• (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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.26-44
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• 2017

Regarded as Korea's traditional pond, Gungnamj Pond was surmised to be "Gungnamji" due to its geological positioning in the south of Hwajisan (花枝山) and relics of the Gwanbuk-ri (官北里) suspected of being components to the historical records of Muwang (武王)'s pond of The Chronicles of the Three States [三國史記] and Sabi Palace, respectively, yet was subjected to a restoration following a designation to national historic site. This study is focused on the distortion of authenticity identified in the course of the "Gungnamji Pond" restoration and the invention of tradition, whose summarized conclusions are as follows. 1. Once called Maraebangjuk (마래방죽), or Macheonji (馬川池) Pond, Gungnamji Pond was existent in the form of a low-level swamp of vast area encompassing 30,000 pyeong during the Japanese colonial period. Hong, Sa-jun, who played a leading role in the restoration of "Gungnamji Pond," said that even during the 1940s, the remains of the island and stone facilities suspected of being the relics of Gungnamji Pond of the Baekje period were found, and that the traces of forming a royal palace and garden were discovered on top of them. Hong, Sa-jun also expressed an opinion of establishing a parallel between "Gungnamji Pond" and "Maraebangjuk" in connection with a 'tale of Seodong [薯童說話]' in the aftermath of the detached palace of Hwajisan, which ultimately operated as a theoretical ground for the restoration of Gungnamj Pond. Assessing through Hong, Sa-jun's sketch, the form and scale of Maraebangjuk were visible, of which the form was in close proximity to that photographed during the Japanese colonial period. 2. The minimized restoration of Gungnamji Pond faced deterrence for the land redevelopment project implemented in the 1960s, and the remainder of the land size is an attestment. The fundamental problem manifest in the restoration of Gungnamji Pond numerously attempted from 1964 through 1967 was the failure of basing the restorative work in the archaeological facts yet in the perspective of the latest generations, ultimately yielding a replication of Hyangwonji Pond of Gyeongbok Palace. More specifically, the methodologies employed in setting an island and a pavilion within a pond, or bridging an island with a land evidenced as to how Gungnamji Pond was modeled after Hyangwonji Pond of Gyeongbok Palace. Furthermore, Chihyanggyo (醉香橋) Bridge referenced in the designing of the bridge was hardly conceived as a form indigenous to the Joseon Dynasty, whose motivation and idea of the misguided restoration design at the time all the more devaluated Gungnamji Pond. Such an utterly pure replication of the design widely known as an ingredient for the traditional landscape was purposive towards the aesthetic symbolism and preference retained by Gyeongbok Palace, which was intended to entitle Gungnamji Pond to a physical status of the value in par with that of Gyeongbok Palace. 3. For its detachment to the authenticity as a historical site since its origin, Gungnamji Pond represented distortions of the landscape beauty and tradition even through the restorative process. The restorative process for such a historical monument, devoid of constructive use and certain of distortion, maintains extreme intimacy with the nationalistic cultural policy promoted by the Park, Jeong-hee regime through the 1960s and 1970s. In the context of the "manipulated discussions of tradition," the Park's cultural policy transformed the citizens' recollection into an idealized form of the past, further magnifying it at best. Consequently, many of the historical sites emerged as fancy and grand as they possibly could beyond their status quo across the nation, and "Gungnamji Pond" was a victim to this monopolistic government-led cultural policy incrementally sweeping away with new buildings and structures instituted regardless of their original space, and hence, their value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.108-117
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• 2013

Modern city doesn't have its own identity that differentiates itself from others despite the fact that each city has a historical value. This is due to the demolition of historical and regional values. As such problems are connected to urban problems, they become even more serious. Thus, the researchers of this study set Gyeongbokgung(Palace) as an object to look into landscape factors and found out the relations between psychological variables and preference. Then, the researchers analyzed the quantitative relations between the physical attributes of historic cultural landscape and human response. As such, the researchers aimed to set and propose a confirmed standard in terms of identity and regional & historical values of historic cultural landscape. Since this study was performed with an object of historic cultural landscape that was reproduced based on original landscape in the past, a future study should be on the difference in preference based on the proportion of modern landscape. Based on such studies, a new plan should be made for forming the urban historic cultural landscape.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.207-241
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• 2007

