역사박물관 전시 공간에 대한 고찰 : 국립중앙박물관 상설 역사전시관을 중심으로 = the study on the exhibition space in the history museum

다국어 초록 (Multilingual Abstract)

The introduction of modern museums in Korea can be traced to the public opening of Imperial museum on November 1st, 1909, commissioned by Sunjong, the last emperor of the Korean Empire. The process in which Imperial museum became the National Museum of Korea was a difficult one, due to Japanese intervention in domestic museum affairs at the time. This thesis seeks to assess the process in which the National Museum became a symbolic place of national identity by examining the partitioning of exhibition space in the museum.
With progress in time, the National Museum’s dual-role of preservation and collection is expanding, thereby increasing sociocultural and educational demands and strengthening its function of exhibition. The museum not only serves as a cultural institution which demonstrates national tradition, but also assumes great responsibility in history education. The museum’s historical exhibition has the important function of sociocultural and educational communication. As the museum’s historical exhibition serves a multitude of social, cultural, and educational functions, this study seeks to focus on examining the process of historical awareness in respect to the permanent exhibition’s synthetic elements (Yongsan 2nd) and its organization before its introduction.
In this paper, the development of the National Museum is categorized chronologically into the following: Gyeongbokgung 1st period (1945~1954), Namsan period (1954~1955), Deoksugung period (1955~1972), Gyeongbokgung 2nd period, Gyeongbokgung 3rd period, Gyeongbokgung 4th period, and the Yongsan period (2005~present). This categorization is based on the location of the museum during each period.
In greater depth as to this chronological category, one can categorize further into four stages or ‘phases’ to analyze the changes in exhibition form. The first phase of this are the Imperial museum, the previous embodiment of the National Museum, and the Japanese Colonial Museum established during the annexation period. The second phase of transition fits into the chronological order between Gyeongbokgung 1st and Deoksugung periods, after liberalization from Japan. This is when the museum first began to be called “National Museum”. The third phase is between Gyeongbokgung 2nd and 4th periods, when the museum came to be formally titled “National Museum of Korea”. The 4th and final phase correlates to the Yongsan 1st and 2nd periods after moving out of the palace (2005~present). We have analyzed the transformation in arrangement of exhibition space for permanent exhibitions in the museum.
By closely examining its research aspects, it was possible to infer that the antiquity exhibitions in the Colonial Museum and Imperial museum were organized by types of relics and were intended as Japanese colonial education centres to reform annexed Koreans, instead of as a purely chronological type of exhibition. Even after independence during the Gyeongbok 1st, Namsan, and Deoksugung periods, the exhibition format of organizing into item types instead of doing it chronologically was left unchanged. Between the Gyeongbok 2nd and 4th periods when the museum came to be formally called “The National Museum of Korea”, there were some attempts to remodel the format, but the only noticeable difference made was to organize exhibitions chronolgically from prehistory to the Unified Silla period, and still much of the museum remained categorized into relic types as it was during its colonial years. With the move to Yongsan in 2005, major changes were instituted in the permanent exhibitions on the museum’s 1st floor. The Yongsan 1st period of exhibition featured a much more detailed subdividing of the prehistoric gallery into four exhibitions: Paleolithic, Neolithic, Bronze, and early Iron ages. Another significant change was the introduction of the Balhae gallery as a central exhibition of Korean heritage. Due to strong public request, a new Gojoseon gallery was also added, and the previous Proto-Three Kingdoms gallery was modified to become the Buyeo and Samhan gallery. The Goryeo and Joseon galleries were constructed to follow Unified Silla and Balhae in chronological order. Thus, with these major changes the museum truly became a symbol of national identity and pride, with its syntatic format of exhibition.
The exhibition of artifacts in a museum is a tool which promotes a nation’s identity and tradition, and is a communal institution which creates cohesion.
Even under the same education, historical awareness can vary greatly in interpretation of and understanding of artifacts. Value-judgements and approaches to the same artifacts can also vary to great extent. A museum serves basically as a post stone to historical awareness.
In conclusion, the National Museum of Korea is a museum which represents the entire nation, and as such great emphasis should be placed on its important responsibility of historical education. The first floor permanent exhibition hall is a place of historical education based on tangible artifacts. This is a place for supplementing history education in school, and is also a great educational centre for foreigners and multicultural families who have not received history education in a Korean school. These aspects carry the socio-educational function of life-long education for the public.
The synthetic element in museum exhibition ought to be emphasized and supplemented further for its role of offering social education to ordinary people as well as school education.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• Ⅱ. 국립중앙박물관 시기별 전시 공간의 구성 5
• 1. 제실박물관의 전시 공간 구성 5
• 2. 조선총독부박물관 전시 공간 구성 8
• 3. 국립중앙박물관의 전시 공간 구성 11
• Ⅲ. 상설전시장의 시기별 전시 공간 변화 70
• 1. 제1기: 국립박물관 명칭이전 71
• 2. 제2기: 국립박물관 시기 74
• 3. 제3기: 국립중앙박물관 1기 76
• 4. 제4기: 국립중앙박물관 2기 77
• Ⅳ. 통사전시공간으로서의 국립중앙박물관 88
• 1. 역사박물관 전시의 의미 88
• 2. 박물관 전시의 사회･문화･교육적 역할 91
• 3. 국립중앙박물관 통사전시의 변화 94
• Ⅴ. 결론 98
• 참 고 문 헌 102
• ABSTRACT 108