• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.223-242
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• 2022

The main purpose of this study is to find out the meaning of structural changes that appeared in the royal tombs of the Joseon Dynasty after the application of a compound lime-mortar(Sammulhoe三物灰: the mortar with lime, sand, ocher). In the early Joseon Dynasty, the royal tomb was constructed by following the system of the stone chamber tomb in the Goryeo Dynasty. However the system of the stone chamber tomb recorded in 『GukJo-OReYi(國朝五禮儀: The five category's formalities in the Joseon Dynasty)』 is very different from that in the Goryeo Dynasty. The biggest difference is that a compound lime-mortar was applied into the system of the stone chamber tomb in order to attempt structural reinforcement. This change reflects King Sejong's willingness to build a dense structure in which water does not permeate the stone chamber when Yeongneung(英陵) was built in 1446(the 28th year of King Sejong's reign). Yeongneung is a complex structure consisting of a stone chamber and compound lime-mortar wall. After constructing a stone chamber, the 1.2m(4尺) thick wall with a compound lime-mortar is additionally constructed outside the stone chamber structure. In 1468(the year of King Yejong's accession), according to the will of King Sejo, the stone chamber system was abolished and the Hyeongung(玄宮: the chamber enshrining a coffin of the deceased king or queen consort) was constructed only by the thick wall with a compound lime-mortar. This change become a primary cause for the royal tomb to be constructed as Hoekyukneung(灰隔陵: the royal tomb with chamber constructed only by the thick wall with compound lime-mortar) in the late Joseon Dynasty. The Hoekyukneung in the late Joseon Dynasty has been constructed with the method of structure and construction for the thick wall with a compound lime-mortar since the complex structure recorded in 『GukJo-OReYi(國朝五禮儀)』. The Hoekuykseoksilneung(灰隔石室陵: the complex structure consisting of a stone chamber and compound lime-mortar wall) is unique tomb style of Joseon Dynasty and become a motive of tomb system(Hoekuykneung) in the late Joseon Dynasty.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.8 no.8
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• pp.1-9
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• 2018

Emotional Intelligence is the ability to recognize, facilitate, understand and control and utilize one's and other's emotions and has been researched extensively in last 20 years. Of the four domains of emotional intelligence, Emotional Regulation, the ability for one to manage and modify one's emotional reactions in order to achieve goal-directed outcomes, with its influence on authentic leadership and change oriented organizational citizenship behavior was researched by surveying 300 nurses at large metropolitan hospitals in B city in South Korea. Previous research demonstrated in relationship based and long term oriented cultures, such as Korea, Japan and Chinese cultures, ability to regulate emotions is critical component in successful social dynamics yet research the topic is minimal in Korea. Authentic leadership is a leader displaying sincerity and authentic behavior and through such, trust is gained in followers and collaboration is formed. Change oriented organizational citizenship behavior is a proactive behavior where the individual performs behaviors not included in his job functions voluntarily. The results indicate the three out of four sub domains of authentic leadership influenced positively to change oriented organizational citizenship behavior with the exception of balanced information processing. Moreover, Emotional Regulation partially mediated between authentic leadership and change oriented organizational citizenship behavior. Such results validated previous studies that indicated authentic leadership as possible antecedents of individual proactive behaviors and by examining authentic leadership and change oriented organizational citizenship behavior with emotional regulation as a mediator proved possibility as another potential antecedent of change oriented organizational citizenship behavior in hospital setting.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.142-160
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• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• (The) Research of the performance art and culture
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• no.38
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• pp.193-224
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• 2019

Shaman's play is significant in that it provided public theater for a long time in the theatrical and dramatic history. Unlike upper class who could call entertainer or Korean geisha in the traditional society, the majority of ordinary people could see professional performances through gut. Therefore, the shaman of the traditional society pulled the play which developed in the gut and the outside play into the gut and prepared the performance street for the ordinary people. shaman's play, apart from the religious context, has also functioned as a theatrical performance. Through shaman's play, you can see the process of ritual development into play. Shaman's play is a ritual ritual of expel calamity in an agriculture based society. In Korean consciousness, evil spirits are thought to bring disease or disaster to humans, so they should be good for evil spirits. This is a ritual that goes hand in hand with the Confucian Yeoje and the Buddhist Suryukjae. Most traditional plays, including masque performance, tend to weaken and become stifling after the designation of intangible cultural properties. However, shaman's play is transformed every time it is executed and is given a new meaning. Depending on the ability of the shaman to respond to and accommodate social change, adaptability is excellent depending on the situation in the field. Shaman's play has richness, prevent calamity and playful elements such as imitation of god and sexual connection based on the element of shamanism. In addition, it is necessary to pay attention to the meaning and the direction of Shaman's play because it is differentiated into play including social subject beyond mere magic imitation.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.110-130
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• 2023

