• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.1-13
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• 2010

This research was conducted to understand the characteristics and traits of Baekje's palace backyard by studying and analyzing the usage, shape, size, material, and place of origin of the odd-shaped stones found at the remains of Baekje's palace in Waggung-ri, Iksan. The results of the research are as following. The odd-shaped stones found at the Baekje palace backyard were used for two purposes. Some of the stones were used as heaping stones(疊石) for the stone waterfall in the backyard while others were used as ornamental stones(置石) to exhibit the uniqueness and beauty of the stone themselves. The stones used for the waterfall had various shapes and materials and were arranged to symbolize the beauty of natural scenery. On the other hand, the ornamental stones were used to exhibit their beauty of forms. Among the twenty six ornamental stones, four were large, four were mid-sized, and eighteen were small. The twenty four heaping stones used for the waterfall were all categorized as small. All of the stones were not too big, easily coming into sight of human beings. The heaping stones were mostly limestones, and some of them were metamorphic rocks such as marble, quartz, green rock, slaty rock, and phyllite. Almost all of the odd-shaped stones used for Baekje's palace backyard have beautiful patterns and specific forms that resemble natural scenes or animals such as a turtle, terrapin, pig, bear, or elephant. Some of the ornamental stones apparently went through carving to emphasize the unique shapes. Considering the usage and characteristic of the odd-shaped stones, one of the most characteristic feature of the Wanggung-ri palace backyard can be said to be 'the garden of odd-shaped stones'. Meanwhile, according to references, interviews, questionings, and on-the-spot surveys on the people who quarried the stones, the stones found at the remains of the Wanggung-ri palace came mostly from Mt. Cheonho in Hosan-ri, Yeosan-myeon, Iksna, and Mt. Shidae in Dosoon-ri, Wanggung-myeon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.124-139
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• 2016

This study was carried out to characterize 127 recently developed cultivars of Rose of Sharon (Hibiscus spp.) in Korea and foreign Countries for landscape uses. The examined factors were growth characteristics such as tree height of a 1-year grafted plant(cm), plant type, growth habit, leaf characteristics such as shape and size, flower characteristics such as color, shape, size, and red eye during 2014 and 2015 for landscape uses. The results are obtained as follows; In the results of flower color of the 127 recently developed cultivars, pink color with red eye spot, white color with red eye spot, purplish red color with red eye spot, violet purple color with red eye spot, crimson color with red eye spot, asadal, blue color with red eye spot, and white color were distributed. In the flower characteristics, Hibiscus hybrid 'Daewangchun' had the largest flower size of 16.0cm out of the 127 cultivars. H. syriacus 'Antong', 'Lil Kim', and 'Ggoma' were cultivars with smaller flowers than other cultivars. H. syriacus 'Hunjang' had largest red eye, of 5.2cm of length compared to the other cultivars. The cultivars with unique flower color for landscape uses are H. syriacus 'Kwangmyung', 'Nanpa', 'North face', 'Bulsae', 'Bidan', 'Songam', 'Youngchang', 'Jukpeoso', 'Kiho', 'Tamla', 'Hwasoored' and 'Hwanhee'. These flowers had a purplish red color and were developed in Korea. H. syriacus 'Aphrodite', 'Dr. Uemoto', 'Freedom', 'Pink Cup', 'PS 80-1', 'Purpureus Variegatus', 'Red Giant', 'Woodbridge' also had unique flowers with a purplish red color and were introduced from foreign countries. In addition, cultivars with violet pink flowers were H. syriacus 'Ggoma', 'Doturak', 'Myungmi', 'Byunghwa', 'Sancheonyu', 'Taehwa', 'Hikari-hanagasa', and 'Little Kim Violet'. 'Jongmoo' and 'Ruffled Satin' had flowers with crimson color. Therefore, the new cultivars with unique flower colors were a promising cultivars to a woody landscape plant. Cultivars with large flower sizes were Hibiscus hybrid 'Daewangchun', Hibiscus hybrid 'Daemang', and Hibiscus hybrid 'Jina'. H. syriacus 'Ggoma', 'Mibeak', 'Antong', 'Lil Kim', and 'Eunhasu' had small flower sizes. Cultivars with long red eye were H. syriacus 'Hunjang' and H. syriacus 'Hi Lea Red'. Therefore, the new cultivars, Hibiscus hybrid 'Daewangchun', Hibiscus hybrid 'Daemang', Hibiscus hybrid 'Jina' with large flower sizes, H. syriacus 'Ggoma', 'Mibeak', 'Antong', 'Lil Kim', and 'Eunhasu' with small flower sizes, H. syriacus 'Hunjang' and H. syriacus 'Hi Lea Red' with long red eye, were promising cultivars to a woody landscape plant.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.84-107
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• 2018

Cheommojik is a pile cloth, a type of textile whose surface is covered with short piles. The term chaedam was used during the late Joseon dynasty to refer to pile cloth rugs, while the terms yoongjeon, dantong and yangtanja were used in the early twentieth century. Various documents, newspaper articles and photographs confirm that pile cloth rugs were used by the general public as well as the royal family from the late Joseon dynasty onward, and that there were domestic manufacturers of such rugs at that time. This study investigated six pile cloth rugs that were produced after the late Joseon dynasty, five of which feature Persian knots made of cut pile, the other being made with the loop pile method. The cut pile rugs are rectangular in shape and measure between 72-98cm by 150-156cm; and they are decorated in the middle with patterns of butterfly, deer, and tiger or the ten longevity symbols, and along the edges with patterns composed of 卍 symbols. The ground warp of all six rugs are made from cotton yarn, while the ground weft is made of cotton yarn on three pieces, wool on one piece and cotton and viscose rayon. The ground weft yarn from four pieces are Z-twist yarn made with two or more S-twist cotton yarn. Four to six colors were used for the pile weft, all being natural colors except for red. Two or more S- or Z-twist yarn were twisted together in the opposite twist for the pile weft, with the thickness determining the number of threads used. Six or more weft threads were used to make the start and end points of the rug; and the ground warp ends were arranged by tying every four of them together. For the left and right edges, three or more threads were wrapped together into a round stick-like form, and the second and third inner ground warps from the edges were stitched on to the wrapped edge. For the loop pile, loops were made in the direction of the warp; the ground warp and the ground weft may have been made with cotton, the pile warp with wool yarn. An analysis of the components of three rugs was conducted to determine which types of animal hair were used for the pile weft. Despite some inconclusive results, it was revealed that goat hair and fat-tailed sheep hair were used, raising the possibility that various kinds of animal fur were used in the production of pile cloth rugs. The six rugs examined in this study are estimated to have been made between the late 1800s and the early 1900s. Although the manufacturer of the rugs cannot be confirmed, we concluded that the rugs were produced in Korea after referring to the documentation of the domestic production of pile cloth rugs during the aforementioned period and the form and placements of the patterns on the rugs.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.