• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.1-12
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• 2019

A bridge is a structure constructed on water or in the air for convenient passage. Compared to other buildings, the building materials and structures of bridge required unique functions to cross the space. It depends on the productivity of the building, the level of science and technology, and the ecological environment of the building site. Also, it has important relationship with functions such as politics, military, economy, and life. Most of the academic research on bridges is focused on research in the field of bridge-building technology, so the study on the landscape aesthetics and history of bridges is lacking. Against this backdrop, the study will be valuable as a accumulation of both countries' understanding of bridge types, history and culture, as well as technical and aesthetic data, by analyzing the bridges located within the palaces of Korea and China. The research method is to analyze the bridge through field survey and literature analysis.. First, the bridges of royal palace of Korea and China are to be classified quantitatively as physical shapes, landscapes, and decorations by comparing the materials, forms, landscapes, and decorative culture of bridges. Second, characteristics, common points, and differences are extracted by classifying bridges of both countries. Also, the results are discussed based on the physical environment or cultural background. This would be worth cross-referencing in the building technology and aesthetics of the two countries. For the first important characteristics of result, main materials of Korean and Chinese palaces are stone. However, the bridge in China's royal palaces is also focused on wood. Second, in terms of form, the bridges in the royal gardens of Korea and China are all based on the beam bridge. However, the specific form, ratio, style of the beam bridge, and airspace of arched bridge are very different. Third, most of the connection methods are focused on the over bridge. It values the convergence with the surrounding landscape. Due to the difference in the area and location of water, the bridge in the Korean palace is more focused on the convergence of the surrounding buildings and plants, while the bridge in the Chinese palace is more concerned about the harmony of hydration. Fourth, the decoration places importance on the artistry and aesthetics of both the bridges in Korea and China. There is a difference in style in the same type of decoration due to culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.40-52
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• 2016

Buyongjeong, a pavilion in the Rear Garden of Changdeok Palace, was appointed as Treasure No. 1763 on March 2, 2012, by the South Korea government since it shows significant symmetry and proportion on its unique planar shape, spatial configuration, building decoration, and so forth. However, the designation of Treasure selection was mainly evaluated by concrete science, in that the selection has not clearly articulated how and why Buoungjeong was constructed as a present unique form. Therefore, this study aims to clarify the identity of Buyongjeong at the time of construction by considering its historical, ideological, philosophical background and building intention. Summary are as follows: First, Construction backgrounds and characters of Buyongjeong: Right after the enthronement, King Jeongjo had founded Kyujanggak(奎章閣), and sponsored civil ministers who were elected by the national examination, as a part of political reform. In addition, he established his own political system by respecting "Kaksin(閣臣)", Kyujanggak's officials as much as "Kain(家人)", internal family members. King Jeongjo's aggressive political reform finally enabled King's lieges to visit King's Rear Garden. In the reign of King Jeongjo's 16th year(1792), Naekaksangjohoe(內閣賞釣會) based on "Kaksin" was officially launched and the Rear Garden visitation became a regular meeting. The Rear Garden visitation consisted of "Sanghwajoeoyeon(賞花釣魚宴)" - enjoying flowers and fishing, and activities of "Nanjeongsugye". Afterward, it eventually became a huge national event since high rank government officials participated the event. King Jeongjo shared the cultural activities with government officials together to Buyongjeong as a place to fulfill his royal politics. Second, The geographical location and spatial characteristics of Buyongjeong: On the enthronement of King Jeongjo(1776), he renovated Taeksujae. Above all, aligning and linking Gaeyuwa - Taeksujae - a cicular island - Eosumun - Kyujangkak along with the construction axis is an evidence for King Jeongjo to determine how the current Kyujangkak zone was prepared and designed to fulfill King Jeonjo's political ideals. In 17th year(1793) of the reign of King Jeongjo, Taeksujae, originally a square shaped pavilion, was modified and expanded with ranks to provide a place to get along with the King and officials. The northern part of Buyongjeong, placed on pond, was designed for the King's place and constructed one rank higher than others. Discernment on windows and doors were made with "Ajasal" - a special pattern for the King. The western and eastern parts were for government officials. The center part was prepared for a place where government officials were granted an audience with the King, who was located in the nortern part of Buyongjeong. Government officials from the western and eastern parts of Buyongjeong, could enter the central part of the Buyongjeong from the southern part by detouring the corner of Buyongjeong. After all, Buyongjeong is a specially designed garden building, which was constructed to be a royal palace utilizing its minimal space. Third, Cultural Values of Buyongjeong: The Buyongjeong area exhibits a trait that it had been continuously developed and it had reflected complex King's private garden cultures from King Sejo, Injo, Hyunjong, Sukjong, Jeongjo and so forth. In particular, King Jeongjo had succeded physical, social and imaginary environments established by former kings and invited their government officials for his royal politics. As a central place for his royal politics, King Jeongjo completed Buyongjeong. Therefore, the value of Buyongjeong, as a garden building reflecting permanency of the Joseon Dynasty, can be highly evaluated. In addition, as it reflects Confucianism in the pavilion - represented by distinguishing hierarchical ranks, it is a unique example to exhibit its distinctiveness in a royal garden.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.1
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• pp.107-118
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• 2016

