• Korean Journal of Heritage: History & Science
• /
• v.47 no.3
• /
• pp.4-23
• /
• 2014

Seokjojeon Hall is the Neoclassic style building situated in Deoksugung Palace, which was proposed by John McLeavy Brown who was a chief commissioner of the Daehan Empire and designed by John Reginald Hardings in 1897. Construction of the Seokjojeon Hall began in 1900 and completed in 1910 at the total cost of one million won. Decorating and furnishing of the interior was designed by Lovell and all the furniture of Seokjojeon Hall had been purchased from Maple&Co. The Maple&Co was the supplier of luxury furnitures and decorating items for luxurious residentials, hotels, embassies and the palaces and its headquarter was located in London. Ready-made furnitures were purchased as shown in the Maple's catalog. The designs and styles of the west were applied to Seokjojeon Hall. That is one of the aspects showing Daehan Imperial underwent a period of Westernization.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.2
• /
• pp.1-13
• /
• 2020

This study closely analyzed poems and paintings related to Beijing-Palgyeong, as well as ancient maps and ancient writings. Through the study, people who read this study can consider, Beijing-Palgyeong's the process of changing times, changing landscape perception, physical and symbolic landscape elements, structural analysis, national management relationships, and finally how it was localized as symbolic place. The view point of the Beijing-Palgyeong is distributed in four places, one outside and one inside the city. Outside of the capital city of Beijing-Palgyeong were concentrated in Seosan(西山) where the resting place of the emperor and the center of the landscape view of Beijing. The view point of Beijing-Palgyeong inside the capital city is located in two places in the royal palace's Imperial Garden and in two villages around the fortress. In other words, Beijing-Palgyeong was selected as a place closely related to the imperial family, emperor, and royal palace from the time of its initial creation. Since then, many scholars, including the emperor, have used it for national management through Won(元), Ming and Qing Dynasty, and it have become more and more characteristic of 'The capital city of eight scenic views'. The two places inside the capital city praised the Gods and Emperors in the same way. Outside the capital city, the two sites depict the comfortable lives of the people who are governed by the emperor and depicting the village landscape around the city. In the end, it can be seen that most of the Beijing-Palgyeong are related to imperial palaces and emperors. If you look at the physical landscape of Beijing-Palgyeong by element, it mainly contains the contents of national management and the emperor's eulogy. Qianlong Emperor established the Beijing-Palgyeong in 1751 through the construction of a monument. A four-character on the front of the monument, and inscribed with a seven-word written by the person on the back. It can be said that Qianlong Emperor's Beijing-Palgyeong were intended to show off the results of Manchurian rule through the material symbol of the monument. Beijing-Palgyeong have been transformed into a landmark, and modern people use it as an indicator of the Beijing-Palgyeong.

• Korean Journal of Oriental Medicine
• /
• v.3 no.1
• /
• pp.1-15
• /
• 1997

${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$(1445) is a book compiled the medical achievements of China and Choseon in those times and it's our source of pride to have it In this country. It also deserves careful investigation since this book can provide some clues of features of missing books in China and Korea. The extent of accuracy of xylographica of old books determines the possiblity of in depth further study. So authors attempted to investigate the xylographica of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ one of the 3 main books in Korea. Previous investigation done by Miki Sakae and Kim Doo Jong are noticeable. On the basis of their respective works, we analyzed 'Annals of the Choseon Dynasty' to find records related with ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ and estimated the situation of its publication. We tried figure the situation of those times of China, Japan and Korea(including North Korea) and tried to estimate the book's original xylographica as much as we could. By King Sejong's command, the first draft of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ consisted of 365 books was made by collaboration of civil officials and medical officers during the period from 1443 to 1445. And then from 1451(first year of Moonjong's reign) to 1464(l0th year of Sejo's reign) lots of manpowers were employed and through the process of countless erasure, proofreading, arrangement and rearrangement revised version of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ which is called by Sejo text was completed. After 3 years of wood engraving work, the first printed form of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ (alternately called Seongjong text) in folding case consisted of 266 chapters, 264 volumes came into the world in 1477.(8th year of Seongjong's reign). This was 32 years after the initial completion of the edition. So ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ exists in three forms as Sejong text, Sejo text and Seongjong text respectively. Since those texts were plundered during the Japanese invasion of Korea in 1592, none of the original copy remains within korea. The texts were constantly moved to kadeungcheongieong, to Kongdeungpyeongio, Jesookoan of Edo, to East University of department of classic books, to Cheoncho archives, to the Imperial Museum and finally is kept in the royal palace at present. (Doseoryo text Eulhae printing type) Reduced-size republication books of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ in wooden type were imported at the time of 'Byeongja Korea-Japan Treaty in 1876' and of those 2 books, one copy was treasured in the Royal Household of the Yi Dynasty and than was lost during the Korean War circa 1950. The other remaining copy has been kept succesively by Kojong's imperial grant, Royal doctor Hong Cheol Bo, Hong Taek Joo, Hong Ik Pyo the book agent, and now is kept In Yonsei University Library and this is the only existing copy in Korea at present. In 1965, Dongyang Medical college published the transcription version of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ consisting of 11 books and then in 1981 after edition and arrangement by Choonghoa(中華) publishing company, photoprint copy of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ was published in Keumgang(金剛) publishing company In 1991, October Yeokang(驛江) publishing company producd photocopies of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ which were previously translated into Korean by North Korea Institute of Oriental Medicine and then issued by medical publishing company. In China, two institutes, Zhejiang Institute of Traditional Chinese Medicine and Huzhou Traditional Chinese Medical Hospital cooperated to publish a revised and marked text consiting of 11 books by adding marking points to japanse Edohakhoondang text which were used as a reference. Both the korean and chinese texts issued were grounded by the ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ kept in the royal palace. Any further study concerning ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ can acquire its accuracy and objectivity when the japanese text kept in the royal palace is taken as an original copy.

