• (The) Research of the performance art and culture
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• no.18
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• pp.379-412
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• 2009

According to "Jinjak-yigwe(進爵儀軌)", a special banquet was held at Yungyungdang(演慶堂, a kind of royal theatre) to celebrate the 40th birthday of Queen Soonwon(純元王后) in 1828. This banquet is famous for the presentation of nineteen new Jungjae(呈才) repertoires that the Crown Prince Hyomyung(孝明) created. In order to explore the theoretical basis for the reproduction and presentation of Yungyungdang(演慶堂) Jinjak(進爵, a type of royal banquets), in this article, the imagination and experience of the presentation of Yungyungdang Jinjak are pursued, while focussing on audience's reception. In Yungyungdang Jinjak, King Soonjo(純祖), Queen Soonwon and the prince were the special audience; they participated in the procedure of Ye(禮, etiquette of ceremony) and also were considered as the characters of certain repertoire of Jungjae. Hyomyung arranged the spectacles from the myths of Taoist gods and immortal hermits, as well as historic episodes of the past emperors' elegant tastes of music. These mythic and historic images lead the audience toward the imagination and experience on the transcendental world. Hyomyung, managing the administration as the representative of King Soonjo, tried to show absolute royal authority through the splendid performances of Yungyungdang Jinjak, so as to overcome the politicaly difficult situation. He set up the sacred world for his father King Soonjo, distinct from the secular ordinary world, and emphasized his position as the bridge between the two sides. He expressed his filial duty through the devotion of performing arts to display absolute royal authority.

• Korean Institute of Interior Design Journal
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• no.4
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• pp.5-9
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• 1995

In this study, the relationships between the interior space of the upper class residence of Korean late Chosun dynasty and human dimensions based on their life styles of that era are analized. As an object of the study, the interior space of Yunkyungdant in Changduk palace is selected. The major analytical frame works of this study are : the analysis of Space-Human Body System, the analysis of Space-Objects-Human Body System, and the analy-sis of Space-Objects-Human Body System, and the analy-sis of Space-Objects-Life Activities of Human Body System. As a result, it was verified that there are certain quantitative relationships between the interior space of the residence and the human dimensions of Koreans lived up to their life styles and activities of Chosun dynasty era, specialized as 'Confucian life style'.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.6
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• pp.105-116
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• 2018

This study deals with 8-cheok(ch"), equivalent to 2.4m as the standard scale of architectural module in Korea. 8ch" of Korean module was a unique dimensions compared to other East-Asian architecture. It is inferred that it spread in Joseon Dynasty by the effects of the law which limited the size of buildings and materials according to social rank. 8ch" module was applied to the Palace architecture and the highest grade mansions rather than common and small houses. The application of 8ch" module changed the process of architectural planning, and bred the essential characteristics of Korean architecture in terms of appearance and techniques. In addition, it developed to gain multiformity of composition by combination of other modules.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.10-20
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• 2014

The purpose of this study is to define criteria for landscape restoration of palace gardens. The case study on Gyeongbokgung and Changdeokgung was used not only to evaluate effectiveness of the criteria, but also to propose solutions to issues of current restoration process of both palace gardens. Following three pairs of different concepts were chosen as criteria to determine on the original form: Diachrony vs. Synchrony, Originality vs. Contemporary Characteristics, and Invariance vs. Deformability. Gyeongbokgung has been restored based on its contemporary characteristics of Year 1888 and the main focus is on its architectural features rather than both architecture and landscape. However, in-depth complementary work on landscape restoration is necessary to restore its originality in Year 1395 such as analyzing photos of Gyeongbokgung taken in modern era. In case of Changdeokgung, we analyzed separately by region or landmark such as Jondeok-Pavilion(尊德亭), Yeonkyung-Hall(演慶堂), and Okryu-Stream(玉流川). Original form of Jondeok-Pavilion Area was changed in 1884. Since diachronic invariance that lasted for 240 years is more important criterion than its contemporary characteristics, it should be restored as how it was painted in Donggwoldo(東闕圖). In Yeonkyung-Hall Area, both original characteristics at the time of Hyomyung Crown Prince and contemporary characteristics of Emperor Kojong Era appear. Therefore, different solution is required for such area to be restored appropriately. Starting from era of King Injo(1636), diachrony and invariance of Okryu-Stream Area were continued throughout the era of King Sukjong and King Jeongjo(1800). It is more than 250 years before Okryu-Stream Area was altered under the rule of Emperor Kojong in 1884. In fact, alterations made to Okryu-Stream Area after 1884 doesn't hold much significance. Therefore, water landscape of Okryu-Stream Area, which was altered in the era of Emperor Kojong, needs to be restored based on Donggwoldo.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.71-86
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• 2013

