• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.47-58
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• 2023

This study was conducted through reviewing Aspects of Design and Construction in Entrance Space of the World Heritage Royal Tombs of the Joseon Dynasty, which is equipped with parking lots, ticket offices, toilets, exhibition halls, information boards, and rest facilities for the convenience of visitors and the purpose of this study was to propose a direction for improvement. The results of the study are as follows: First, the reduced area of Royal Tombs of the Joseon Dynasty was unable to fully accommodate the ritual movement line, and as a result, the location of the entrance space in the current royal tomb was decided to accommodate minimal convenience functions. In the meantime, the entrance space of the royal tombs has been relocated or renovated in order to achieve its integrity as a World Heritage Site, rational arrangement of movement lines and spatial utility. Second, the size of the entrance space ranges from 1,000 square meters in Jeongneung in Seoul to 16,000 square meters in Hongyuneung in Namyangju, and the number of annual users varies greatly from 12,000 in Onneung in Yangju to 410,000 in Seonjeongneung in Seoul. Considering the conditions of the 16 royal tombs, the entrance space should be provided at an appropriate scale, reflecting the surrounding land use and accessibility that affect the influx of users, the size of the site, and the king's awareness and preferences. Third, the location of the parking lot, the presence or absence of an outer courtyard and an internal courtyard bordering the ticket and check offices, and the location of the Historical and Cultural Museum made it possible to know the aspects of entrance space of the Joseon Royal Tombs, where the spatial configuration is determined Fourth, according to the royal tombs, it was found that the entrance space should have essential parking, access control, information, and convenience functions, and that support, exhibition, passage, and recess functions should be optional. At this time, the management office and the Historical and Cultural Center are in charge of support and exhibition functions. The function of passage can be a strategy that provides a sense of entry and the function of recess which has been introduced in only four royal tombs requires an appropriate location and landscape access.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.20-28
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• 2013

The purpose of this study was to compare the ultra-violet(UV) radiation under the landscaping shade facilities and tree with natural solar UV of the outdoor space at summer middays. The UVA+B and UVB were recorded every minute from the $20^{th}$ of June to the $26^{th}$ of September 2012 at a height of 1.1m above in the four different shading conditions, with fours same measuring system consisting of two couple of analog UVA+B sensor(220~370nm, Genicom's GUVA-T21GH) and UVB sensor(220~320nm, Genicom's GUVA-T21GH) and data acquisition systems(Comfile Tech.'s Moacon). Four different shading conditions were under an wooden shelter($W4.2m{\times}L4.2m{\times}H2.5m$), a polyester membrane structure ($W4.9m{\times}L4.9m{\times}H2.6m$), a Salix koreensis($H11{\times}B30$), and a brick-paved plot without any shading material. Based on the 648 records of 17 sunny days, the time serial difference of natural solar UVA+B and UVB for midday periods were analysed and compared, and statistical analysis about the difference between the four shading conditions was done based on the 2,052 records of daytime period from 10 A.M. to 4 P.M.. The major findings were as follows; 1. The average UVA+B under the wooden shelter, the membrane and the tree were $39{\mu}W/cm^2$(3.4%), $74{\mu}W/cm^2$(6.4%), $87{\mu}W/cm^2$(7.6%) respectively, while the solar UVA+B was $1.148{\mu}W/cm^2$. Which means those facilities and tree screened at least 93% of solar UV+B. 2. The average UVB under the wooden shelter, the membrane and the tree were $12{\mu}W/cm^2$(5.8%), $26{\mu}W/cm^2$(13%), $17{\mu}W/cm^2$(8.2%) respectively, while the solar UVB was $207{\mu}W/cm^2$. The membrane showed the highest level and the wooden shelter lowest. 3. According to the results of time serial analysis, the difference between the three shaded conditions around noon was very small, but the differences of early morning and late afternoon were apparently big. Which seems caused by the matter of the formal and structural characteristics of the shading facilities and tree, not by the shading materials itself. In summary, the performance of the four landscaping shade facilities and tree were very good at screening the solar UV at outdoor of summer middays, but poor at screening the lateral UV during early morning and late afternoon. Therefore, it can be apparently said that the more delicate design of shading facilities and big tree or forest to block the additional lateral UV, the more effective in conditioning the outdoor space reducing the useless or even harmful radiation for human activities.