• Journal of the Korean Society for Library and Information Science
• /
• v.56 no.3
• /
• pp.213-239
• /
• 2022

This study attempted to organize the transition process of Royal Library (Gyujanggak) in chronological order, analyze the flow and find diachronic meaning during Gojong period, the most confused time at home and abroad prior to modernization. For this, first, the total status quo of King Gojong's library and book storage which played role of Royal Library and a personal library in Gojong period was investigated. Second, based on the current status of the investigation, the transition process from the Royal library in the early days of King Gojong to the Imperial library during the Korean Empire and its meaning were considered with the Annals of the Joseon Dynasty, Seungjeongwon diary, various catalogs and historical records. Third, the changes of space-time and aspect of Royal library through the palace of Gyeongbokgung, Changdeokgung, and Gyeongungung were examined to draw a sociopolitical meaning by schematizing each palace. As a result, first, King Gojong conjugated Kyujanggak as a device to strengthen the royal authority and accommodate Western culture in the process of modernization. Second, the crucial spaces containing the political orientation of King Gojong, such as the present king's portrait storage place, library(book storage), and office, formed a separate hall across Gyeongbokgung, Changdeokgung, Gyeongungung, and gradually changed into a Western architectural style.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.1
• /
• pp.318-345
• /
• 2013

This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.

• The Korean Journal of Archival Studies
• /
• no.3
• /
• pp.115-137
• /
• 2001

The Museum of Chosen General Government(MCGG) was a supreme organ to take charge of business affairs of historical remains Japanese imperial rule. The MCGG was established in Kyongbok Palace in 1915. The MCGG was changed the reorganization of the Chosen General Government(CGG) setups, the MCGG was to maintain the cultural assets, to excavate the ruins and to put on display the remains. However, the Japanese colonist took advantage of the MCGG for political purposes. They didn't use the MCGG to promote the research of Korea culture. Therefore, the MCGG was an organization to belong to the Department of Education of the CGG. In this reason, the MCGG produced the amount of public document to business affairs. Now, This document left in the Museum of Korea. We have seen the document to study the cultural policies and the cultural assets of the CGG. This document includes the abundant information for the historical remains and ruins at that time. Accordingly, this document will help to survey the archaeological research and historical research. In addition, this document will help to manage the cultural assets. What then is the advantage of this document? The first is to see the cultural policies of the CGG through this document. The Japanese colonist took advantage of Korea history, which was low-grade culture, to justify rule of the colony. Therefore, they needed collect Korean assets to verity their theory. The second is to see the administration system of the MCGG. Indeed, this document includes information of organization of the MCGG, the policies and the process of the MCGG. In substance, we can see the systemic proceedings of the MCGG. The third is to provide historical materials to the historian. This document has the persons to plan the colonial culture policy of the MCGG, and events to rule the Korea culture. Moreover, the document of the MCGG would help to inquire into the truthfulness of history and to get the national identity.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.38 no.5
• /
• pp.113-121
• /
• 2010