This study was carried out to find the changed contents and details of the ponds at Jondeokjeong area in the Changdeok Palace, where was modified during the reign of King Gojong(高宗, 1863~1907), and considered the internal context through the diachronic views about royal garden building in the Joseon Dynasty. The results were as belows. First, this study found that the transformed time of the ponds at Jondeokjeong area was the 21th year of King Gojong(1884) based on the pictures taken in the last half of the 19th century and the records of "Gojongsilrok(高宗實錄: Annals of the King Gojong)". Second, this study also found that the remodeled ponds at Jondeokjeong area by King Gojong were followed the landscape of Geoncheong Palace(乾淸宮) and Hiangwon-pond(香遠池) in Gyeongbok Palace because the remodeled ponds of Jondeokjeong area had the spatial organization similar to Hiangwon-pond. Third, the bridge of remodeled ponds at Jondeokjeong area was utilized as the expedient to expand the function of rear garden, which combines the areas of Yungyungdang(演慶堂) and Jondeokjeong. This was the same method that Konchunggung(乾淸宮) in Gyeongbok Palace had occupied the whole area through the Chui-hiang bridge(醉香橋) which connects to the Hiangwonjeong(香遠亭). Fourth, ponds at Jondeokjeong area and Hiangwonjeong that were created during the year of King Gojong promised the use of Yungyungdang and Konchung Palace, and reflected the statuses of the two building-blocks. Lastly, this study concluded the remodeled Jondeokjeong ponds were not only to create the necessary spaces of the landscape for King Gojong, but also to build the space on the context of Huwonjeongdang(後苑政堂: political structure in rear garden), which has been passed down from their ancestors.

• Journal of architectural history
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• v.13 no.1 s.37
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• pp.53-69
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• 2004

Located in a rear garden of Changdeok Palace, Yeonkyeong-Dang is valued as the most characteristic building of the houses of aristocrats of the later Joseon Dynasty. The time of the construction has been much debated, however, it is perceived through this research that the construction was completed in September 1827(the 27nd year of king Sunjo's reign). The shape of the buildings during this period resembles a letter ㄷ as shown in the picture of Dong-Kweol. We previously described that the purpose of Yeonkyeong-Dang was to carry the portrait of king Yikjong while keeping the shape of building when it was first established until the 8th year of king Heonjong (1842). In 1865 (the 2nd year of king Gojong's reign), it was reconstructed with very different outlook which has remained the present shape. The characteristic features of the residences of aristocrats were reflected in newly reconstructed Yeonkyeong-Dang. The structure was largely divided into two quarters that occupied by male and female residents respectively. The two quarters were bordered by fences and added with a study and a pavilion. The reconstruction was conducted by king Gojong's father, Daewon- Goon and its purpose was to prepare a separate house for the king and queen before the kings wedding that was about to come. During the 19th century, building an imitation of houses of aristocrats became quite a trend in the palace. Built in 1847, Nakseon-Jae was precedented and followed by Yeonkyeong-Dang. Also later Geoncheong Palace was built in Kyeongbok Palace in 1873. All of the three buildings imitated houses of aristocrats. Divided residences of male and female sections and splendid decorations were common features. Nakseon-Jae was the smallest in the structure of spaces, ornamentation of details and its sizes, Yeonkyeong-Dang was the second and Geoncheong Palace was the most distinguished building. The constructions of these three buildings created an innovative architectural wave in the 19th century palace. Yeonkyeong-Dang was the building that mediated the new flow of architectural structure in the 19th century palace.

