• Journal of architectural history
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• v.12 no.3
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• pp.53-63
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• 2003

Tree-ring chronologies can be used to date historical buildings by matching them with the chronologies of living trees or previously dated samples. Tree-ring dating gives a calendar year to each tree ring and produces the felling dates of logs or woods which had been used for buildings. In Korea, several chronologies of Japanese red pine(Pinus densiflora Sieb. et Zucc., 'sonamu' in Korean), a major species for the wooden building materials, have been developed and used for dating historical buildings. In this study, Tongmyungjeon Hall of Changkyung Palace in Seoul was dated by tree rings. The present Tongmyungjeon Hall was known to be reconstructed in A.D. 1834 after burned-out in A.D. 1790. We sampled total of 122 wood samples which were replaced during the repair process in 2002-2003. Felling dates of the samples were determined by the dendrochronological crossdating method. Crossdating method employs graphic comparison of the master patterns (ring-width chronologies of known dates) with those of the sample chronologies of unknown dates. Tree-ring dates confirmed that the reconstruction of 1834 utilized second-handed timbers as well as fresh-cut ones. The felling dates of wooden floor frames were mostly A.D. 1913, indicating the 'Ondol' floors were changed to the wooden floors around 1914 when the Japanese rulers brutally destroyed the royal Korean Palaces and transformed palace buildings to their offices or exhibition halls after occupying Korea in 1910. This study proved that tree-ring dating was a useful and accurate method to identify the critical dates for the history of Korean traditional buildings.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.1
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• pp.124-130
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• 2001

We have increasing number of new ponds planned and designed in traditional styles. However, many of the stoneworks at the edges of those new ponds are not the characteristics of our traditional ponds. This study is aiming at surveying and analysing the building techniques of Korean traditional water edges built with stones, by investigating selected ponds in royal palace gardens. This study was conducted through field investigation and literature reviews. Nine ponds from Gyongbok Palace, Changdeok Palace, and Changgyong Palace, which have many well-preserved ponds of various styles, were surveyed. First of all, the building materials (stones), or the kinds and sizes of stones used for the edges of ponds were surveyed. Secondly, construction methods, or the height and techniques of buildings stone walls were surveyed. Major findings were, first, the edges of most ponds constructed with granite Jangdaeseok, usually 120cm-140cm long, and 30cm-40cm thick. The only exceptions were those ponds which seemed to have been influenced by Japanese style. Second, typical pond ages were up-right vertical walls. Granite jangdaeseoks were piled-up 2 stories or up to six stories. Exceptions were Bandoji Pond and Chundangji Pond which had been constructed during latest period(King 'Ghojong' period). Third, heith of stone walls were between 60cm and 220cm. The depth of ponds were about 150cm or less, and the rest of the edge wall height was freeboard. Though the results of this study was not made by precise investigation and actual measurement, they could be fundamental information and data for the traditional styles of the Chosun dynasty Palace. It is believed that continuous researches on this matter will result in important and fundamental data of the establishment of traditional water edges.

• Journal of the Korean Institute of Landscape Architecture
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• v.14 no.2
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• pp.27-42
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• 1986

The vegetation structure in the Hoo - Won, Changduk Palace in Seoul was analysed on 10 sites sampled for understanding structure of natural vegetation. The main vegetational survey was conducted during July, 1985 and actual vegetaion and degree of natural vegetaion types were surveyed additionally. The result summarized of this research are as follows. 1) The physical - chemical conditions of soil showed middle class. This might be derived by short succession period from Pine forest to decidious broadleaf forest and artificial impact by human intervention. 2) When considering dominance species by crown story, Quercus aliena was a dominant species over all site and Castanea crenata, Prunus sargentii and Quercus variabilis appeared as a dominant species locally at upper story. Styrax story and Rhododendron mucronulatum, Styrax japonica, Stephanandra incisa and Lespedeza spp. at lower story. 3) The distances kept by trees per crown story are as follows. The mean distances between trees were 4.5-5.5m at upper story, 2.8-3.3m at middle story. On the other hand, the mean distances between dominant species were 6-8m at upper story, 5-9m at middle story. 4) The vegetation in this area was not developed yet into dominant species community according to the similarity analysis. The natural vegetation was dominated by Quercus spp. especially Quercus aliena according to the analysis of species diversity, relative dominance by story and DBH class. On the orther hand, succession to climax stage dominated by shade tolerent species will take a long time due to little appearance of shade tolerence species by previous heavy artificial impacts on understory species. 5) Quercus forest took possesion of 71.3%(27.37ha) of total forest area when considering the actual vegetation and especially Quercus aliena community covered 53.2%(15.21ha). Carpinus laxiflora community, one of the climax species in temperate zone, took possesion of 1.0%(0.3ha) and Pine densiflora was almost disappeared due to species competition. 6) According to the degree of natural vegetation types, the possession of degree of 6-9 was 60.6% and degree of 7-8, substitute vegetation, was 15.5%. The possesion of degree of 9 which consists of over 50 years old trees simliar to natural vegetaion was the highest, 43.1% in this area. Therefore continuous protection in this area of degree of 9 should be recommended.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.12-20
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• 2012