Shumi-sen(須彌山), built by Nohjagong(路子工) in the southern garden of the Palace Garden during the Asuka Period, is understood as being Sumeru based on an Indian perspective of the theory of the origin of universe. It is also viewed as Mt. Myogoh from a Chinese Buddhist worldview. It is thought to be a type of assembled stone structure with Poong-ryoon (風輪)-Su-ryoon(水輪)-Geum-ryoon(金輪)-Ji-ryoon(地輪) carved into each of the 4 stone pieces. These building shapes are thought to have been utilized as stone for exterior construction as opposed to those structures built during the Shilla Period of China and Korea. Aside from Nohjagong's record of Shumi-sen, most of the records from Japan's period of the time suggest that Shumi-sen was an important element that played a role in the scenery of the seasonal outdoor gardens. It is also thought, from the sentences and expressions surrounding the records, that a combination of the seasonal sceneries was utilized centered on Shumi-sen, and that they were all used during festival events. From a perspective of analysis and interpretation dependent on the limited literature and on observation, it cannot be verified whether the Mt. Sumeru Stone(須彌山石) excavated from the Stone God Ruins is the same Shumi-sen that Nohjagong built along with Okyo(吳橋), but it is thought that the 'Shumi-sen type stone structure' that was later built repeatedly as part of the palace garden facilities is identical to the Shumi-sen built at the Imperial Palace's southern garden, or at least a re-built structure based on the Shumi-sen that Nohjagong built with stones and ponds used to create the foundation. Thus, Shumi-sen that Nohjagong supposedly built along with Okyo is suspected to be a figurative rock arrangement and, at the same time, a miniaturized scenic rock arrangement(縮景樹石) that maximized the shape of Buddhism's Shumi-sen. On the other hand, the surface pattern on Mt. Sumeru Stone is very similar to the multi -layers of mountainous pattern icons expressed in the patterns of the Great Golden Incense Burner(百濟金銅大香爐) or Mountain-Water Scenery Sculptural Brick(山水山景紋?) that were built during the Baekjae pcriod aod the rear side of Hwalsuk-jebul Basal Byungipsang(滑石諸佛菩薩竝立像); it is suspected that similar patterns would have been used if patterns were made on Shumi-sen that Nohjagong built. Also in consideration of the physical theory of MI. Sumeru Stone, the Siphon theory of using a pressure difference in water level was applied to the fountain facilities of Mt. Sumeru Stone that seemed to have been built from the practical rock arrangement perspective for the purpose of feasts, etc.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.1
• /
• pp.10-19
• /
• 2021

This study investigated the actual state and transformation of the major garden ornaments in Changdeokgung Palace(昌德宮) in the modern and contemporary period, focusing on Nakseonjae(樂善齋), Juhamnu(宙合樓), Jondeokjeong(尊德亭), and Daebodanji (大報壇址). This study can be used as useful data for establishing the restoration and maintenance plan of the garden ornaments in Changdeokgung Palace, and the main results of the study can be summarized as follows. First, according to a photo taken by the Czech Vráz, in 1901, a total of six garden ornaments, including a stone pond and odd-shaped stones, were located in the backyard of Nakseonjae. Since liberation, arbitrary relocation of garden ornaments has frequently occurred, and in the process, two odd-shaped stones, originally located on the first floor of the terraced flower bed, have been transferred to the backyard of Gyeonghungak(景薰閣). Second, unlike the late Joseon Dynasty when 「Donggwoldo(東闕圖)」 was produced, odd-shaped stones were arranged symmetrically in the backyard of Juhamnu in the early 1900s. It was a traditional style garden ornament with similar appearance, size, and design. However, all the odd-shaped stones in the backyard of Juhaumnu were relocated to other places in the 1970s and 1980s. One is located at the rear of Aeryeonjeong(愛蓮亭) through the entrance of Bingcheon(氷泉) and the vicinity of Geumcheongyo(錦川橋), and the other remains in front of the Yeongyeongdang Jangnakmun(演慶堂 長樂門). Third, among the garden ornaments located in the area of Jondeokjeong in the past, one odd-shaped stone is now relocated around the stone bridge near the pavilion and the Yeonghwadang(暎花堂) with its components separated. The bondstone near Yeonghwadang was relocated in 1990 for the purpose of installing an imitation of Angbuilgu(仰釜日晷). Another odd-shaped stone has been relocated to the front door of the Secret Garden(後苑), and now it is difficult to grasp the location. Fourth, the two bondstones remaining in the Daebodanji were actually building materials that were used as the foundation stone for the entrance pillars of the Yi Royal Office Building(李王職廳舍) during the Japanese colonial period. After liberation, the Yi Royal Office Building was reorganized into Imperial Estate Administration Office(皇室財産事務總局), and when the office building was burned down in 1960, the stone statues and foundation stones placed on the stylobate were relocated to the Daebodanji. The bondstone at Daebodanji is a representative example of construction materiasl being mistaken for gaeden ornaments.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.2
• /
• pp.45-56
• /
• 2010