New years' rites serve a religious function to wish for well-being during the year by bidding farewell to the previous year and welcoming the next. In Japan, in mid-December, to welcome Toshigami, kadomatsu, and shimenawagazari are prepared, as well as osechi ryori to be eaten at the beginning of the year. On New Year's Day, people go to shrines and bow to the gods while saying Hatsumode (初詣). On the fifteenth day of the first month, in the course of a rite called Dondoyaki, all the decorations used in the first month and the amulet used in the previous year are burned. In Korea, when the Lunar New Year approaches, people prepare for their ancestral rites and clean their houses. On the first day of the new year, people hold ancestral rites for their ancestors. There are many different seasonal rites, taking place from the beginning of the year to the full moon. In China, Danwonban (團圓飯), in which the whole family sits together and eats on New Year's Eve, is important. Lights are brightly lit up all night, and the sound of firecrackers outside rings out loudly. On the door, the word chun-ryun is attached to wish for prosperity in the new year. According to the cycle of the four seasons, the first lunar month contains a high proportion of the seasonal rites that are repeated every year. The first month represents the beginning of a year, and various rituals are performed in order to wish for good health and abundance during the coming year. In addition, the "folk religious world view" is integral to annual new years' rites, so it is not difficult to understand the religious character and structure of the Korean, Chinese, and Japanese annual ceremonies. This study examines the current status of annual new years' rites in Korea, China, and Japan, and how the rites are structured according to the inflection points in the year. In addition, religious characteristics are reviewed in terms of gods, predictions, and fertility prayers, exorcisms, health, and restoration. In this way, it can be seen that various religious elements such as shamanism, agricultural faith, ancestor worship, Shintoism, Taoism, Confucianism, and Buddhism can be witnessed in the annual new years' rites of Korea, China, and Japan. In addition, differences in the presence or absence of these are shown to depend on the country.

• 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 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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.134-147
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• 2014

The purpose of this study is, focusing on the ancient paintings and literatures, by examining Flowering Plants and drawing their cultivating methods, to provide a ground of utilizing them on the modern landscaping. In the scope and method of this study, 766 pieces of ancient paintings(6 garden paintings and 760 folk paintings) which were available and had value as literatures, and 8 of ancient literatures were intensively examined. Main results extracted from them are as follows. First, the most frequently used Flowering Plants in Joseon Dynasty were Prunus mume, pbyllostachys, Nelumbo nucifera, Chrysanthemum morifolium, Musa basjoo, Rosa spp., Rhododendron mucronulatum, Paeonia lactiflora, which appeared 11 times to 16 times in total. Next frequently(4 times to 8 times) used Flowering Plants were Gardenia jasminoides, Punica granatum(8 times), Dianthus chinensis, Vitis vinifera(7 times), Orchidaceae, Syringa velutina, Impatiens balsamina, Hemerocallis fulva, Celosia cristata, Hibiscus Syriacus, Rhododendron indicum(6 times), Rhododendron, Rhododendron obutusum, Acorus calamus, Althaea rosea, Kerria japonica, Citrus junos(5 times), Hibiscus mutabilis, Lychnis cognata, Calendula officnalis, Begonia rex., Helianthus annuus, Papaver spp., Narcissus tazetta, Daphne odora, Hosta plantaginea(4 times). Second, usage of the Flowering Plants in Joseon Dynasty can be divided into character building and horticulture for pleasure through positive, scientific approach attempt. It suggests that there might have been classes in the use of them and we can estimate which plants were particularly preferred. Third, in the symbolicity of the usage of Flowering Plants, it can be divided into three parts: The case of representing integrity, gentleman, honesty and nobility and the thought of loyalty and filial piety under the influence of Confucianism. The case of representing Taoism's thought of hermit and perennial youth and long life. The case of representing wish on wealth and prosperity. So if we make a good use of it, we may draw a meaning of cultivation of Flowering Plants from it. This is your target audience or the good luck to all he plants is aimed at, you can see the occurred. Fourth, the Joseon Dynasty was the use of flowering plants are the line of rain wanted to be more consistent with the spirit world. This is shown as a symbol of their ancestors. Joseon Dynasty was used, resulting in a kind of flowering plant and is not a subjective judgement criteria A psychological approach to the side when interpreting the Joseon Dynasty flowering plants to take advantage of the landscape of the area will widen in scope.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.22-36
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• 2019

