• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.31-43
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• 2014

The purposes for this research were to find the correct building background of Jondeokjeong(尊德亭) in the rear garden of Changdeok Palace(昌德宮) based on the historical facts for the area of Jondeokjeong and investigate the internal theory of construction through the metaphysical consideration. The results were as follows. 1. Building background of Jondeokjeong was related to Sohyunseja(昭顯世子) and Bongrimdaegun(鳳林大君) as forms of rear garden where was not built in the area of Jondeokjeong, bamboo pavilion, hexagonal pavilion, octagonal pavilion, etc. They were built two or three times after returning of Sohyunseja and Bongrimdaegun from China, and the area of Jondeokjeong was continuously developed by building Chunhyanggak(天香閣), Mangchunjeong(望春亭) and Cheoknoidang(滌惱堂) after Hyojong(孝宗) succeeded the royal authority of Hyunjong(顯宗) who was born in Shenyang(瀋陽) and hung a signboard of Jondeokjeong after then, etc. 2. Dazhengjeon(大政殿) of Shenyang Palace(瀋陽故宮, 1625) played the roles of major hall, Jeongjeon(正殿) which held national big events as a one-storied building with two piles of roof similar with Jondeokjeong (1644). Also, it was the building encountered when Sohyunseja and Bongrimdaegun participated in breakfasts held in the palace or banquets supervised by a king, so building background of Jondeokjeong was judged to be related with Dazhengjeon. 3. In consideration of characteristics which are shown commonly in Jondeokjeong and Dazhengjeon, relations of two buildings were verified and characteristics of Jondeokjeong were examined. First, dragon which is representatively symbolizing royal authority was formed. Therefore, Jondeokjeong was judged as a garden building which purposes were to obtain and train natural reasons, govern the nation and let people comfortable. Second, the purposes of sun dial, Ilyoungdae(日影臺) were judged to examine the accurate time and express appropriateness of the king. Third, Taechungmun(太淸門) around there is related to Samcheong(三淸) of Taoism and judged to be caused by floral wall and secular happiness accomplishment for king's longevity without disease. Fourth, for building style, one-stories pavilion of duplicated roof and building with only cylinder were to king's embodiment of supporting the sky and governing the nation.4) 4. By examining the differences between Jondeokjeong and Dazhengjeon, Jondeokjeong's own characteristics were considered. First, constructive characteristics of Jondeokjeong were changed by existing of pond and it was changed for characteristics, location and function of pavilion built in the garden while accepting oversea culture and embodied by absorbing to Joseon culture. Second, the appearance of the pond in Jondeokjeong was shown as the situation that half moon typed pond with the form of young moon is full by stream to the East. It was to express movement of moon which was always changed through the form of pond and stream of water iconographycally and it was considered as an imaginary environment method of the period.

• Journal of the Korean Society of Costume
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• v.5
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• pp.141-152
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• 1981

Various ceremonial flags were of great importance to the rulers who wished to have the absolute authorities for governing the people. Perhaps nothing indicated the ideas, thoughts and symbols of a certain period and people than the ceremonial flags. The ceremonial flags used in the old China and Korea took the shapes of the heaven and the earth, representing the social backgrounds and thoughts. This study was limited only to the discussion of the heaven-shaped patterns of the ceremonial flags. The 28 constellations of the heaven, in the Oriental way of thinking, were considered to express the immortal powers of Providence and the political domination of the earth. Hence the Polaris, the center of the heaven, symbolized the whole family of king, prince, child born of a concubine and royal harem. Among the constellation pictures were those of Han period, wall painting of old tombs in Koguryeo kingdom and old Japanese kingdom. Referring to the Emperor's ceremonial flags in Daemyeongjibyei, symbolic meanings changed historically and the complete systems of the ceremonial flags were established in Song period when the divine person was drawn on the flags. Animals concerned properly with the particular star and the shapes of the star were both drawn on the flags in Won period and only the shapes of the particular star in Myeong period. In the Imperial enthronement of Kojong the ceremonial flags might be made by the examples of those of Myeong period and remains are now found at Changdeok Palace, which need a further study because the references in detail are not available.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.42-56
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• 2012

