• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.32-43
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• 2012

Hangzhou, in China, is a city that has a history as long as 2,300 years and is renowned due to its natural scenery of a beautiful lake surrounded by gentle green hills. This world wide famous scenery, known as West Lake(西湖), in 2011, was included in the World Heritage Landscape List. Though this place experienced enormous development and changes during thousands of years, historic sceneries did not disappear with the passage of time. In contrary, they are refined and increased attributing to protection efforts from past dynasties. Therefore, research in landscape transition is significant for building livable environment and preserving historical landscape. This paper mainly focuses on history transition of city Hangzhou. First of all, its urban construction and guiding ideology is analyzed. Then, deep meticulous research is carried out on development and preservation achievements for dynasty Tang, Song, Yuan, Ming and Qing. In the end, from a historical point of view, this paper will provide a new perspective which would contribute to sustainable preservation of historical landscape. From the Song Dynasty to the Qing Dynasty, the West Lake through several times of the rectification and construction, the present landscape was completed during thousand years several times through the construction.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.271-278
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• 2019

Sochi Heo Ryeon (1808 ~ 1893), who was born in Jindo in the late Joseon Dynasty, is a master of three classes, caligography, painting.It is a representative painter who is called the founder of the Honam Paintings. He learned Confucianism, Buddhism, Taoism from choui and learned the basics of painting.He became a student of Kim Chung Hee as an introduction of choui. Since then, I have correctly understood the painting aesthetic that realizes the painting by the paintings and paintings of chusa. And he succeeded it in the art world of Honam. His life and artistic features are the wandering that lasted over 70, many work activities, and details the records habit of details of "Sochisillok". Sochi's paintings aimed at Namjong painting, expressing the simple and clear beauty of the free brush and the landscape painting of ye-hwang style. In addition, the peony was painted with bizarre rocks, expressing the lively beauty by changing the brush to be called 'Heo-peony'. And it fulfilled the desire for riches and honors and the taste of Sunbee at the same time, and it became a representative material of 'Unlimsanbang' after being passed on to the house. His naturalized style of painting and painting aesthetic have been influential to the art world in modern Korea until now, forming a painter 's vein for 200 years over 5 generations.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.4
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• pp.1-14
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• 2021

This study examined the techniques of creating gardens overseas using native plants from the Korean peninsula, focusing on the case of 'Das Dritte Land', an art garden created in Berlin, Germany. While Korean garden artists are recognized worldwide and are planning to globalize Korean gardens, the purpose of this study is to share information so that Korean gardeners can expand their activities and rediscover the utilization and value of plants native to the Korean peninsula. The work began as part of a project to mark the 30th anniversary of the collapse of the Berlin Wall. To realize the landscape of Korea with the motif of Inwang Jesaekdo, the geographical shape of the Baekdu-Daegan trail was reproduced with black stone, and the naturalization of Korean peninsula species was utilized in the creation of a garden Berlin. It is a surreal bio-top utopia that blooms with the bio-groups of the Korean peninsula. This study examined the process of plant survey analysis, transportation and stabilization, planting planning, composition and monitoring, and targeting the self-growth of the Korean peninsula, which is a symbol of harmony between the South and the North. The planting of Korea's native plants in overseas gardens symbolizes the uniting of the ecosystems on the Korean peninsula. The process of the Korean peninsula's young plants taking root, flowering, and spreading along Germany's previously divided border metaphorically conveys the desire for the unification of the Korean peninsula. In addition, various art programs in the garden space suggest a foundation for cultural dialogue and communication between the two Koreas. Moreover, creating gardens overseas implies that the cooperation of plant research institutes plays an important role in the transfer of plants and the maintenance of life, while the advancement of Korean gardens overseas plays an essential role in the spread of garden culture in our country.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.4-23
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• 2010