This study is dealing with Deoksugung around the founding of the Daehan Empire Era. It will looks closely into how locational contexts and sense of place have been changed according to the subject's view point and the interpretation of text community until Deoksugung is changed into citizen-oriented public place vested with the meaning of public park. In conclusion, Deoksugung was a place for suffering and sorrows, but also it was a place for ceaseless attempt to pursue of the recovery of past without loosing hope. As in the case of uprising war like Japanese invasion of Korea (Imjin Yeran) or Cheong Japan War, Deoksugung was an importantly historical place where autocrat temporarily stayed to stand up for the war and moreover, it was an imperial palace where the ambivalent sensibility between suffering and hope are intermingled in the very first Korean Empire in history. Unlike Kyeongbokgung and Changdeokgung, the current Deoksugung has changed its boundary from time to time since Japanese invasion of Korea up to the present. Deoksugung has evolved the present situation as endlessly changing its boundary by interacting with the neighbor of Kyungungung. The more complicated sense of place is coexisted in the features of the Deoksugung. Therefore, current hot topics concerning restoration project of Deoksugung is much more difficult than of other palaces. This issues should be carefully dealt with beyond the political interests.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.98
• /
• pp.176-199
• /
• 2020

In 2018, the National Museum of Korea purchased a pair of Japanese folding screens, respectively entitled Gathering on the Year's First "Day of the Rat" and Boating on the Oi River. Both of these two screens (hereinafter collectively referred to as the "NMK edition") have a gold background that bears the seal and ink inscription of Tosa Mitsuyoshi (1700-1772), who served as edokoro azukari, a painter in the court of Kyoto. According to the seller in New York, the screens were brought from Japan to the United States in the early twentieth century, but no other details are known. Each folding screen has six panels. The screen on the right (i.e., Gathering…) depicts "nenohi no asobi," an annual event conducted on the first "day of the rat" (according to the Asian zodiacal calendar), wherein the Kyoto imperial court ventured to the woods to gather pine seedlings. The left screen (i.e., Boating…) shows three boats traveling down the Oi River in Kyoto, representing the ritual known as "mifune" (literally, "three boats"), which involves three boats representing Chinese classical poetry (kansi), Japanese classical poetry (waka), and Japanese imperial music and dance (gagaku). Notably, these two screens are identical in theme and iconography to two screens with the same respective titles that were commissioned by Emperor Komei (1831-1867) and painted by Ukita Ikkei (1795-1859), an artist of the Yamato-e Revivalist School (fukko yamato-e), now in the collection of Sennyu-ji Temple in Kyoto (hereinafter collectively referred to as the "Sennyu edition"). While both of these themes have been painted independently numerous times, the NMK edition and Sennyu edition are the only known cases of the themes being painted as a single set. According to Diary of Official Business Between the Court and Shogunate (the journal of a court official named Hirohashi Kanetane, 1715-1781), Tosa Mitsuyoshi was commissioned in 1760 to replace the fusuma (rectangular sliding panels) of Tsunegoten, one of the buildings of the Kyoto Imperial Palace, which had been built in 1709. Notably, records show that Tsunegoten once contained a series of fusuma painted by an artist of the Kano school on the themes "Outdoor Procession on a Spring Day" and "Three Boats Cruising on the Oi River." Hence, it seems probable that Tosa Mitsuyoshi was influenced by the theme and iconography of the existing fusuma in producing his own folding screens depicting the court's visit to the forest and a cruise on the Oi River. While the practice of collecting pine seedlings on the first "rat day" of the year was an auspicious event to pray for longevity, the mifune ritual was intended to honor the greatest talents of the three aforementioned arts, which were of crucial importance to the court of Kyoto. Folding screens with such auspicious themes were commonly featured at the ceremony to enthrone the emperor or empress. Significantly, the Diary of Official Business Between the Court and Shogunate also records that Tosa Mitsuyoshi, while working as a court artist, produced two pairs of folding screens for the coronation of Empress Go Sakuramachi (1762-1771), which was held in 1763. Hence, research suggests that the NMK edition is one of the pairs of royal folding screens produced at that time.