This research identified landscape characteristics of Chilitan(칠리탄) area, which had been managed by Son Giyang(1559~1617, p. Ohhan), in order to understand the political viewpoint and ideal landscapes, sought after by Confucian scholars in the 16~17th century. As the research method for the interpretation of each scene's spatial strucutres and meanings, paintings and poems in Chiltanjungsipyukgyeongdo(the Paintings of the 16 Scenes of Chiltanjung Area) were analyzed, which were followed by the on-site survey. Son lived hermit life with the nature after he decided to retire into the country for the chaotic political environment in the 4^th year of Gwanghaegun's reign. Admiring Eum Jareung(B.C. 39-41, p. Eumgwang)'s hermit life, he named a headstream to Chilitan, erected pavilion and made place for angling by the stream, as Eum did in the hermitage. However he worried the king and royal politics in spite of his hermit life, which showed his political viewpoint of Confucianism. In addition, every column of buildings in the garden was named in order to imply both thoughts of Neo-Confucianism and Idleness Naturalism, which highlight a moral training and being comfortable amid poverty and taking pleasure in and honest life style. The present landscape of wonlim could be back to 1936, where Unganru, Byeokripjae and Chiltanjung are surrounding Eupcheondang. Chines character, such as Jimamsuseok, Giam, Ohhansonsunseongjanggujiso and Jogi, are inscribed on the rocks in the landscape garden, from which placeness could be inferred. According to the record of the construction, pine, fir, paulownia, ginkgo, peach trees, bamboo and lotus were planted, and ginkgo, bamboo, crape myrtle, pine and chestnut tress are still living in the garden, which mean plants had been planted in the light of their practical values as well as symbolic meanings. The method for describing 16 scenes of Chiltanjung could be characterized to the structure of 「Place+Scene(a particural activity, event, or action), and these placeness could be analyzed by categorizing the scene to near, middle and far views. Each scene symbolically presents a hermit, noble man, Taoist ideology, homeland, or peacetime, which were adpoted to depict landscapes of Chiltanjung area as the Confucian utopia.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.113-124
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• 2012

The Confucian culture of the Chosun Dynasty has a great effect on the construction of ByeolSeo gardens. Among them, especially the gardens built in Gyeongsang Province areas, where a great number of Confucian scholars were produced in the beautiful natural environment, have maintained various heritage of Confucian culture established by the scholars. Along with the Nakdong River, we can find so many cultural assets of buildings such as head houses, ByeolSeo gardens, including the literary remains such as administrative certificates, poetry and prose, and records of pavilions, which show the trace of the scholars who followed the instructions of the doctrines of Chu-tzu. The Geumseonjeog located in Punggi County, Gyeongsangbuk Province, which was the ByeolSeo gardens possessed by Geumgye Whang Jun-ryang(1517-1563), who was the governor of the area and one of the representative students of Toigye Lee Whang. The building is located nearby the Geumseon Valley with beautiful natural scenery under Sobaek Mountain. Especially the pine forest around the valley boasts a unique natural setting. This study is aimed to analyze the value of natural scenic spot of the Geumseonjeong through the surveys on surroundings, topography, vegetation and water system. including the value of humanistic elements focused on the writings such as 'Geumgyejip' written by Whang Jun-ryang and Lee Whang, another 'Geumgyejip' written by Ryu un-ryong, and 'Geumgyejeongsajungsugi' written by Hong Gyeong-ryeom. And also, the scenic spot value of the signboards such as the 'Geumgyejeongsajungsugi' written by Ryu un-ryong, 'Geumgyejeong' by Lee Han-il, 'Geumgyejeong' written by Jo Un-hyeong and 'Geumgyejeongsa, written by Lee Jung-gi, was analyzed. And the historical and cultural value was analyzed through the semantic interpretation of the series of poetry and pose and the old map established in 1872. In respect of the scenery, the surroundings of the Geumseon Valley boast the outstanding settings as the clean mountain stream in front of the Geumseonjeong makes a beautiful harmony with the pine forest. The pine forest surrounding the Geumseon Valley has played a secret role in the history of the village. Considering the fact that the pine forest was expressed in the map of Punggi County produced in 1872, it may be assumed that the forest was regarded to have historical and scenic value in those times. Considering the fact that the words like 'Beautiful' and 'Scenic spot' were used in the writings like 'Geumgyejip' and there were meeting places around the valley, we can recognize the value of the place as a scenic spot. The beautiful natural scenery surrounding the ByeolSeo gardens, and the increase in humanistic value of the poetry and prose, including the administrative certificates, has recently brought about the cases in which some scenic spots of the ByeolSeo gardens were designated as cultural assets. According to the value as a scenic spot and semantic interpretation of the Geumseonjeong, the pavilion appeared to have a great scenic spot value as a ByeolSeo gardens, so that this study was designed to prepare criteria with which the pavilion may be designated as a scenic spot of ByeolSeo gardens.