The Seoul metropolitan government announced an open design competition for reconfiguring the annex building of the National Tax Service Building site on Sejong-daero as a space for citizens to commemorate the 70th anniversary of Korea's liberation. The site, built during the Japanese colonial period, has been in use ever since. This study, as one of the entries for the competition, described the strategy and design contents by drawing the concept and main points of the design through an analysis of the historical context of the site. As the guidelines instructed to consider the value of the Sejong-daero area and the cultural heritage through a comprehensive analysis, this study specified the site as a place connecting the past, present and future. Since the foundation of the Joseon dynasty, the Korean Empire and the Japanese colonial period, Sejong-daero has been a main site for important events and activities along with the change of the city structure. Jungdong, to the rear of the site, was a place for adopting new culture during the beginnings of modern Korea, while adjacent places like Duksugung, the Anglican church, and the Seoul City Council building have also been historic urban landscapes of the historical layers of time as the city has changed. When Gojong announced the Korean Empire, the city structure was remodeled with this site as the center along with Sogong-ro, Wongudan and so forth. In this study, public interest stated in the guidelines was focused and the relevance of the road and the plaza was considered from the view of an historic urban landscape by a comprehensive analysis with Sejong-daero as the center. The restoration of public interest was to be drawn as the concept of the object site by considering the current status and the change around the site and Jungdong at the rear. Returning the site to the public is ambiguous with the relevance of the restoration of public interest and as the symbol of the idea of the Korean Empire by Gojong's announcement. The object site, having the characteristic of being returned to the public, must ensure public interest and therefore the design strategy has been established with the keywords of openness, connection and void. As a result of a review of the alternatives, a plan for a square has an 8% slope, just as the original site does, and provides ramps for convenient access for all, including the disabled and the elderly, and is connected to the grounds adjacent. No construction is allowed at the terrace square of the Anglican church level and the main square connected to the pedestrian street, so a variety of modern city utilization can be done. The value of the site at which this design is aimed shall be given back to the public with the concepts of modern democracy, independence, and the vision of Gojong by reinterpreting the space from a modern viewpoint. This study focused on the processes of establishing a main concept and strategy rather than the content of the design details, and the suggestion is meaningful in that the design for the object site with historic backgrounds and the layers of time can continue to be grown.

• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.66-79
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• 2017

In 2014, a Donghak Peasant Revolution Memorial Park design competition was held with various forms and techniques to convey mourning. This is a process of the reconsideration of memorial projects that are used to stimulate the collective memory and it is a meaningful resource for examining the consciousness of contemporary designers in regards to the memorial designs that are currently under planning in Korea. This study investigated the background of the Donghak commemorative projects that took place at the same site in a timely manner and analyzed the design competition through the existing literature research. Through this, it was seen that the memorial, which was formed by means of past political purposes, has changed into a way to collect various opinions and forms through open design competition. A framework of analysis prepared through multi-layer analysis is daily use, interaction and spontaneity, abstraction, temporality, locality, integration and harmony with surroundings. The results of this study are as follows. First, in order to convey memorial commemoration in everyday life, the projects organized scattered memorial spaces with special characteristics and linked them with daily activities program. Second, the projects used direct participation and emotional experiences to interact with monuments. Third, color, vertical elements, clustering, and park frame manipulation were used for abstract reproduction. Fourth, the projects introduce architecture and furniture that can be changed and plants for temporal change. Fifth, the previous terrain was restored and the setting of the scene was reproduced in order to make the site a space with place. Sixth, to improve the connection with existing monuments, the projects used techniques such as relaxation and the reinforcement of circulation lines and axes. Seventh, a path and a building conforming to the terrain were arranged for harmony with the surroundings.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.30-37
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• 2018