This study was carried out to investigate the backgrounds and spatial characteristics of the sericulture in the rear garden of the palace in Joseon Dynasty. Joseon Dynasty made the various efforts not only to enhance the promotion of agriculture but also sericulture since the main industry of Joseon Dynasty was farming. At the very beginning, Joseon Dynasty planted mulberry trees and built a silkworm-raising room(蠶室) around the Donggung(東宮). Then, King Sungjong(成宗) made Chaesangdan(採桑壇) in Changgyeong Palace and performed Chinzamryae(親蠶禮). The location of Chaesangdan varied as time goes on until the king Gwanghaegun(光海君). Lastly, King Yeongjo(英祖) made Chaesangdan and Junghaechinzambi(丁亥親蠶碑) in Gyeongbok Palace. Yeongjo(英祖) showed a strong attachment to Gyeongbok Palace and actively encouraged the sericulture. Chaesangdan was built in the east side of the palace which was appropriate for planting mulberry trees. Furthermore, a silkworm-raising room was located in this place at the era of King Sejong(世宗).

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.1-15
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• 2015

Changgyeongwon emerged as pleasure grounds following the creation of a museum, zoo and botanical garden in Changgyeonggung Palace during the Japanese colonial period. Pleasure grounds offer space for entertainment and have maintained the image of a paradise apart from reality. This study examined the creation process of pleasure grounds within a royal palace and the following spatial changes. By analyzing the image of Changgyeongwon as an artificial paradise, this study explored its landscape and cultural aspects. Literature reviews on the intention and process showed that the Changgyeongwon pleasure grounds were created as a 'royal garden' for the amusement of Sunjong, as well as 'public pleasure grounds' in the process of colonization. It was one of the first public spaces open to everyone who could afford the entrance fee. The layout of Changgyeongwon was studied by a comparison and analyzation of modern plans and photographs. It was composed of the central museum zone, northern botanical garden zone, and southern zoological garden zone. A conservatory and greenhouse to exhibit and maintain tropical plants were intensively built in the botanical garden zone while an aviary was created on the zoo pond. In the vicinity of the aviary a vivarium was constructed. Museum exhibition facilities included a main building as well as existing buildings, and a western flower garden was created between the buildings. Space for children including a playground and horse-riding course were created in the 1930's. The paradisiacal image and pleasure grounds culture of Changgyeongwon were studied as follows. Firstly, it shows that Changgyeongwon's paradisiacal image where rare animals and exotic plants were open to the public was promoted by the zoo and botanical garden. This led to the creation of new popular leisure activities such as flower appreciation and animal watching. Secondly, Changgyeongwon offered an urban leisure space, symbolizing the 'non-urban nature within the city' where the urban residents could escape from the daily routine. Thirdly, Changgyeongwon was known for its 'fantastic night landscape' by its night opening during the cherry blossom season. This cherry blossom viewing at night sadly degenerated by various shows and drinking, and as a result, an image of a deviant paradise was given to Changgyeongwon. Changgyeongwon contributed to creating a new space with its diverse facilities, and the public embraced the urban culture through experiences of pleasure and entertainment.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.138-156
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• 2023

