• (The)Study of the Eastern Classic
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• no.59
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• pp.297-324
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• 2015

This article discusses Dasan Cheong Yagyong(1762-1836)'s perspectives on The Book of historical documents("書經"). Dasan Cheong Yagyong considered The Shoo King as The Book of historical documents presented Ideas of Confucian Politics in ancient China. Many Scholar and Kings dispersed and re-edition The Shoo King as historical documents. Dasan Cheong Yagyong analyzed, de-constructed, and reinterpretations documents of dominant The Shoo King. Dasan Cheong Yagyong tried to recover the original documents The Shoo King. Dasan Cheong Yagyong collected dispersed material of The Shoo King, and complied the original documents. Dasan Cheong Yagyong wrote four book of The Shoo King. Dasan want to reconstruct the new theory by these reinterpretations of The Book of historical documents presented Ideas of Confucian Politics in ancient China, and to open new era.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.33-50
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• 2013

The purpose of this study was to seek the spatial organization and prototype landscape through literature reviews, historical evidences, and field surveys for Donggwanwangmyo(東關王廟) shrine in Seoul. The results were as follows : First, the basic layout of the main buildings in Donggwanwangmyo which is the remains influenced by China had bilateral symmetry on the central axis between the north and south. Second, the Chinese forms and features were found at Jeong-jeon and middle gate in Donggwanwangmyo, and the symbolic elements of royal authority was also found in each space of Donggwanwangmyo. Third, spatial organization was classified as the entrance and the ritual area, and the entrance area was maintained by administrators and was used as the place of ritual ceremony preparation. Fourth, the original form of Donggwanwangmyo had been damaged due to the project for making urban park in the 1970s. The most of the existing trees and shrubs which are not suitable to the shrine should be removed to recover the original landscape of Donggwanwangmyo and chui-byoung(翠屛), pond, landscape facilities also needed to be restored. Fifth, Donggwanwangmyo needed to reorganize the pious atmosphere to recover of the shrine environment, and needed to be reclassified as historical site. Finally, some criticizes that Donggwanwangmyo is the result of Toadyism, but Donggwanwangmyo can be used as the valuable tourism resource through the awareness that Donggwanwangmyo was built under the situation of Joseon Dynasty, and organization and understanding that Donggwanwangmyo is a symbolic remains for the exchange between Korea and China.

• Archives of design research
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• v.18 no.1 s.59
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• pp.105-114
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• 2005

With the upcoming Digital age, it is time to develop digitalized contents based on cultural basis. in this respect, Kimchi is one of the most primal cultural content signifying Korean culture. It's no doubt the time to initiate the movement to digitalize the contents concerning Kimchi by gathering materials on the origin of Kimchi culturally and a great value to revive digital contents regarding Kimchi. Therefore, in this research, it is regarded that Kimchi is one of the most prominent cultural value that is possible to inherit from generations and should be stratified on the database. A method explaning Korean Kimchi culture is sought in this paper. And It is focused on the culture of Korean Kimchi profoundly and focus on detailed context and varied styles of he digital contents. It is organized on the basis of various aged volumes regarding Kimchi classified by seasons, ingredients, Jonga Kimchi (Kimchi inherited from the oldest family by generations), 24 seasonal divisions of the year, and 8 regional divisions of the nation. It is planned to set up digitally-focused library regarding cultural origin of contents and to present solidity and a feeling of being dynamic The results could be used in a variety of Industries in tourism, education, Kimchi and building basic infrastructure in entertainment industry. It is also applied to specialized industry by providing cultural contents and it could contribute to activation of Kimchi industry with e-Market and portal site regarding Kimchi. Moreover, it may re-establish the cultural value of Kimchi and provide the infrastructure in Kimchi-related industry such as Kimchi cyber museum, Kimchi Expo, Kimchi town by using educational materials in Education industry fields (regular curriculum and experience tour).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.31-40
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• 2015