The uniformed regulations for control of the height of buildings owned by individuals to protect landscape of cultural properties are causing serious social conflicts by limiting the development of landowners. It is urgent need of introducing indicators that can resolve such conflicts and evaluate the regulations of buildings, which can satisfy urban development as well as landscape management of cultural properties. Therefore, the purpose of this study is to simulate landscape changes according to the Cultural Heritage Protection Act and National Land Planning and Utilization Act by using Unity3D in the Pungnammun Gate(Treasure No. 308) of Jeonju and its surroundings, where architectural cultural property forms the symbolic landscape of the city. Then some items such as view points, target points were introduced and the quantitative evaluation of landscapes was attempted by applying the indicator of 3D Visual Exposure. As a result, the viewing opportunity and viewing area of Pungnammun Gate were not significantly influenced by changes in landscape according to the two laws. However, the change of the height of buildings by the National Land Planning and Utilization Act, which has the greatest development capacity, confirmed the possibility of weakening the identification of the Pungnammun Gate by increasing 3D Visual Exposure of the background buildings more than two times. Finally, it was confirmed that the skyline of Pungnammun Gate was clearly infringed upon development under the National Land Planning and Utilization Act, but the skyline was maintained similar to the current situation in the regulation by the Cultural Heritage Protection Act. Thus, this study is meaningful in that the application of 3D Visual Exposure showed the possibility of utilization as an indicator for quantitatively evaluating the protection of view on cultural property and skyline according to the changes of building heights.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.128-159
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• 2010

In this study, the progress of domestic cultural properties designation, the changes and problems in classification were examined, and the relationship among Traditional Pal-kyung, Dongcheon-gukok, and Modern Pal-kyung were investigated targeting total of 68 cases of state-designated cultural properties of scenic sites in order to show that the traditional significance and value are being inherited today. The major results of this study are as follows. First, increase in scenic site designations with historical, cultural, and scenic characteristics can be viewed as an active intent to embrace the concepts such as cultural utilities, historical characteristics, literary value, and ideological backgrounds, which were specified as the basis for designation in the early Cultural Property Protection Law. Accordingly, it is very encouraging that the concept of cultural attractions such as traditional gardens and observatory points are regarded as an important standard for designation of scenic sites. Second, as for the classification of scenic sites per type, it was found that 'places with excellent natural scenery' were 44.16%(30 cases), followed by 'famous buildings or gardens and places with important legend' occupying 30.9%(21 cases), 'places with famous scenery' occupying 13.2%(9 cases), 'places with outstanding historical cultural and scenic value' that occupying 10.3%(7 cases), and 'animal and vegetation habitat with beautiful scenery' (1 case). Third, according to the current classification standards for scenic sites, there were only 7 cases which could be classified into Pal-kyungs(Famous 8 Sceneries) and 3 cases classified into Dongcheon(beautiful scenery surrounded by mountains and rivers), but there was no Gugok(beautiful valleys). Consequently, in terms of external appearance, the scenic sites among the total scenic sites that could be classified into Palkyung and Gugok were only 14.7%(10 cases). Fourth, the traditional scenic sites based on literal references and Internet analysis occupied 67.7%(46 cases), which were found to be scenic sites related to the traditional Pal-kyung among which 38 cases(55.9% of 46 cases) were included based on the scenery and 8 cases(11.8% of 46 cases) were included due to the scenery at the time. Fifth, there were 8(11.8%) scenic sites which were related to Dongcheon, and 4 cases(5.9%) related to Gugok. Also, it was found that total of 40(48.9%) scenic sites designated as modern scenic sites were playing the role of local scenic sites, and they were used as the tourism advertising contents. Sixth, it was identified that there were 62 cases(91.2%) of scenic sites in total related to traditional and modern Pal-kyung or Dongcheon-gugok, and unlike explicit classifications, most of the designated scenic sites were found to be deeply connected with the historical and cultural significance contained in the scenaries.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.318-345
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• 2013

This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.207-241
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• 2007

This paper investigates the royal collection of paintings and calligraphy during King Gojong's (高宗) reign (1897~1907) based on the function of the Jipgyeong-dang Hall (緝敬堂), situated at "sleeping realm (寢殿)," Gyeongbok Palace. Using the surviving palace records and art works this study argues that the date of building the hall is approximately confined to the year of 1890. Not being matched with the general opinion that the Jipgyeong-dang Hall was used for the official meeting with envoys, this hall functioned as the main place for royal audience and the storehouse for archives. The role of Gojong as collector and patron was essential not only to the maintenance of the collection but also to the strengthening of royal authority just before the Japanese annexation in 1910. The specific titles of the collection at this hall can be verified through the Catalogue of the Books, Paintings, and Calligraphy Exposed to the Sun at Jipgyeong-dang Hall (緝敬堂曝曬書目) dating to the nineteenth century. The records of the catalogue inform us that more than 1,000 paintings and pieces of calligraphy, inkrubbings from old steles, manuals for painting, and encyclopedia concerning art theories from Korea, China, and Japan were preserved there. The collection of Jipgyeong-dang Hall resulted from Gojong's policy to foster the collection of contemporary Chinese and Japanese art works and various catalogues. Standing behind the Gyeongbok Palace, the Jibok-jae Hall (集玉齋) also preserved the diverse sources of practical learning, as did the Jipgyong-dang Hall for Gojong. The enormous royal collections by Gojong might have been constructed in accordance with the royal artistic taste and the artistic milieu of the late Joseon period. The surviving royal catalogues confirm this assumption as documentary evidence.