This study was carried out to investigate the construction characteristics and the landscaping design skill for Wiyiam at Ongnyucheon(玉流川) in the rear garden of Changdeok Palace focusing on constructing technique, space composition and transformational process of the site. The results of this study were summarized as follows; First, Wiyiam of Ongnyucheon was constructed as garden ornament which was modified the huge bedrock into the shape of the mountain. The waterfall of Wiyiam was originally made of torrent which water flowed into the bottom, but it was reconstructed to take the effect of Inak(離落: the method to drop water from high place) by carving rock into square shape at the era of King Gojong(高宗). Second, main characteristics of Wiyiam appeared in Donggwoldo was the hill built up with a square pond and ground at the back of Wiyiam and the profound scenery of mountains and stream from the view of Wiyiam. Also, pavilions such as Soyojeong(逍遙亭), Cheongujeong and Taegeukjeong(太極亭) built in Ongnyucheon seemed to be constructed as the spots to appreciate the view and waterfall sound of Wiyiam. Also the spots were not bounded by the function of creating special water systems such as Cheongujeong pond and Taegeukjeong pond and showed the outstanding landscape design skill to make people feel unusual interest from each spot. On the other hand, this study considered that the evening scenery of Wiyiam, beautiful sound of falling water, unusual water system with beautiful plant materials were landscaped for the function of the psychological peace and stability to the appreciators. Lastly, the extreme change of space composition in Ongnyucheon was assumed as a strategy to improve the existing poor drain environment by confirming that the mountain stream and wall of Soyojeong were removed and drainage in both side of Soyojeong was installed in the 21th year of King Gojong's reign(1884).

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.107-118
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• 2010

Palaces of a country can be representative aggregate of the culture and arts of the country. Palaces were used not only as a living place to protect kings and royal families and to live cultural lives, but also a political place to govern the country. Kings in Choseon founded the country on the Sung Confucianism, their philosophical background. They built Bangji and Wondo as constant reminders of their philosophy. Bangji is the most apparent characteristic in the palace gardens of the Choseon Dynasty. Finding out the original form of Jidang, restoring the original and passing it on to future generations can be passing on the spiritual culture of our ancestors. This study is done to find out or locate well preserved Jidang, transformed Jidang and lost Jidang in Changdeokgung, which is the best conserved palace of Choseon. This study is composed of Jidang which has been kept in its original state, transformed Jidang, locating lost Jidang and Jidnang which has been unearthed. The total number of Donggwoldo's Jidangs is 17; those that are kept in their original state, 4; transformed Jidangs, 5; Jidangs that were lost and have been located, 8; and newly appeared Jidangs, 2. From the results, opinions on restoration are presented. This study can be a small drop in the thin stream of tradition passing onto future generations in this world where knowledge and information are transported momentarily and the classification of culture and border is mixed, yielding vagueness.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.176-188
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• 2013

This research examines embroidery panels of Hwarot belonging to the Victoria and Albert Museum (the V&A). There are a total of seven objects and are all disassembled into clothe pieces. They were classified into two groups according to their acquisition year. One group, four objects, was acquired by the Museum in 1920. Considering their materials, embroidery threads, techniques and formative characteristics of patterns, it can be assumed that the objects formed an original dress, Hwarot. Although they look very similar to the embroidery patterns of Hwarot belonging to National Folklore Museum of Korea, they are more finely embroidered with very thin embroidery thread that uses the Jarisu technique. There are some differences in used embroidery threads and embroidery skills between Hwarot artifacts of the National Museum of Korea and the V&A. The embroidery of the National Museum of Korea used thicker threads and longer (approximately 0.7cm) Jarisu stitch techniques. With these details, they would have been made in different time periods. Comparison of the V&A and Changdeok Palace' Hwarot objects show that their patterns' motifs are almost similar but the pattern units, expressions and embroidery techniques are different. Regarding the colors of their patterns, it is noticeable that the peonies are generally expressed in reddish and the lotus patterns are expressed in either bluish or purplish color. It seems that they are contrasted with red-colored flowers and show harmony between yin and yang symbolically. Three artifacts of another group were acquired in 1925. Two of them show patterns almost the same as those of the sleeves of Hwarot (no.33156, no.33158) in Chicago Field Museum collection. The pattern of the remaining object is very similar to Hansam of Hwarot (no.33158).

• Journal of The Korean Association For Science Education
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• v.37 no.1
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• pp.193-214
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• 2017

This study was carried out to identify the reality of students' understanding of Korean traditional scientific knowledge (TSK), the educational contexts influenced their understanding of TSK, and their sense of value of TSK, through the science activity 'Being a commentator on Korean traditional scientific culture' as a way of finding direction to apply TSK to science education while maintaining the inherent meaning of our traditional science. Seventh grade students have discovered TSK contents in Changdeok Palace, prepared their own scripts for seven months, and finally, explained to fifth to sixth grade students. The video recordings of all lessons, scripts of explanation, reports of field activities, and individual interviews were all analyzed. Students understood TSK in four viewpoints: the traditional view of nature, the traditional science and technology, the traditional life using science, and the natural science contents. During their activities, communication with peers or elders both in classroom and in Changdeok Palace, the interaction with place, and the sense of responsibility as a commentator helped students understand the scientific aspects of TSK, form contextual and sensible scientific knowledge, and apprehend various scientific explanations of contents. Depending on their internalization of experiences, the students' experiences produced three types of interpretation: delivery, persuasion, and understanding. Students formed their TSK sense of value as scientific characteristics, the need of new perspective about science, the need to protect and maintain TSK as our culture. The results of this study show that TSK can provide integrated and actual contextual education in science education and can be used to understand the cultural diversity of scientific and scientific methods and the characteristics of oriental scientific thinking. In addition, the simultaneous approach of TSK and school science to traditional culture can contribute to ideal concept formation and subjective attitude toward our traditional culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.1-11
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• 2014