Some of the metal cultural heritage that make up a considerable proportion of Korea's cultural heritage have been installed and displayed outdoors due to their own functions, roles, and scale. Therefore, more diverse and complex damages can occur outdoors than they are in a stable environment. Therefore, it is necessary to combine accurate diagnosis and systematic survey methods in order to utilize basic data obtained from research results as data for the long-term and continuous conservation management as well as to do the research to diagnose the conservation status of outdoor cultural heritage. The clepsydra(hereinafter referred to as Jagyeongnu) of Changgyeonggung Palace, the National Treasure has been installed and displayed outdoors since it was manufactured. Though regular conservation and maintenance of the Jagyeongnu have been carried out, damage still occurred. Therefore, the scientific research on Jagyeongnu to diagnose the state of conservation was conducted prior to the full-scale conservation treatment. First, the state of conservation was investigated with an examination of basic data, macroscopic inspections and past records of repair history according to the purpose of the research. More detailed examinations were also conducted through the 3D scan, surface pattern investigation, and color difference analysis, and the analysis on materials and contaminants were conducted through P-XRF, FT-IR, and Py-GC/MS. The scientific research reveals that squalane and silicone oil have been applied in the past for conservation treatment and directly exposed to outdoor environmental factors, which caused damage to Jagyeongnu and contaminants such as dust adhered thickly to its surface, accelerating severe damage. A greater incidence of damage was found around the part with relatively high exposure effect, which corresponded with the tendency identified by grouping color difference data. As a result of integrating various research methodologies to diagnose the state of conservation and secure basic data, the causes and types of damage were identified. Furthermore, the process of obtaining digital data to be utilized in various ways, and the color difference analysis presenting visible damage as scientific data and identifying the tendency of damage patterns were confirmed to have been effective.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.188-207
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• 2013

This study looks at the costumes for the crown prince based on the Hyomyeong of 1817, a collection of the National Research Institute of Cultural Heritage. The picture of School Entrance Ceremony of the Crown Prince (王世子入學圖) does not have the crown prince in the scene. However, it can be verified through literature that there are three different costumes for the ceremony. Chulgungui(出宮儀), the ceremony's first procedure, describes the departure of the prince crown from his residence toward Sungkyunkwan (成均館) with his escorting officials. The Crown Prince wears Seoyeonbok (書筵服) during this event. When the Crown Prince arrives at Sungkyunkwan, he participates in a series of ceremonies that consist of Jackhunui (酌獻儀), Wangbokui (往復儀), Supeiui (脩弊儀), and Ipackui (入學儀). At that time, he wears a confucian scholar's uniform. After returning from Sungkyunkwan, he attends Suhaui (受賀儀), the final procedure of the Crown Prince's School Entrance, at Simindang (詩敏堂) of Changgyong Palace(昌慶宮), At this time, the price crown wears Wonyukwanbok (遠遊冠服) as he is congratulated by royal family members and high ranking officials for his entrance to Sungkyunkwan in this ceremony. This point hereby concludes this study on the historical costumes for the prince crown based on the Hyomyeong Crown Prince's School Entrance in 1817.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.74-91
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• 2012

This study puts its focus on Honjeon space which relatively small number of precedent studies chose as a subject of a study. The objective is to analyze Honjeon space's spatial relationship and palaces that consist Honjeon through analysis of spatial configuration and elements that affected construction of Honjeon space. The Royal Funeral, among other ceremonies of Joseon Dysnasty, carries religious characteristic along with functional and structural characteristics. By analyzing "National Five Rites", "Uigwe for the State Funeral 魂殿都監儀軌", and "Annals of Joseon Dynasty", the study organized elementary details about Honjeon space and surrounding spaces to determine the symbolism of Honjeon space's location at each palace and compared them to see if any systematical features existed between Honjeon spaces of each palace. Through this study, it was apparent the king mainly used Jaseongdang Hall of Gyeongbokgung in the early period of Joseon Dynasty and he mainly used Sunjeongjun of Changdeokgung while the queen used Munjeongjun of Changgyeonggung as the time reached the later period of Joseon Dynasty. Also in determination of Honjeon space, the study found that there were records of avoiding Pyeonjeon space in need for political space. The study also determined that places other than Pyeonjeon space was intended to be used for Honjeon space through the analysis which indicates that spaces that were initially used as Pyeonjun in the early Joseon Dynasty and simultaneously as Honjeon space were moved due to changes made in terms of theirs usages. Through the study, it could be also known that primary spaces of Honjeon was composed accordingly to "National Five Rites" and constant pattern of spaces existed among buildings near Honjeon which were arranged according to each palace's characteristic.