This paper investigates the royal collection of paintings and calligraphy during King Gojong's (高宗) reign (1897~1907) based on the function of the Jipgyeong-dang Hall (緝敬堂), situated at "sleeping realm (寢殿)," Gyeongbok Palace. Using the surviving palace records and art works this study argues that the date of building the hall is approximately confined to the year of 1890. Not being matched with the general opinion that the Jipgyeong-dang Hall was used for the official meeting with envoys, this hall functioned as the main place for royal audience and the storehouse for archives. The role of Gojong as collector and patron was essential not only to the maintenance of the collection but also to the strengthening of royal authority just before the Japanese annexation in 1910. The specific titles of the collection at this hall can be verified through the Catalogue of the Books, Paintings, and Calligraphy Exposed to the Sun at Jipgyeong-dang Hall (緝敬堂曝曬書目) dating to the nineteenth century. The records of the catalogue inform us that more than 1,000 paintings and pieces of calligraphy, inkrubbings from old steles, manuals for painting, and encyclopedia concerning art theories from Korea, China, and Japan were preserved there. The collection of Jipgyeong-dang Hall resulted from Gojong's policy to foster the collection of contemporary Chinese and Japanese art works and various catalogues. Standing behind the Gyeongbok Palace, the Jibok-jae Hall (集玉齋) also preserved the diverse sources of practical learning, as did the Jipgyong-dang Hall for Gojong. The enormous royal collections by Gojong might have been constructed in accordance with the royal artistic taste and the artistic milieu of the late Joseon period. The surviving royal catalogues confirm this assumption as documentary evidence.

• Journal of architectural history
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• v.16 no.1
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• pp.83-99
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• 2007

This study examines the joint and splice of wooden structure at Geunjeongjeon Hall of Gyengbok Palace, which was constructed in the late Joseon Dynasty. The scope of the study is on the part of columns, the bracket sets, and the frame structure. This research also deals with the relationship between vortical load and horizontal load. Firstly, the examination of the joint and splice methods between the pillar and penetrating ties is on the joint and splice methods of the outer and corner. Through the investigation, it is verified that the joint methods between pillar and penetrating tie on the outer and corner pillars is the method of Sagal joints(cross joints, 사개맞춤). Joints used between pillar and penetrating tie are dovetailed tenon joints, between columns and Anchogong(안초공), between columns and Choikgong(초익공) are tenon joint(장부맞춤). Secondly, the examination of the joint and splice methods of the bracket set is on that of Salmi and Cheomcha(첨차), and Salmi and Janghyeo(장혀). Joints used between Salmi and Cheomcha, Salmi and Janghyeo are halved joint, and between each Janghyeo are stepped dovetailed splice. It is Cheomcha that is used the Jujang-Cheomcha(주장첨차) on center line. Therefore it is connected with each bracket set, which gets to is the strong system, easy and convenient on the construction of that. Thirdly, the frame structure of wooden architecture in royal palace is consist of purlins and beams, Janghyeo(장혀, timber under purlin), tall columns, king posts, etc. Through the investigation, it is verified that the joint and splice methods between purlins and beams are used with the methods of Sungeoteok joint(숭어턱맞춤). It is verified that the joint and splice methods between beams and high columns are used with methods of mortise and tenon joint(장부맞춤), is highly related with tensile force. To reduce the separation of parts, sangi(산지) and tishoi(띠쇠) are used as a counterproposal, which were generally used for architecture in royal Palaces in the late Joseon Dynasty and continued to be used until these days common wooden architecture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.45-54
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• 2018

This study aims to study the flora and identify the naturalized plants of the 4 ancient palace (Gyeongbokgung, Changdeokgung, Changgyeonggung, Deoksugung) and Jongmyo Shrine, which are national cultural heritage and urban cultural centers in Seoul. The plants found consisted of 315 taxa in total, belonging to 82 families, 201 genera, 285 species, 1 subspecies and 29 varieties. The naturalized plants were shown as follows: in the Deoksugung Palace(33 taxa), the Jongmyo Shrine(14 taxa) and the Gyeongbok Palace(21 taxa) and the Changdeokgung Palace complex(11 taxa). The results of the analysis based on the place of origin showed a higher rate of distribution of species based in North America, Europe and Eurasia, with higher rates of grass than tree. In addition, except for Gyeongbokgung Palace, the annual rate is higher than the perennial rate. As a result of naturalization analysis, the percentage of naturalized plants corresponding to naturalization degree 3 and naturalization degree 5 was high. According to the moment of the invasion, the naturalized plants recently introduced were higher than the first species. In addition, it was found that the similarity between the sites was more than 40%, and the diversity of species of naturalized plants common to the five sites was very low. The purpose of this study is to provide basic data for cultural heritage landscaping and naturalized plant management.

• Journal of Korea Multimedia Society
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• v.13 no.2
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• pp.332-340
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• 2010

This paper presents the digitally implementable methods to preserve and restore the traditional wooden buildings, which are the typical "Korean Cultural Contents," by using computer and multimedia technologies. We first define the meaning of the digital implementation of Korean traditional wooden buildings and important points to be considered. In addition, we present the steps and methods for implementation. Furthermore, we considered wooden materials, structures and Danchung (patterns of paintings on the wooden pieces) in implementing of Gongpo (wooden structure system) for both Geunjeongjeon of Gyeongbok Palace and Injungjeon of Changduk Palace by using the presented methods. We present the mechanical method to digitally implement wooden buildings by using numerical ratios of Gongpo. The other advantage of this paper over the other studies, which focus on implementation of exterior of wooden buildings, is presenting the methods how to show the complicated relations of inner parts in Korea wooden buildings. Thus, it can be practically used in preserving and restoring Korean traditional wooden buildings.

