• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• Journal of Wetlands Research
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• v.15 no.1
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• pp.149-157
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• 2013

The weirs built so far are mainly overflow type weirs overflowing to the upstream. Main advantages of overflow type weirs are, effective water resources management and easy design, construction and maintenance due to many accumulated studies. However, due to the special feature of the overflow type weir where water overflows through the upstream of the weir, the silt coming from the upstream is not discharged to the downstream of the weir. This increases the river bed and reduces the reservoir capacity, and as a result, the weir loses its function. A underflow type weir with a water gate has been implemented in order to solve such sediment deposit and weir maintenance problems. However due to the design problem of recently constructed underflow type weirs, the river bed of the downstream of a weir has been scoured. And this leds to a structural problem. In this study, the flow characteristics of overflow type weirs and underflow type weir, hydraulic jump length analysis depending on change of water depth and the amount of specific energy loss generated per unit length depending on a weir type have been compared and analyzed, for the effective design and management of the weirs. The experiment results show that, when identical upstream conditions of underflow type weir and an overflow type weir were maintained, the hydraulic jump length was up to twice longer with Fr(Froude number) 3.5 of the hydraulic jump length at the underflow type weir, and the hydraulic jump length gradually decreased as the downstream water depth increased. The comparative analysis result of the amount of specific energy loss generated per unit length showed that the amount of energy loss per unit length was twice higher for an overlfow type weir than a underflow type weir. Therefore, in case of a underflow type facility, an additional energy reduction facility is determined to be necessary for safety of water construction structures.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.32-45
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• 2014

In this study, the characteristics of Mongsimjae in Namwon-si, Jeollabuk-do have been researched focusing on the writings engraved in huge stones and rocks of pavilion standing beside a lotus pond and its formative languages in the garden has been interpreted as follows. Name of pavilion(堂號) Mongsimjae(夢心齋) includes a classical scholar's spirit, refusing to serve two kings and homecoming after resignation from a government office(歸去來) of Songam(松菴) Park Moonsu(朴門壽), an ancestor who has brought to the Juksan(竹山) Park's family again. A pavilion standing beside a lotus pond(蓮塘) built in the reception garden is a gardening facility symbolizing 'Yeondang(蓮堂)' Park Dongsik(朴東式) who built Mongsimjae. The bamboo hill connected to the backyard seems to be relevant to 'Juksan', the family clan of Mongsimjae's owner and this kinds of intention can be found in the bamboos in the outer garden naturally led to inside the garden through the flower beds. The purpose for the western arrangement of the main building and gate contrary to the 'chukjwamihyaug'(丑坐未向; a direction toward to the south-southwest) of the prospect of Sarangchae(guesthouse) is interpreted to naturally attract people's eyes to the pavilion standing beside a lotus pond and to mitigate the sense of closure resulting from the huge stones located in the reception garden. Also the writing engraved in the three huge stones, 'Jonsimdae(存心臺)', implies that it is a place where was selected with heart by Juksan Park family who settled down in Homsil, Namwon after 'Haengchon(杏村) Park Jaryang(朴子良)' in Yiphyangjo(入鄕祖), Namwon and 'Jeongwa(靖窩)' is interpreted as a signature representing that it is the most comfortable house where Jeongwa Park Haechang(朴海昌: 1876~1933), the third owner of Mongsimjae, has lived. The pavilion standing beside a lotus pond of the 'Bangjibangdo(方池方島; square pond and square island)' type has no lotus for now and waterside cornerstones roughly piled with broken stones naturally mitigate the slope. There are two water inflows gathering rainwater in the reception garden other than the water inflow of valley and the upper-side water inflow was built using a high waterfall method. The middle island cut into a square was designed to use in two ways, as 'island' or 'steppingstone', according to the water level and the old name of the pavilion standing beside a lotus pond was revealed as 'Cheonundam(天雲潭)' from the engraved writing located in the side of the middle island. In addition, 'Imni(臨履)', engraved writing in the finishing stone of waterside by citing a line of 'Sigyeong(詩經)', implies 'Be a upright classical scholar who pays close attention to one's own behaviors' and 'Jeongchuk(渟?)' is interpreted as a message that desires the eternal staying of the Juksan Park family's wealth. Ultimately, the writings engraved in the huge stones and rocks of the pavilion standing beside a lotus pond are interpreted as a symbol language that wishes the heaven protects and maintains the wealth of the Juksan Park family who is the owner of Mongsimjae.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.44-63
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• 2019