Danggol, in other words the hereditary shaman, is a person who is performing the Gut(the Korean shamanistic ritual) as the job but fortuneteller simply tells someone's fortunes. Nowadays most of fortunetellers think their works are wholly managed the Gut as the holy jobs. But Generally this kinds of jobs, we think it is lower than ordinary people's level of education in the korea. Actually we can meet eleven fortunetellers who have a college diploma out of them, so we can know that their education's level is increasing gradually. On the other hand a house of fortunetellers is the place where can lead the way of our lives in the method of seeing one's past life or making predictions of someone's coming events etc. Gradually this place seems to be separated with a private home, so the most of them is managing as the monthly rent. Consequently this houses are heavily located at the Gyerim five-way crossing, the Yang-dong Dakjeonmeory street, Jungheung-dong local culture street area. Each fortunetellers have the different ways of fortune-telling because this methods are decided by their one's characters. So their fortune-telling time and its time required for a task is far different. The methods of telling it is very much different in accordance with the learning fortuneteller or spiritualistic fortuneteller. But the process of fortune-telling is common like as a preparatory stage, carrying a Jumsa(fortune-telling) stage and acting by a Jumsa stage. These steps are sequential but linked together. There are six special features of fortune-telling culture in Gwang-Ju. 1. The role of a fortuneteller and Bosal(spirit-descended shaman) runs at the same time. 2. The house of fortune-telling is doing Gutdang(ritual house)'s works. 3. Its location are heavily collectivized at the specific districts. 4. The learning fortuneteller are increasing gradually. 5. The youth are growing use in the fortune-telling house. 6. There are many person that are visiting this house because of individual problems not their family's problems.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.13-21
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• 2017

The Cho-yeon Pavilion located in the Wangdae village in Samcheong-ri, Songgwang-myeon, Suncheon-si, was transformed into a place of refuge, a shrine, a vacation home, a lecture hall for kings. Based on the change, the current study has explored the periodic changing placeness and the transformation of cultural landscape and has figured out the meaning. The result of this study is as follows. First, "Cho-yeon", named by Yeonjae Song, Byeong-Seon, originated from Tao Te Ching of Lao Tzu. The concept is found not only in the Cho-yeon Pavilion in Suncheon but also in various places, such as, the Cho-yeon-dae in Pocheon, of the Cho-yeon-dae in Gapyeong, of the Cho-yeon-dae of the embankment behind the Gioheon of Changdeok-gung Garden, Cho-Yeon-Mul-Oe old buildings, including Jung(亭), Dae(臺), Gak(閣), of Ockriukag in Yuseong, etc. This shows that taoistic Poongrhu was naturally grafted onto confucian places, which is one of the examples of the fusion of Confucianism, Buddhism, and Taoism. Second, the placeness of the Cho-yeon Pavilion area is related to a legend that King Gong-min sought refuge here at the end of the Koryo Dynasty. The legend is based on the Wangdae village(king's region), Yu-Gyeong(留京)(the place where kings stayed), rock inscription of Wang-Dae-Sa-Jeok, Oh-Jang-Dae (the place where admiral flags were planted), and the Mohusan Mountain. Third, the Cho-yeon Pavilion not only has a base(the vacation home) that reflects confucian values from the rock inscription(趙鎭忠別業, 趙秉翼, 宋秉璿) of the beautiful rock walls and torrents but also has territoriality as taoistic Abode of the Immortals (there are places where people believe taoist hermits with miraculous powers live within 1km of the pavillion: Wol-Cheong(月靑), Pung-Cheong(風靑), Su-Cheong(水靑), Dong-Cheon(洞天). The Cho-yeon Pavilion also reflects the heaven of Neo-Confucianism for, pursuing study, and improving aesthetic sense by expanding its outer area and establishing the nine Gok: Se-Rok-Gyo(洗鹿橋)., Bong-Il-Dae(捧日臺), Ja-Mi-Gu(紫薇鳩), Un-Mae-Dae(雲梅臺), Wa-Ryong-Chong(臥龍叢), Gwang-Seok-Dae(廣石臺), Eun-Seon-Gul(隱仙窟), Byeok-Ok-Dam(碧玉潭), and Wa-Seok-Po(臥石布). In sum, the Cho-yeon Pavilion is a complex cultural landscape. Fourth, the usage of the Cho-yeon Pavilion was expanded and transformed: (1)Buddhist monastery${\rightarrow}$(2)Confucian vacation home${\rightarrow}$(3)Vacation home+Taoistic Poongrhu Place${\rightarrow}$(4)Vacation Home+Taoistic Poongrhu Place+Lecture Hall(the heaven of Neo-Confucianism). To illustrate, in 7978, the place served as Buddist Monk Kwang-Sa's monastery; in 1863, Cho, Jin-Choong established a vacation home by building a shrine in front of the tomb of his ancestor; in 1864, Cho, Jae-Ho expanded its usage to a vacation home to serve ancestors as a taoistic place by repairing the pavilion with roof tiles; and after 1890, Cho, Jun-Sup received the name of the pavilion, Cho-yeon, from his teacher Song, Byeong-Seon, and used the Pavilion for a lecture hall.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.212-240
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• 2022