• (The) Research of the performance art and culture
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• no.36
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• pp.441-471
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• 2018

East Coast Gut, Korean shamanism ritual on its east coastal area, is a Gut held in fishing villages alongside Korean east coastal area from Goseong area in Gangwon-Do to Busan area. East Coast Gut is performed in a series mainly by a successor shaman, Korean shaman, who hasn't received any spiritual power from a God, and the implications of this thesis lie in that we look over the learning aspects of Seokchool Kim shaman group among other East Coast Gut successor shaman groups after dividing it into 2 categories, successor shaman and learner shaman and based upon this, we reveal the meaning of the learning aspects of East Coast Gut. For successor shamans, home means the field of education. Since they are little, they chased Gut events performing dance in a series to accumulate onsite experiences. However, in the families of successor shamans that have passed their shaman work down from generation to generation, their descendents didn't inherit shaman work any longer, which changed the way of succession and learning of shaman work. Since 1980's, Gut has been officially acknowledged as a kind of general art embracing songs, dance and music and designated as a cultural asset of the state and each city and province, and at art universities, it was adopted as a required course for its related major, which caused new learner shamans who majored in shamanism to emerge. These learner shamans are taking systematical succession lessons on the performance skills of East Coast Byeolshin Gut at universities, East Coast Byeolshin Gut preservation community, any places where Guts are held and etc.. As changes along time, the successor shamans accepted the learner shamans to pass shaman work down and changes appeared in the notion of towners who accept the performer groups of Gut and Gut itself. Unlike the past, as Gut has been acknowledged as the origin of Korean traditional arts and as the product of compresensive learning on songs, dance and music and it was designated as a national intangible cultural asset, shaman's social status and personal pride and dignity has become very high. As shaman has become positioned as the traditional artist getting both national and international recognition unlike its past image of getting despised, at the site of Gut event or even in the relation with towners, their status and the treatment they get became far different. Even towners, along with shift in shaman groups' generation, take position to acknowledge and accept the addition of new learning elements unlike the past. Even in every town, rather than just insisting on the type or the event purpose of traditional Gut, they think over on the type of festival and the main direction of a variety of Guts with which all of towners can mingle with each other. They are trying to find new meanings in the trend of changing Gut and the adaptation of new generation to this. In our reality of Gut events getting minimalized along with rapid change of times, East Coast Gut is still very actively performed in a series until now compared to Guts in other regions. This is because following the successor shamans who have struggled to preserve the East Coast Gut, the learner shamans are actively inflowing and the series performance groups preserve the origin of Gut and try hard to use Gut as art contents. Besides, the learner shamans systematically organize what they learned on shamanism from the successor shamans and get prepared and try to hand it down to descendents in the closest possible way to preserve its origin. In the future, East Coast Gut will be succeeded by the learner shamans from the last successor shamans to inherit its tradition and develop it to adapt to the times.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.

• Korean Journal of Heritage: History & Science
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• v.41 no.1
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• pp.5-19
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• 2008

Thirty six samples of Western asia glass vessel shards which were excavated from South Mound of Hwangnamdaechong were each measured for thickness, pore size and specific gravity and analyzed for ten major compositions and thirteen trace elements. The glass samples with colorless, greenish blue and dark purple blue were well classified by principal component analysis(PCA). All glass shards of Hwangnamdaechong belonged to Soda glass system ($Na_2O-CaO-SiO_2$) which have the range of 14~17% $Na_2O$ and 5~6% CaO. The corelation coefficients of (MgO, $K_2O$) and (MnO, CuO) showed above 0.90. The concentrations of thirteen trace elements apparently differentiated from colorless, greenish blue and dark blue glasses. We found that thirteen trace elements were very important indices for studying raw material of glass and the origin of glass making. Colorless glass : The specific gravity is $1.50{\pm}0.04$. Circle or oval circle pores are observed with regular direction in internal zone and the longest one is about 0.35 mm. The raw material of sodium must be the plant ash because sodium glasses contain HCLA(High CaO, Low $Al_2O_3$) and HMK(high MgO, high $K_2O$) and suggested to Sasanian glass. The total amount of coloring agent of colorless glass is below 1 % which is too small to attribute to the color. Greenish blue glass : The specific gravity is $1.58{\pm}0.04$. The fine pores which are 0.1~0.2mm are dispersed in internal zone. Sodium glasses are distributed to HCLA and HMK. Therefore the greenish blue glass also have used plant ash for raw material of sodium with the same as colorless glass. It was also suggested to the glass of Sasanian. The total amount of coloring agent of greenish blue glass is about 4% under the influence of working MnO, $Fe_2O_3$ and CuO. Dark purple blue glass : The specific gravity is $1.48{\pm}0.19$. There are rarely pores in internal zone. They are distributed to HCLA and LMK(Low MgO, Low $K_2O$) and suggested to Roman glass. The raw material of sodium is estimated to natron. The total amount of coloring agents of greenish blue is about 3% by $Fe_2O_3$ and CuO. These studies for western asia glass shards from South Mound of Hwangnamdaechong could be used in the future as the standard data which could be compared with those of other several graves in Korea and dispersed in foreign areas.