• Journal of architectural history
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• v.20 no.1
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• pp.77-93
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• 2011

Across the culture of Western Europe, dichotomy based on the visual sense has evolved. They believed eyes and ears requiring a distance related in recognition, are more developed than any other human senses in human body. Dominant position, as a condition to using a perspective, the eye has been just concentrated in the development of optical sight. But developed a variety of modern media, highlighting the importance of the other perception, it makes dichotomy to the expansion of perception over the single function of visuality. Recently, Guille Deleuze and Merleau-Ponty try to recover the sense of tactility segregated in skin from body keeping eyes for distance. By the result, the activity can be happened by being connected to the body rather than to eye in the space between the subject and object. From the phase of recognition where the human body tries to identify the object in the space considering a time, it will be changed for the subject to the phase of structure vice versa. Visual tactility is to eliminate the distance between subject and object. If the visual tactility is to erase the distance different from the visual in dichotomy, it will be occurred to having a tension and makes new relationship to work trying to move the subjective point of view in object. Like this evidence in analysis of architecture, it can be easy to find the Korean architecture rather than western architecture in terms of emphasizing the time and space. The fact, architecture of Lee Dynasty had been preserved and consisted basic form and style over the centuries makes us assume that visual tactility was considered as well as the visual sense. This study will be intensive in terms of visual and tactile inherent in the subject and how it is being connected to the movement in the space and time.

• Journal of architectural history
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• v.29 no.4
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• pp.17-26
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• 2020

The planning acumen led by the crown prince stands out during the banquets that were held continually during the reign of Crown Prince Hyomyung around the late Joseon period from 1827 to 1929. If we examine the changes in banquet space during the period that Crown Prince Hyomyung ruled by proxy, the Jagyeongjeon(慈慶殿) in Changgyeonggung Palace, which was built during the time of King Jeongjo was repaired after the in 1827 during the reign of the crown prince and appeared in its changed form in Muja Jinjakin 1828. It is believed that the Jagyeongjeonwas expanded and repaired during the reign of Crown Prince Hyomyung to conduct banquets for important guests. Jagyeongjeon which was repaired during the crown prince's reign, is a space where banquets were continuously held during the three years that he reigned, and we can see that it is an important space for royalty where the authority of King Sunjo, Queen Sunwon, and Crown Prince Hyomyung was reflected. Yeongyeongdan(演慶堂) was a structure built in 1828, which is after the period when the Jagyeongjeonwas changed in 1827, and it is a space that emerged during the reign of the crown prince. Hwanchwijeong(環翠亭), which was constructed during the time of King Seongjong was changed after 1827 during the reign of Crown Prince Hyomyung and appeared in its changed form in Muja Jinjakin 1828. Hwanchwijeongwas the place where the Crown Prince Hyomyung stayed and planned banquets and it was repaired along with Jagyeongjeonin 1827. During his reign, the political intent of the crown prince was reflected not in superficial political spaces but in spaces where banquets were held and accordingly the main spaces for banquets and their related royal palace locations were changed or newly established. You need to briefly explain what this and Muja Jinjak are. New information is not provided in this paragraph. You have already established why the crown prince renovated the banquets and its significance in the first two paragraphs. You could just add "Jagyeongjeon(慈慶殿), Yeongyeongdan(演慶堂), and Hwanchwijeong(環翠亭) in Changgyeonggung Palace during his reign were changed and renovated during the time when the royal banquets of the 19th century were getting established. It was spaces that reflected the royal family and royal authority" to the end of the second paragraph and it would convey your intended meaning.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.1
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• pp.10-19
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• 2021