This study aims to comprehend that Seokpajeong garden for aspect of space change. Spatial characteristics according to the transfer of ownership are classified as period. And investigate the aspect of space change in Seokpajeong garden based on literature and painting, newspaper, photo. The results were as follows. First, Investigate the construction and change of Seokpajeong garden. Accordingly, spatial characteristics of Seokpajeong garden are classified into three period. 1st period is Kim-Heung Keun owned Samgyedong-jungsa garden. 2nd period is Daewongun hold Seokpajeong garden. 3rd period is damaged original form of Seokpajeong garden from Korean War to current time inclusive. Secondly, Kim-Heung Keun owned Samgyedong-jungsa garden has characteristics of water system centric space and many buildings. In addition accept foreign culture like chinese pavilion and Byeoldang Villa. and plant unique flower and leaf in garden. Thirdly, According to Seokpajeong garden folding screen, Daewongun owned Seokpajeong garden accept organization of space in Samgyedong garden. But different locations of Sarangchae in folding screen means possibility of move building to current position. So, additional historical research is required with representation of chinese pavilion location. Fourthly, Seokpajeong garden was damaged from original form to frequent changes of ownership. Transform of geographical features and water system as well as Anchae and Sarangchae, back side of a outbuilding are only the remained among many buildings. Also, Seokpajeong garden is more fell to the subsidiary facility of Seoul Museum than Wonrim. Therefore restoration and recovery of original form are urgent.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.1-13
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• 2017

This study was intended to provide management directions through the provision of tree spatial information as basic data for the preservation of Gyerim(legal historical site), which is located in Gyeongju city, Gyeonsangnam-do, Korea. As a result of the survey of the entire forest, there are a total of 25 species and 510 individuals growing trees. Of these species, 14 species are native and 14 are introduced species. Apart from Sophora japonica, Zelkova serrata, Celtis sinensis, most of the introduced species were adopted without historical basis after designation as a historical site. By a ratio of 36% to introduced species(including 3% of naturalized species; Ailanthus altissima), the historical heritage was significantly damaged. Gyerim, which has over 2,000 years of history, has a total 15 individuals(2.9%) large trees(over 100cm DBH). Ten of these are Salix glandulosa, and in the past, most of this area was considered a Salix glandulosa forest. Currently, however, there are many small trees(under 20cm DBH) for the next generation of growth and the Salix glandulosa forest will continue to decline. Furthermore, most small trees were afforested, so the historicity and place features as a mythological forest will quickly fade.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.156-171
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• 2012

It is the time of the Korean Wave booming throughout the world, placing Korean culture in the center of the world and its added value is unaccountable. At this prosperity, the preserving of the archetype of Korean dancing and digital contents making is becoming a task not only for the government but also for the private sector because culture industry has enormous added values. To achieve such goals, contents development is an urgent matter but establishing the value of the archetype of Korean traditional dancing must have priority. The public has to take an active role in rediscovering the values of traditional culture, and as the representative of Korean identity traditional dancing must be the object of a systematic art policy. This study will review the current status of 'digital contents program of the archetype of culture' for traditional dancing and will reconsider the modern value of preserving the archetype of culture to make a suggestion to the direction of culture art policies in the near future. The study acknowledged the lack of technical personnel majoring in the archetype of traditional dancing and the need of reviewing the credibility of historical research procedures. Even with the studies by industry-university collaboration and positioning of specialists, effective policies that will form the foundation for private firms to train personnels is in urgent need. In other words, training personnels, allocation of resource, securing funds, policies promoting collaboration between private and individual businesses, and the commercial recognition at private firms are still far from establishing. This is due to the fact that archetype of culture is not a business that creates revenue immediately, therefore the recognition of traditional dancing as an investable item by business-oriented firms or movements are difficult to find. To overcome such situation, software oriented policies that establish open communication and sharing with the public should be done at first rather than the quantity oriented hardware policies of contents development. Through this process the public can change the attitude on traditional dancing and traditional dancing could be newly recognized as a creative repository of culture and as public businesses giving birth to economic value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.28-35
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• 2020