This study empirically investigated the construction and aspects of change in Chugyeongwon, which is located in Donggweol (東闕). In detail, this study investigated the location of the construction and range of Chugyeongwon, the background and intention of the construction, and the affiliated system and aspects of spatial changes of it. The research results can be summarized as follows: First, Chugyeongwon has been assumed to be the space near Haminjeong (涵仁亭) or between Simindang (時敏堂) and Jinsudang (進修堂) in Changgyeonggung Palace. However, according to related historical materials, it is said that Chugyeongwon was located west of Dochongbu (都摠府) in Hyeopsangmun (協祥門) and near Sungmundang (崇文堂). Through Donggweoldohyeong (東闕圖形), evidence of the construction of Chugyeongwon can be found, which verifies such claims. According to The Plan of Changgyeonggung Palace (昌慶宮配置圖), in the form of modern measured drawing, Chugyeongwon today is the green space created in the south of Munjeongjeon (文政殿) and Sungmundang in Changgyeonggung Palace. Second, According to Donggweoldo (東闕圖), Chugyeongwon was a green space where trees grew on the ground within the walls. No artificial facilities were constructed inside. In addition, Chugyeongwon was located at a site with an altitude higher than the surroundings. Especially, the composition forms and location characteristics of Chugyeongwon are similar to those of the Palace Outer Garden located in Hanyang. Thus, based on this evidence about the form and other aspects of the operation of the Palace Outer Garden, it can be inferred that Chugyeongwon was constructed for the preservation and cultivation of the geographical features inside Donggweol. Third, in the late Joseon period, Chugyeongwon was assigned to Changdeokgung Palace or Changgyeonggung Palace in the same manner as was Donggung (東宮). Thus, it is very likely that Chugyeongwon served as a garden for the Royal Family in the Donggung area. The west boundary of Chugyeongwon, which originally consisted of walls and a side gate, was changed into the form in which the walls and colonnades were combined. Chugyeongwon has been modified due to various acts of development since the Japanese colonial era, and in the end, it has disappeared so that no trace can be found.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.1-17
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• 2018

This study was conducted to interpret the landscape of Songge Byeoleop(Korean villa) garden at Jogyedong, Bukhansan near Seoul which was built in the mid 17C. to restore through the literature reviews and field surveys. The results were as follows; Songge Byeoleop garden was a royal villa, constructed at King Injo24(1646) of Joseon dynasty by prince Inpyeong(麟坪大君), Lee, Yo(李?, 1622~1658), the third son of King Injo who was a brother of King Hyojong. It was a royal villa, Seokyang-lu under Mt. Taracsan of Gyendeokbang, about 7km away in the straight line from main building. It was considered that the building system was a very gorgeous with timber coloring because of owner's special situation who was called the great prince. The place of Songge Byeoleop identity and key landscape of the place were consisted with Gucheon waterfall and the sound of the water with multi-layered waterfall which might be comparable to the waterfall of Yeosan in China. After the destruction of the building, the place was used for the royal tomb quarry, but there was a mark stone for forbidden quarry. The Inner part of Songge Beoleop, centered with Jogedongcheon, Chogye-dong, composted beautifully with the natural sceneries of Gucheon waterfall, Handam and Changbeok, and artificial structures, such as Bihong-bridge, Boheogak, Yeonghyudang and Gyedang. In addition, the existing Chinese characters, 'Songge Beoleop' and 'Gucheoneunpog' carved in the rocks are literary languages and place markings symbolizing with the contrast of the different forests and territories. They gave the names of scenery to the rock and gave meaning to them. Particularly, Gucheon waterfall which served as a visual terminal point, is a cascade type with multi-staged waterfall. and the lower part shows the topographical characteristics of the Horse Bowl-shaped jointed with port-holes. On the other hand, the outer part is divided into the spaces for the main entrance gate, a hanging bridge character, a bridge connecting the inside and the outside, and Yeonghyudang part for the purpose of living. Also in the Boheogak area, dual view frame structures are made to allow the view of the four sides including the width and the perimeter of the villa. In addition, at the view point in Bihong-bridge, the Gucheon water fall divides between the sacred and profane, and crosses the Bihong-bridge and climbs to the subterranean level.