This study investigated the actual state and transformation of the major garden ornaments in Changdeokgung Palace(昌德宮) in the modern and contemporary period, focusing on Nakseonjae(樂善齋), Juhamnu(宙合樓), Jondeokjeong(尊德亭), and Daebodanji (大報壇址). This study can be used as useful data for establishing the restoration and maintenance plan of the garden ornaments in Changdeokgung Palace, and the main results of the study can be summarized as follows. First, according to a photo taken by the Czech Vráz, in 1901, a total of six garden ornaments, including a stone pond and odd-shaped stones, were located in the backyard of Nakseonjae. Since liberation, arbitrary relocation of garden ornaments has frequently occurred, and in the process, two odd-shaped stones, originally located on the first floor of the terraced flower bed, have been transferred to the backyard of Gyeonghungak(景薰閣). Second, unlike the late Joseon Dynasty when 「Donggwoldo(東闕圖)」 was produced, odd-shaped stones were arranged symmetrically in the backyard of Juhamnu in the early 1900s. It was a traditional style garden ornament with similar appearance, size, and design. However, all the odd-shaped stones in the backyard of Juhaumnu were relocated to other places in the 1970s and 1980s. One is located at the rear of Aeryeonjeong(愛蓮亭) through the entrance of Bingcheon(氷泉) and the vicinity of Geumcheongyo(錦川橋), and the other remains in front of the Yeongyeongdang Jangnakmun(演慶堂 長樂門). Third, among the garden ornaments located in the area of Jondeokjeong in the past, one odd-shaped stone is now relocated around the stone bridge near the pavilion and the Yeonghwadang(暎花堂) with its components separated. The bondstone near Yeonghwadang was relocated in 1990 for the purpose of installing an imitation of Angbuilgu(仰釜日晷). Another odd-shaped stone has been relocated to the front door of the Secret Garden(後苑), and now it is difficult to grasp the location. Fourth, the two bondstones remaining in the Daebodanji were actually building materials that were used as the foundation stone for the entrance pillars of the Yi Royal Office Building(李王職廳舍) during the Japanese colonial period. After liberation, the Yi Royal Office Building was reorganized into Imperial Estate Administration Office(皇室財産事務總局), and when the office building was burned down in 1960, the stone statues and foundation stones placed on the stylobate were relocated to the Daebodanji. The bondstone at Daebodanji is a representative example of construction materiasl being mistaken for gaeden ornaments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.149-159
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• 2018

The study is aimed at establishing basic data to identify the original forms of the garden in Unbo's House. Through interviews and related data comparison analysis the ideas and major events of the person involved in establishing a garden in Unbo's House. Also, derived the direct and indirect effects of these people on gardening. The results are as follows: First, Those directly related to garden in Unbo's House are representative figures of cultural heritage and traditional art in Korea. Based on their expertise and abundant experience in traditional spaces, they contributed greatly to the creation of Unbo's House as a traditional space. Unbo Kim, Gi-Chang who directly influenced Unbo's House gardening, which affected the site selection, location, and the installation of major garden plant plants and traditional landscaping facilities. Hyegok Choi, Soon-Woo recommended Wabon Kim, Dong-Hyun at the request of Kim Ki-Chang and was involved in the overall plan. Housing design, space design and design of major facilities such as pond were confirmed Wabon Kim Dong-Hyun. Second, Kim, Gi-Chang's wife Jeong, Rae-Hyun, who motived to construct a garden. Nosan Lee, Eun-Sang and Korean artist Lee, Seok-Ho were created a signboard and board of the Pillar to encourage simple life in paintings. The themes of the article motived image as creative. In addition, Kim, Hyeong-Sik and Kim, Wan who son of Unbo, has been with Unbo for a long time, watching and influencing garden changes in Unbo's House. Third, The main factors that influenced the garden by character are as follows. Unbo Kim, Ki-Chang had a thorough record-setting spirit and his longing for his mother and wife affected the selection of the site and setting the direction of the garden. His art world with the symbolic emphasis of traditional landscapes, including traditional facilities, and especially plant materials. Choi, Sun-Woo reflected his traditional consciousness and experience in the construction of Unbo's House. Kim, Dong-Hyun applied the basic framework of a traditional building based on Yeonkyongdang hall in Changdeokgung palace. He also reflected on the traditional landscaping design the facilities of ponds acquired through excavation of Donggung Palace and Wolji Pond, Gyeongju. Nosan Lee, Eun-Sang and Lee, Seok-Ho completed their unique place in Unbo's House. Kim, Hyung-Sik was involved in the process of changing, while Kim Wan ran the Unbo's House which he inherited from Kim, Ki-Chang.