This study aimed at investigating the content and meaning of royal garden(宮苑) sightseeing event in Pyoam Gang, sehwang's "Hogayugeumwongi" As the research method, descriptive research method was used, which is to consider and interpret the content and meaning in the historical records. Research results are summarized as follows. 1. "Hogayugeumwongi", which recorded the event that the King personally guided and explained the palace to the vassals, is a very precious historical records in Korean landscape gardening cultural history. Such thing is unprecedented in Joseon Dynasty as well as China. 2. The person who recorded this event was famous for shi seo hwa samjeol in the time, and the point that he was Pyoam, who was appreciated as 'the head(總帥) of artistic and literary circles(藝苑)', adds more value to the future generations. 3. The characteristic of this sightseeing event was to praise the vassals' labor, who contributed to the completion of Kyujanggak, to establish King Jongjo's direct rule in the early period of seizure of power, and eojin(御眞) dosa(圖寫), etc., which expressed the King's dignity. Jongjo utilized Geumwon, a forbidden place in the palace, to give a special privilege to the vassals' effort, who took a great part in realizing his political ideal. 4. One of sightseeing lines toward the backyard of Changdeok Palace could be identified. Though the sightseeing lines toward the backyard were not fixed, however this might be the best sightseeing line which Jongjo intentionally chose to enjoy that day's flavor of autumn. 5. The characteristic of this event was informal and somewhat extemporary 'sightseeing'. Therefore, it is considered, that day's event was relatively private and free 'play(遊)', while 'sanghwaeojoyeon(賞花漁釣宴)', which Jongjo gave to the vassals middle after his reign, was a royal 'banquet', which prepared frames, such as event holding time and form, qualification for participation, e.g. flower viewing, fishing, writing poems, etc. This research has a significance that it considered the content and meaning in historical records including the front and the rear context that "Hogayugeumwongi" was written through the consideration of related historical materials. "Hogayugeumwongi" can be utilized as a material for storytelling with regard to royal garden sightseeing in future as a valuable cultural content, also, follow-up study on this is necessary.

• 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.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.86-113
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• 2014

This study has researched the characteristics and elements of Chwibyeong (翠屛), a sort of trellis in the Joseon Dynasty through the old documents, and the original form of Chwibyeong at Juhapru (宙合樓) in Changdeuk Palace. The results were as follow. First, as the result of literatures analysis for Imwon-gyeongje-ji (林園經濟志) and Jeungbo-sallim-gyeongje (增補山林經濟), the plant screen was classified as kinds of support[frame] material, plants and methods of planting. It was found that the supports of Chwibyeong were made of bamboo or the material such as the Jinjangmok (眞長木: a stick of oak) and Giryu (杞柳: Salix purpurea var. japonica). The evergreen coniferous trees including Pinus densiflora, Taxus cuspidata and Thuja orientalis were mainly used for the plant material of Chwibyeong. The general planting method of Chwibyeong was to plant on the ground, but sometimes the container planting was also found on the artificial ground. Second, the term of 'Chwibyeong' in the literatures was used in only the screen made by evergreen trees, and the superordinate category term of it was indicated by 'byeong (屛)'. Therefore Chwibyeong was a compound word formed from 'chwi (翠)' which means the characteristics of evergreen and 'byeong' as tree screen which the support was made by bamboo. And Chwibyeong had semantic context which was combined with the literary symbolization to describe a landscape of green peak and Taoist ideology be inherent from 'twelve peaks of Musan[巫山十二峰]' in Sichuan sheng (四川省). Thirdly, the photograph of Chwibyeong at Juhapru taken by the 1880s, showed that Chwibyeong was made with coniferous trees and was almost 2 meters high. The Chwibyeong at Juhapru was removed during the Japanese colonial era, but a few yew trees(Taxus cuspidata) used for Chwibyeong are still remaining. And some Juniperus chinensis which the composition time is unclear, were cultivated while hung loose its branchs at the sides of Eosumun (魚水門). This Junipers were presumed to be planted by Japanese after Japanese annexation of Korea(1910), and it was judged that both of the roofs of Eosumun's side gates might have been transformed into Japanese style at the same time. Lastly, Chwibyeong at Juhapru was restored in 2008 but it was restored in wrong way from original form without precise research. Especially Chwibyeong was restored with Sasa boreralis which is damaged by frost, so it requires exertion that should revive the originals to plant original material as much as possible. And it needs the development of fabrication technique for Chwibyeong and the application to current landscape architecture.