• Journal of Conservation Science
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• v.36 no.6
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• pp.549-561
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• 2020

This study aimed to assess the performance and life of nine natural mineral dancheong pigments: Seokganju, Jinsa, Hwangto, Jahwang, Wunghwang, Seokrok, Noerok, Seokcheong, and Baekto. The design of the accelerated weathering test considered the domestic climate characteristics and the location of Dancheong. Outdoor weathering tests were conducted at the Research Institute in Daejeon and the Sungnyemun Gate in Seoul to confirm the field reproducibility of the accelerated weathering test. Monitoring of the physical changes in pigments through accelerated and outdoor weathering tests are based on ultraviolet exposure dose. Despite small cracks at the beginning of the tests, the monitoring showed that Seokganju and Baekto had no marked physical changes, but the surface cracks of Jinsa and Seorok continue to expand. Hwangto and Noerok were marked with water or were resin stained, and the particles of Jahwang, Wunghwang, and Seokcheong had lost their luster. Despite the absolute difference in color change in each test, the final chromaticity change patterns of pigments were similar in that the color difference between Baekto and Noerok was below five, and Jina was above 28. The physical and surface color pigment changes were more concentrated in outdoor weathering tests than in accelerated tests, and the Seoul site was more intense than the Daejeon site. This is because outdoor weathering tests are exposed to severe variations of temperature and moisture or deposition of dust particles and, in the case of Seoul, the site is more exposed to the external environment than the Daejeon site.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.1-14
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• 2022

This study focused on examining the location characteristics of Mujang-Eupchi(茂長邑治), a traditional city of Joseon Dynasty, and shedding light on its prototype landscape. The findings were summarized as follows: Mujang-Eupchi showed a Confucian space system with Munmyo(文廟) within Hyanggyo(鄕校) in the east, Sajikdan(社稷壇) in the west, Seonghwangsa(城隍祠) in the fortress and Yeodan(厲壇) and Seonghwangdan(城隍壇) in Jinsan(鎭山) in the north around the Mujang-Eupseong(茂長邑城), an old fortress, built in the 17th year of King Taejong(1417). It seemed that Seonghwangdan located in Jinsan maintained a coexistence system with Seonghwangsa(城隍祠) within the Eupseong. A Pungsu(風水) stream in a V-shape ran before the southern gate of Eupseong, forming a Sugu(水口) in front of Namsan(南山) that was an Ansan(案山). They dug a southern pond called Hongmunje(紅門堤) to protect the vitality of the village and built Gwanpungjeong(觀豊亭). In the 19th century, Hongmunje and Gwanpungjeong were renamed into Muheungje(茂興堤) and Muheungdang(茂興堂), respectively. Eupsu(邑藪) were planted in front of the southern pond including Wondo(圓島), and Songdeokbi(頌德碑), Dangsanmok(堂山木), and Dangsanseok(堂山石) served as a Sugumagi(水口막이) and protected the entrance of Eupchi. After the Liberation, the southern pond was buried in 1955, and a market was formed at the site, which resulted in the disappearance of its prototype. The study also investigated the name and location of Chilgeori(七거리) in the village as it was lost following the unification of Bu(府), Gun(郡), and Myeon(面) titles in 1914 during the Japanese colonial period. Chilgeori Dangsan was based on Yin and Yang theory and became the subject of the organization mainly composed of Grandfather Dangsan menhir and Grandmother Dangsan tree. Chilgeori Dangsan was a religious place of the community to guard the village, serving as seven gateways to control access at the village boundary and it had a locational feature of protecting the inner mountain ranges of Eupchi.

• Journal of Korean Society of Disaster and Security
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• v.14 no.4
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• pp.47-60
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• 2021

Recently, as the occurrence frequency of sudden floods due to climate variability increased, the damage of aging chuteway slabs of spillway are on the rise. Accordingly, a wide array of field survey, hydraulic experiment and numerical simulation have been conducted to find the cause of damage on chuteway slabs. However, these studies generally reviewed the flow characteristics and distribution of pressure on chuteway slabs. Therefore the derivation of damage on chuteway slabs was relatively insufficient in the literature. In this study, the cavitation erosion and hydraulic jacking were assumed to be the causes of damage on chuteway slabs, and the phenomena were reproduced using 3D numerical models, FLOW-3D and COMSOL Multiphysics. In addition, the cavitation index was calculated and the von Mises stress by uplift pressure distribution was compared with tensile and bending strength of concrete to evaluate the possibility of cavitation erosion and hydraulic jacking. As a result of numerical simulation on cavitation erosion and hydraulic jacking under various flow conditions with complete opening gate, the cavitation index in the downstream of spillway was less than 0.3, and the von Mises stress on concrete was 4.6 to 5.0 MPa. When von Mises stress was compared with tensile and bending strength of concrete, the fatigue failure caused by continuous pressure fluctuation occurred on chuteway slabs. Therefore, the cavitation erosion and hydraulic jacking caused by high speed flow were one of the main causes of damage to the chuteway slabs in spillway. However, this study has limitations in that the various shape conditions of damage(cavity and crack) and flow conditions were not considered and Fluid-Structure Interaction (FSI) was not simulated. If these limitations are supplemented and reviewed, it is expected to derive more efficient utilization of the maintenance plan on spillway in the future.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.