This study is a multi-layered exploration of 「The Thirty-Six Scenery of Seongdeok Summer Mountain Resort(承德避暑山莊三十六景)」 (The 36th view of Kangxi) recited by Emperor Kangxi of China through literature study, ancient calligraphy diagrams, and field studies. The conclusion of tracing the landscape characteristics and implications contained in 「The 36th view of Kangxi」 through the analysis of the headword(標題語) and the interpretation of the Jeyeong poem(題詠詩) is as follows. 「The 36th view of Kangxi」 is an extension of the outer edge of the Eight Sceneries, and when compared to the existing Eight Sceneries peom and Eight Sceneries painting, it is found that the landscape is centered on the 'viewpoint' rather than the landscape object. In particular, it aimed to create a structured landscape centered on nine types of buildings represented by 'Jeon(殿)' and 'Jeong(亭)' was given. In particular, Yeouiju, located in Lake district, is a scenic country endowed with the character of a gardens in Garden, which is composed by collecting famous representative Chinese landscapes and landscapes of Sansu-si and Sanshu Painting. As a result of headword analysis to understand the characteristics of landscape components, 14 landscapes (38.9%) related to water elements and 13 landscapes(36.1%) related to mountain elements, the elements related to architecture and civil engineering were classified in the order of 3 cases(8.3%), and the elements related to the skylight were classified in the order of 2 cases(5.6%). However, in Jeyeong-si, the mention of landscape vocabulary for climate elements was overwhelming. In other words, in the poems of 「The 36th Scenery of Kangxi」, scenery vocabulary symbolizing 'coolness' such as 雲(cloud), 水(water), 泉(spring), 清(clear), 波(wave), 流(wave), 風(wind) and 無暑(without heat), etc. It is not a coincidence that it appears, and it is strongly attached to the sense of place of Summer Mountain Resort in Rehe(熱河). Among the 23 landscapes whose seasonal background was confirmed, the fact that the lower landscape is portrayed as the majority and the climate elements of the resort area are portrayed in three-dimensional and multi-dimensional ways are closely related to the period of enjoying the gardens of Kangxi, the main subject of the landscape. In addition, many animal and plant landscapes appearing in Jeyeong-si appear to be in the same context as the spatial attributes of not only recreation, but also contemplation and hunting. On the other hand, in Jeyeongsi, there are 33 wonders(91.7%) citing famous people and famous books through ancient poems, old stories, and ancient stories tends to be prominent. It is inferred that this was based on Kangxi's understanding and pride in traditional Chinese culture. In 「The 36th view of Kangxi」, not only a book-writing description of the feelings of being entrusted to the family sutras, but also the spirit of patriotism, love, self-discipline and respect for mother and filial piety are strongly implied. Ultimately, 「The 36th view of Kangxi」 shows the real scene of the resort, as well as the spiritual dimension, in a multi-faceted and three-dimensional way, and the spirit of an emperor based on the dignity of the royal family and the sentiments of a writer it deserves to be called a collection of imperial records that were intended to reveal.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.39-49
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• 2018

