the same as the method of calculating supervision costs for public construction projects because a supervisor has to work full time at a construction site to perform supervision if the project is a mid/large-scale cultural heritage repair work. Also, this study has suggested standards of part-time supervision costs for a small-scale cultural heritage repair work and the ways of supervising the construction projects by visiting the project site on important occasions. According to the result of the analysis by applying the forgoing standards of supervision costs for cultural heritage, a full-time supervision cost for cultural heritage repair works is approximately 98% compared to the construction supervision of a public construction project, and a part-time supervision is approximately 158% compared to architectural construction supervision. It is expected that the valuable cultural heritage of Korea will be preserved by controlling quality of cultural heritage repair works through the application of this study result - the standards of supervision costs for cultural heritage repair works - to an actual project.

• Journal of architectural history
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• v.28 no.2
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• pp.53-64
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• 2019

This study examines the restoration project of Sokkuram, and introduces its preliminary plans by the architect Pai Ki Hyung. The restoration project started in 1958 with an inquiry committee of the restoration project, and was completed in 1964. Despite having undergone extensive repair work under Japanese supervision from 1913 and 1923, the repair work caused water leakages inside Sokkuram, and regular cleaning work that began in 1933 caused a lot of damage to the sculpture. In result of the surveys, the top priority of this project was to protect the sculptures inside Sokkuram by improving the environment of the cave. At that time, the architect Mr. Pai participated as a head of the fourth field surveyors to plan the restoration project and to design the preliminary plans. He proposed the installation of a double dome structure to prevent further water leakages on the concrete addition that was built up around the grotto by the Japanese. However, in 1961, the Cultural Heritage Committee of Korea examined the plans of Mr. Pai and immediately rejected them. The factors of the rejection were the omitting of entrance design, system of new double dome structure that presses the existing structure, and these changes that had to be made outside of the drainage plans. The repair work of Sokkuram began in 1961, and the main construction was building double dome structure and entrance installation. In this we realize that Mr. Pai's double dome structure plans were very important key concept of this project. This study attempts to demonstrate the double dome installations that Mr. Pai initially proposed, which ultimately remains as emblematic factors of Sokkuram's legacy.

• Journal of Conservation Science
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• v.33 no.6
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• pp.541-552
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• 2017

All excavated "buried cultural properties" are supervised by the Cultural Heritage Administration that decides whether to conserve them or not, depending on the necessity for conservation. Currently, there is no legal regulation concerning the administration of relics (including artifacts) and remains (including archaeological sites) that are relocated and restored based on such conservation decisions. Thus, administration of these cultural properties is inadequate. Under these circumstances, this paper recommends the current state of conservation and conservation methods for buried cultural properties excavated at Chungcheongnam-do thus far. Conservation of buried cultural properties excavated at Chungcheongnam-do primarily employ the "relocating and restoration" method; 23 relics and 46 remains employed relocation after dismantling and soil layer transcription method. Moreover, 27 remains were relocated after dismantling and 14 remains employed the transcription method. In terms of area, Buyeo-gun and Gongju-si had 12 relics accounting for about 50%, while according to the period, Baekjae period had 16 relics, accounting for about 70%. In terms of conservation facility, open-air facility had 33 relics, accounting for about 72%. Results of investigating the state of relics' management indicated that public institutions like a museum with a recognizable management system had their own work force and consequently ensured excellent conservation, whereas if there were no apparent responsible bodies, remains were subjected to considerable damage due to mismanagement. Therefore, this problem can be resolved by identifying a recognizable management body as well as ensuring periodical management and supervision. The excavated buried cultural properties are utilized not only for academic purposes, but also for PR or as exhibition material. Hence, this study confirms that meticulous management of buried cultural properties is currently required.

• The Korean Journal of Archival Studies
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• no.19
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• pp.3-55
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• 2009

Records of architectural cultural properties, in case of accidents, show who are to blame, present what evidences are to establish the cause, and also are used for checking if there were any problem in policies and regulations in preserving and caring architectural cultural properties. These records are of great importance in their roles and are of essential use regardless of time and space. Considering its significance, In that architectural cultural properties requires setting clear goals and directions and as well, criteria, for management, we need methods of systematical control and consideration for its characteristics. This research started with the sense of purpose that managing architectural cultural properties are in need of systematic and concrete control, based on the perception that they need protecting and transmitting. The goal of this thesis is to work on the current archiving status of architectural cultural properties by monitoring patterns and processes in archival administration, to diagnose problems by looking into the records creation and management, and to present the improvement plan which would lead to the architectural cultural properties' more efficient management and better use in the future. The management of architectural cultural properties begins with registering and assigning. Cultural Heritage Administration is in charge of control, supervision, and budget and local governments deal with direct management. Accordingly, records are by the hands of each local governmental body. Currently, each cultural property has its management depending on every different working environment in each governmental body. Architectural cultural properties needs managing in one body through the synthetic and unified, concrete and systematic manual and guide for management. Archiving architectural cultural properties have need of unitive management through a professional system, considering the physical characteristics and history of archiving. Unified management system will enhance efficiency and actual use of architectural cultural property records if one governmental body undertakes uniting records through standardization and professional supervision, and data-based unified search engine would enhance efficiency and actual use. Therefore, I suggest that Archives for Architectural Cultural Properties should be established as a professional Archives and wholly responsible body for the purpose of systematically and unifiedly managing architectural cultural property records with professional personnel and facility and transmitting their historical, cultural, and academic value. In Korea, studies up to the present have mainly focused on managing architectural records and records of drawing while few efforts were made to directly deal with managing architectural cultural properties themselves. The focus of this thesis is to study the current status and establish problems of the management of architectural cultural properties in administrative process, and as a result, to propose to establish Archives for Architectural Cultural Properties as a professional archives.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.130-153
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• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.