• (The)Study of the Eastern Classic
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• no.67
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• pp.379-418
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• 2017

Weoldae -which we can find inside Joseon palaces- is usually erected in front of important structures including the Main Hall(Jeongjeon, 正殿). There is no clear definition of its nature that we can find in official law codes or dynastic ritual manuals, and such records do not specify what kind of rules should be observed in creating them either. In illustrations of palaces such as and , Weoldae can be seen at structures such as the Main "Jeongjeon" Hall(正殿), Royal office(Pyeonjeon, 便殿), Royal Quarters(Jeongchim, 正寢), Queen's bedroom(Chimjeon, 寢殿), Quarters of the Crown Prince(Dong'gung, 東宮), and other structures. All these structures equipped with a Weoldae were related to special figures inside the royal family such as the king, the queen, the crown prince, and the crown-prince' son. These figures were literally above the law, and as such their treatment could not be defined by law. And these spaces were where they worked or rested while they lived, and where their posthumous tablets(Shinju, 神主) or portraits(Eojin, 御眞) were enshrined after they died. (When such spaces were used for latter purposes, they were designated either as 'Honjeon[魂殿, chamber of the tablet]' or 'Jinjeon[眞殿, hall of portrait']). Joseon was a Confucian dynasty with a strict social stratification system, and the palace structures reflected such atmosphere as well. We can see that structures described with Weoldae in and were structures which were more important than others that did not have a Weoldae. Among structures with Weoldae, the place which hosted most of the dynastic rituals was the Main Hall. In this Main Hall, the King swore an oath himself, passed the incense(香) himself during memorial services, and observed honoring ceremonies[Manbae-rye(望拜禮)] at the "Hwangdan"(皇壇) altar which was built to commemorate the three Ming Emperors. The so-called "Two Palaces[兩闕]" of Joseon shared a unique relationship in terms of their own Weoldae units and the rituals that were held there. In the early half of the Joseon dynasty period, Gyeongbok-gung(景福宮) and Dong'gweol(東闕) constituted the "Two palaces," but after the war with the Japanese in the 1590s during which the Gyeongbok-gung palace was incinerated, Dong'gweol and Seogweol(西闕) came to newly form the "Two palaces" instead. Meanwhile, Changdeok-gung(昌德宮) became the main palace[法宮], replacing the previous one which had been Gyeongbok-gung. In general, when a king moved to another palace, the ancestral tablets in the Honjeon chamber or the portrait in the Jinjeon hall would accompany him as well. Their presence would be established within the new palace. But king Yeongjo was an exception from that practice. Even after he moved to the Gyeong'hi-gung(慶熙宮) palace, he continued to pay visit to the Jinjeon Hall at Changdeok-gung. While he was positioned inside Gyeong'hi-gung, he did not manage the palace with Gyeonghi-gung as its sole center. He tried to manage other palaces like Changdeok-gung and Chang'gyeong-gung(昌慶宮) as well, and as organically as possible.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.120-137
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• 2021

There were five palaces built during the Joseon Period. Gyeongbokgung Palace was the first one, founded in the 4th year of King Taejo (1395), and depending on the historical interpretation, Changdeokgung Palace, Changgyeonggung Palace, Gyeongungung Palace (Deoksugung), and Gyeongdeokgung Palace (Gyeonghuigung) were also built. The palaces represent the best architecture of the time. In addition, the palaces of the Joseon period have been rebuilt several times, so they contain the architectural history of the Joseon period over the last 500 years. In this paper, all the excavations of five palaces in the Joseon Period were surveyed, and the foundations of the buildings were analyzed. In particular, the aim of this paper is to investigate Jeoksim (foundations of buildings under cornerstone) to understand the characteristics of each palace by period. Accordingly, the changes of the construction techniques of the foundations of the palaces were studied. There are a total of 23 types of Jeoksim. All five palaces have a certain type (I~V) of construction technique, thus it was confirmed that there was a certain pattern in the method of constructing the foundations of palace buildings in the Joseon Dynasty. In addition, Jeoksim was mainly built by certain materials and construction methods (I-1) during the 14th to the 17th century, but new types of Jeoksim were built in the palaces starting from the 18th century, during the reign of King Jeongjo. In the 19th century, when King Gojong sat on the throne, the Jeoksim was built in various shapes, materials, and in 22 types of construction methods. Up to now, research on the remains of palaces were mainly conducted on the Gyeongbokgung Palace, so it was not possible to confirm the foundations of 17th-18th century buildings, where reconstruction had stopped after the Imjin War in 1592. However, through this study, it was possible to classify the transition periodsstheir features periods of palace building foundation construction from the 14th to the 20th century by comparing the remains of five palace building sites.