• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.194-210
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• 2013

Oiled paper (Yuji, 油紙) is an oil impregnated paper which was one of the daily necessities in Korea. As there has not been any accurate research on this subject, this study examined the literature from the Joseon Dynasty to study its origin, nomenclature, usage and production process. Goryeodogyeong (高麗圖經) and Goryeosa (高麗史) allowed the estimation that the origin of oiled paper was the Goryeo Dynasty, but the records of oil and paper in Samguksagi (三國史記) and Nihon Shoki (日本書紀) indicate the possibility that the production of oiled paper can be traced back to the 7th Century. The nomenclature and the usage of oiled paper in the Joseon Dynasty were examined through the Annals of Joseon Dynast (朝鮮王朝實錄), Ilseongnok (日省錄) and Seungjeongwonilgi (承政院日記), while the Royal Protocols of the Joseon Dynasty (Uigwe, 儀軌) and Takjijunjeol (度支準折) together with other literature were examined for its market value, use and materials. The literature from the Joseon Dynasty indicate that oiled paper was used for various everyday commodities with its waterproof, damp-proof and transparent properties and called in various ways according to its use and production process. This study studied the literature on oiled paper from the Joseon Dynasty, but the studies on the restoration of traditional oiled paper are still needed. Therefore, it would be necessary to study the traditional oiled papers in combination with the study of oiled paper relics, the reproduction of traditional oiled paper samples, and the case study of the papermaking masters who have been producing the traditional oiled papers.

• Journal of architectural history
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• v.29 no.3
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• pp.79-90
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• 2020

In Korean traditional architecture, the Gong-po style is divided into the Jusimpo, Dapo and Ikgong. Jusimpo and Chulmok-Ikong, where only Gong-po is placed on the column, differ in form of Gong-po depending on the viewpoint. Since 'Chulmok-Ikgong' has been generally regarded as 'One Chulmok-Two Ikgong', the precedent researches have been conducted mainly on 'One Chulmok-Two Ikgong' in the Gong-po style classification. However, when it comes to 'One Chulmok', the style of Ikgong can be organized from the one to three steps and this study is particularly for examining the occurrence and transformation of 'One Chulmok-One Ikgong'. One of the case study sites, Bonghwa Cheongamjeong was originally built in the 16th century, and is believed to have been repaired from 'Non Chulmok-One Ikgong' to 'One Chulmok-One Ikgong'. Since the beam linked directly to the upper part of a capital, it does not connect the eave trave(architrave) in between. Also, Soro which supports Jangyeo(the architrave strip) has been placed and linked in comparatively lower position. It is confirmed by the signigicant difference in the hierarchy of Gong-po forms in one architecture. The Jeonju-Hyanggyo Daeseongjeon, which was built in the 17th century among the subjects, was similar with 'One Chulmok-One Ikgong', but it was found to be the type of Jusimpo form because the bottom of the beam and the top of the Ikong are apart. And Gongan is confirmed at Cheomcha. In the 17th century, it can be seen that Heot-Cheomcha disappeared and Ikgong was started to use as a constant figure. The end of the 18th century, it can be seen that it was changed into a ornament added on Haeng-gong, being seen in the case of Hwaseong Dongjangdae. In conclusion, it can be seen that 'One Chulmok-One Ikgong' were developed in both the Jusimpo and Ikong style. The transformation into 'One Chulmok-One Ikgong' was inevitable consequence related with an elevation difference between the eave trave and the column trave.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.65-75
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• 2015

The findings of basic study on the awareness of falls in terms of Gwanpokdo(Paintings of Viewing Falls) were drawn as follows. First, there is a difference in an esthetic sense that water brings depending on the ratio of falls, and Gwanpokdo(Fall Landscape) in which falls take up more than 20% of the canvas focuses more on falls so that it brings about the awareness of landscape through direct communication with nature. Second, the diagonal composition of the canvas has symmetry between falls and a person viewing the falls, which makes view point even clear. In addition, margins of the canvas were missing due to the effect of True-View Landscape Painting during the late Joseon Dynasty, and overall composition of using the entire canvas became popular. This overall composition is stable and disposed with lopsided composition, so this heightens sense of balance and the meaning of falls. Third, Gwanpokdo(Paintings of Viewing Falls) of Josoen Dynasty showed various types of viewing falls in distant view, but as the distance between falls and persons got closer in the latter part of Joseon Dynasty, falls were no longer utopia but it expressed a sense of beauty and aesthetic contemplation through direct communication with real nature. Fourth, Gwanpokdo(Paintings of Viewing Falls) of Joseon Dynast had many drawings of a person viewing falls and viewing behaviors such as Supyeong gyeong(level landscape), Amgang gyeong(lower landscape), Bugam Gyeong(higher landscape), and glimpse viewing. Fifth, rocks out of landscape elements make falls vivid and are so expressed as yin and yang that falls and rocks are well contrasted with each other, maximizing beautiful scenery of falls. Sixth, woody plant of Gwanpokdo(Paintings of Viewing Falls) was mostly pine trees which symbolized the literati's fidelity and integrity at that time and emphasized the firm meaning of transcending the nature, matching with symbolization of falls.