"Annals of The Joseon Dynasty" is a book recording the Joseon Dynasty's historical facts in an annalistic format. The King's amusement activities through "Annals of The Joseon Dynasty" which were established by the Ye-ak(禮樂) system were analyzed. The results are as follows. The king's amusement activities that were performed during the Joseon Dynasty period could be classified as state banquets, military banquets, and banquets for play. The analysis of the king's amusement activity was divided into five stages. The characteristic of [1 period : King Taejo~Sejo(Yejong)] was dominated the military banquets of the Goryeo Dynasty. Neo-Confucianism is the establishment of political and social turning of the ballast, considerations of military culture, culture, and Hoeryeyeon Jinpungjeong, a cloud of dust and elders banquets such as Giroyeon and Yangnoyeon on the nature of the party. A lasting ordinance was institutionalized[2 period : King Seongjong~Jungjong]. In the chopper and jeongyujaeran, Hong Kyung Rae led a royal amusement activities are stagnant, often produce isolated storage compute in the gloomy situation[3 period : King Injong~Hyeonjong]. Revival period is pride of the amusement activity through the culture of Joseon Dynasty royal culture [4 period : King Sukjong~Jeongjo]. The throne, crashed due to political power is an ebb of royal amusement activities, while also rapidly waning[5 period : King Seonjo~Seonjong]. During the early Joseon Dynasty, hunting took place around the forest area northeast of Hanyang and during King Seongjong's period, it took place closer to the capital city, while in Lord Yeonsan's period, it was expanded to a 39 kilometer radius area from the palace, and banquets such as various forms of entertainment of Cheoyongmu, and Flower-viewing. The Joseon kings who enjoyed hunting were King Sejong, Sejo, Seongjong, Yeonsan, and Jungjong. Most of hunting objects were tigers, bears, deer and roe deer, leopards, boars, their animals and falconry took, and the purpose of the hunting was to perform ancestral rites to the royal ancestry or the royal tombs. Lord Yeonsan's hunting activities had negative effects after King Jungjong the king's hunting activity decreased sharply. However, there were also positive aspects of Lord Yeonsan's Prohibition of cutting woods ect. In conclusion, the expansion of the King's garden(庭:courtyard${\rightarrow}$園:privacy garden${\rightarrow}$苑:king's garden${\rightarrow}$苑?:national hunting park) is evident which starts from formal and informal activities that took place in Oejo, Chijo, and Yeonjo, which went further to the separate and secret gardens, and then even further, thus setting the amusement activity area as a 39 kilometer radius range from Hanyang.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.1-13
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• 2010

This research is the semantic study on the nature cognition and lyricism of pavilion builders as reflected in the pavilion tablets in the Damyang poetry culture area built during 16th century. The names of pavilions, pavilion writings and "poetry with given theme" were studied by actual site visits. The view on the nature and aesthetic awareness of the pavilion builders at the time were explored together with surrounding landscapes. Following conclusions were drawn. 1. Pavilion names borrowed phrases from the famous historical events left by the sages. Or, they took the compliment on the beautiful nature surrounding orthe academic achievement of pavilion owners as the theme, then elaborated them with thinking based on Sung Confucianism. 2. The writings of pavilion literature were the idealistic view on the nature. They think the nature and human as "object and ego are one, object and ego communicate each other, object and ego become one". 3. The nature in the 16th century was the "principle of birth-death-grow-wither" for the intellectuals. They thought that the nature is the ultimate place to return for the realization of life with self-respect. 4. The introduction of fairy land among literary activities in the pavilion was the symbolic means healing the frustrated ego. It was confirmed that they temporarily entrusted their depressed feelings by borrowing the fairy land, far from the reality. The pavilion was the space to escape from the reality and soothe the anger and discord in the reality. 5. The pavilion literature in the Damyang poetry culture area during 16th century sang their pleasure of enjoying the beautiful scenery in the rural area using their social status. The literary works also contained their agony due to the frustration of difficulty in the realization of ideal. When the intellectuals, who already mastered literature, history and philosophy, came down to rural area, built pavilions at the location with beautiful scenery, and spent time while composing poetry, it was an escape from the burden that they should take the social responsibility as the model intellectuals of the society. The pavilions in Damyang poetry-culture area during 16th century were the idealized conceptual world and the space of awareness reflecting the philosophy and thinking of the time.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.