This study aims to analyze restoration techniques of traditional garden sites targeted Korean, Chinese, Japanese palace garden. Restoration was divided into the restore foundation and restore individual elements depending on the residual state of the actual garden features. And derived characteristics that should be considered by conservation techniques. The results are as follows; First, the Wanfo Pavilion Area in Beihai Park where the foundation and foundation stones were restored based on the relevant literature and comparative analysis. The Archaeological Site in Gwanbuk-ri, Buyeo restored only the remaining structures of the ponds, waterways and large buildings among the areas where the excavation was completed. The Second Daigokuden Garden in Heijokyo Palace restored building sites and foundation, and installed poles and piles so that the area of the Second Daigokuden Garden could be known. Second, Donggung Palace and Wolji Pond, Gyeongju where the restoration of individual elements was made, preemptively restored the remains of traditional gardens based on pond garden estuaries and feedbacks that were confirmed through initial excavation. Huanghuazhen Area in Yuanmingyuan Garden was restored based on Western copper plate prints and related records, but further data found after the restoration confirmed that it was restored differently than it is now. East Palace Garden in Heijokyo Palace covered existing features with soil and restored buildings on them. Typical garden elements such as landscape stone and waterways were preserved and exposed. Third, foundation restore is a case in which the base is identified through the current state of the traditional garden site, it is important to restore the foundation first and secure the territoriality when there is no restoration plan for the elevation structure or size of the garden relics. Restoration of individual garden elements requires careful examination of the literature by limiting the restoration of objects that can be restored through the examination of the literature for each element, such as some buildings or facilities in the traditional garden site.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Journal of the Daesoon Academy of Sciences
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• v.44
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• pp.1-52
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• 2023

Incantations are reflected in the fundamentals of the Daesoon faith system and are, thus, key to its understanding. Jeungsan, the yeonwon (fountainhead, 淵源) of the Daesoon faith, created new incantations or transformed existing ones that had been used in old religious traditions such as Buddhism and Daoism. However, there has been no in-depth academic research on Jeungsan's incantations until now. This study aims to academically clarify the incantatory archetypes of Jeungsan's incantations based on documents published until the 1970s. Jeungsan's incantations are then compared to those of Mugeuk-do (Limitless Dao) in the 1920s and Taegeuk-do (Great-Ultimate Dao) in the 1950s. Jeongsan's transformed incantations are analyzed through this process. Jeongsan reflected the faith system in Jeungsan's incantations during the period of Mugeuk-do. He transformed the incantations to achieve his goal and realize his wishes by arranging terms that referred to himself before the optative words of the incantations. Jeongsan made several changes to the incantations in the 1950s. First, the majority of incantations used in Mugeuk-do were discarded. This meant making partial changes to the faith system by reflecting awareness because the corresponding incantations were no longer necessary as the Degree Number calibrated by Jeungsan had been realized. Second, Jeongsan organized the incantations in use and institutionalized their instructions. This reflected the essential doctrinal system of the Daesoon faith, namely the completion of the true dharma by Jeongsan. Considering this doctrine, that is, the Fifty Year Holy Work (五十年工夫), the true dharma can be presumed to have been realized before the death of Jeongsan. Accordingly, the institutionalizing and organizing of the incantations were indispensable until the mid-to-late 1950s. Jeongsan, the founder of the Daesoon order, posited himself as the successor of religious orthodox lineage and as the figure who would complete the true dharma by realizing the Degree Number calibrated by Jeungsan. Therefore, Jeongsan interpreted Jeungsan's incantations to be a rough sketch of the Daesoon faith system that had been drawn for him in advance by Jeungsan. Accordingly, Jeongsan transformed Jeungsan's incantations and used them to realize the Degree Number, which Jeungsan had planned. Simultaneously, Jeongsan declared that he would fulfill the Degree Number and establish the true dharma by changing those incantations.

• The Journal of the Korea Contents Association
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• v.4 no.4
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• pp.21-32
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• 2004

This study is aimed that reappearance and restoration of Korean tradition monster's original shape be able to contribute in scenario material development which is filled with history, culture and long imagination of our country. As for method of this study, it is on the basis of literature investigation in history, tale, folk-tale etc. and expert's research, and also restored 50 items of Korean tradition monster in digital way. Study finding is as following. First, prescribed scope of Korean tradition monster including god, ghost, bogy and animal. Second, Korean tradition monster's pattern is classified with S degrees and 4 classes to according to grade of rank and appearance place. Third, each of 50 traditional monsters which are usable to scenario substance development was produced with graphic image and flash animation. Fourth, suggested idea for material development of cultural contents industry as like game and character based on each monster's story. Expect the developed result production from this study to be used as a resource of elevating in comprehension forward to our cultural tradition, to be used as a unique material in field of culture contents industry of game, character, cartoon and movie etc.