• Publications of The Korean Astronomical Society
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• v.26 no.3
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• pp.115-127
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• 2011

Since the thirteenth century, large scale facilities and various instruments for astronomical observation were built and installed in East Asia. During the Yuan Dynasty, S. ti.ntai (Beijing astronomical observatory in the Yuan Dynasty, 司天臺) was built in Beijing in 1279. Various astronomical instruments, including Ganui (Jianyi, simplified armillary sphere, 簡儀), Yang-yi (upward hemisphere, 仰儀) and Gyupyo (gnomon, 圭表) were installed in this observatory. These astronomical instruments were modified and improved by researchers of the Joseon Dynasty. Ganuidae (Joseon astronomical observatory, 簡儀臺) was built in Gyeongbokgung (or Gyeongbok palace, 景福宮), Seoul. Its scale was 31 Cheok (Korean feet in the Joseon Dynasty, 尺) in height, 47 Cheok in length and 32 Cheok in width. Lee, Cheon (李蕆, 1376~1451), a responsible leader of Ganuidae project, set up various astronomical instruments with his colleagues. Ganui and Jeongbangan (direction-determining board, 正方案) were installed at the top of this observatory. Gyupyo was installed at the west side of this observatory and Honui (armillary sphere, 渾儀) and Honsang (celestial globe, 渾象) were installed in a small pavilion which was located next to Gyupyo. A decade after installation, this observatory was moved to the north-west side of the palace but almost destroyed during Japanese invasion of Korea in 1592 except Ganuidae. We have analyzed documents about Ganuidae and investigated Chinese remains of astronomical observatories and artifacts of astronomical instruments. In this paper, we suggest the appearance, structure, arrangement and scale of Ganuidae, which are expected to be used for the restoration of Ganuidae at some day in the near future.

• Journal of architectural history
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• v.29 no.2
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• pp.75-88
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• 2020

There are stone sculptures diversely shaped in several parts of Gyeongbokgung. Geunjeongjeon is a place where the stone sculptures are intensively placed among the various palace buildings of Gyeongbokgung, and it is more important because it contains the phases of the age of the dynasty and the symbolism of governing philosophy. What can be seen in the structure of auspicious animal sculptures is based on the form of instinctive thought that the heavenly and human order systems are in an organic correspondence with each other, especially with regard to astronomical events such as Samwon Sasin 12jisin 28su. The parts that have been interpreted only in Sasin and 12jisin in the interpretations such as wild dogs, Gyoryong, camels, wolves, and apes were able to clarify the contents by revealing the form of 28su. In particular, as Beopsu Ssangbeopsu at the corner may be related to the guardian deity who governs water, called Yimun, Chimi, and Chimun, it is one of Bibo's ways to protect the palace that was vulnerable to fire. In addition, the shape of the existing 28su placed Dambi, but Ha Woldae at the Geunjeongjeon was assumed to have a camel statue and a planned arrangement of double meaning with the Bibo form of Pungsu Sasinsa, and it is also a feature of the arrangement of Woldae at the Geunjeongjeon. The actual composition of auspicious animals at the Nambogye of Geunjeongjeon was in the order of Haechi, wild dogs, horses and Jujak, and the contents of "Gyeongbokgung Construction Daily Record" were in the order of Haechi, horses, wild dogs, and Jujak. As to different composition layouts, based on the contents of the "Gyeongbok palace Construction Daily Record", the composition of Samjae Cheonjiin (天地人) was interpreted differently from the conventional interpretation of the arrangement of Woldae. All of these forms are associated with defense systems in the four directions and have become animal representations of each direction. The auspicious animal statues placed on the railing of Geunjeongjeon Woldae can be seen as reflected in a single building with the three dimensional personality that includes Pungsu's Bibo personality with the symbolic meaning that reveals the centrality as Jeong Jeon, the nation's best politics let alone the ideological system of the ancient astronomical of the East called Men Heaven Unity.

• Journal of Service Research and Studies
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• v.7 no.1
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• pp.53-64
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• 2017

Recently meet the growing needs of customers and has increased, the need for training of customer contact staff in order to improve and increase customer satisfaction. These service training is because it improves the service capabilities of contact for customer-facing employees to respond to customers as well as to improve customer satisfaction. This study is placed in the field after the service training aimed at Customer contact staff joined in 2013~2016 in the first half of these new recruits training education working in the Seoul Metro customers respond to customers in customer contact and practical services it will proceed to the empirical study of how this affects the satisfaction and loyalty to the organization for the job than to find a better improvement in the educational program.