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

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.76-98
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• 2023

The results of analyzing the outfits of male and female characters depicted in the "Hoehonryedocheop" (回婚禮圖帖, Deoksu 6375) held by the National Museum of Korea and estimating its production date of the "Hoehonryedocheop"are as follows. Firstly, an elderly groom is depicted wearing a patterned heukdanryeong (黑團領) with rank badges, a garment commonly donned by government officials in works such as "Jeonanryedo (奠鴈禮圖)" and "Gyobaeryedo (交拜禮圖)". And the old groom in "Heonsuryedo (獻壽禮圖)" "Jeobbindo (接賓圖)" and "Jungroeyeondo (重牢宴圖)" is shown wearing a jarip (purple hat) without a paeyoung (ornamental jewelry strap), accompanied by jade colored robe with a red strap belt. Gireokabeom (雁夫) is observed wearing a jarip (紫笠) adorned with a paeyoung (貝纓) and a patternless heukdanryeong with rank badges. Adult male descendants are depicted wearing dopo (道袍), while guests wear dopo, cheolrik (帖裏), and jikryeong (直領), accompanied by red and blue straps denoting their social status. Jingssi (徵氏), sidong (侍童), and young grandchildren are observed wearing jungchimak(中赤莫). The young servants are wearing jungchimak, and the boys carrying the food have braided their hair and worn sochangu (小氅衣), while adults servants wore jeonrip (氈笠) and sochangui. Performers are seen clad in a sochangui, jeonbok, and a blue sash around their waists. Secondly, the elderly bride is portrayed wearing a keunmeori (ceremonial headdress) and a green wonsam (圓衫) in "Gyobaeryedo," while in "Heonsuyeondo," she is depicted in a blue skirt and a jade colored jeogori (赤古里). Women descendants are shown adorning headdress decorations, such as binyeo(簪), banja(斑子) and pearl daenggi (眞珠唐紒) on their eoyeomeori (於于味, ceremonial headdress). They are further dressed in skirts of navy, red, and jade hues, paired with various-colored jeogori. Additionally, a woman wearing a navy skirt and a green jangot (長衣) is also depicted. The dongnyeo (童女, unmarried women) wear beolsaengmeri (娘子雙髻), headdress) with long binyeo and long dodaik-daenggi (都多益唐只). They wear chilbo-jokduri (七寶簇頭里) and a red skirt with a green hoejang-jeogori (回裝赤古里). Bija (婢子) wears garima (加里亇) on her eoyeomeori and is seen dressed in skirts and jeogori resembling those worn by noble women, albeit with lighter colors, shorter skirt length, and a subdued volume. Ginyeo's attire bears similarities to that of noble women, although with a dress with less vibrant tones and devoid of decorations on the eoyeomeori. Thirdly, based on the main character's jarip, along with the cheolrik and jikryeong worn by the guests, as well as the performances by musicians of the military camp, it is suggested that the main character of the 60th wedding anniversary is connected to the Ministry of Military Affairs or the military camp. Judging by the military band's short-sleeved vest, the silhouettes of the women dress, and the headdresses, it is likely that the "Hoehonryedocheop" was produced between the 1760s and 1780s.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.50-80
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• 2021

This paper critically examines the history of the theories connected to the Wongaksa Temple Pagoda that have developed over the last 100 years focusing on the original number of stories the pagoda would have reached. Part II of this paper retraces the dynamic process of the rediscovery of the Wongaksa Temple Pagoda by Westerners who traveled to Korea during the port-opening period. Koreans at the time viewed the Wongaksa Temple Pagoda as an object of no particular appeal or even as an eyesore. However, Westerners appreciated it as a wonder or magnificent sight. Since these Westerners had almost no prior knowledge of Buddhist pagodas, they were able to write objective travelogues. At the time, these visitors generally accepted the theory common among Joseon intellectuals that Wongaksa Temple Pagoda once had thirteen stories. Part III focuses on Japanese government-affiliated scholars' academic research on the Wongaksa Temple Pagoda after the proclamation of the Korean Empire and the Japanese Government-General of Korea's subsequent management of the pagoda as a cultural property during the colonial era. It also discusses issues with Japanese academic research and management. In particular, this portion sheds light on the shift in theories about the original number of stories of the Wongaksa Temple Pagoda from the ten-story theory supported by Sekino Tadashi (關野 貞), whose ideas have held a great influence on this issue over the last 100 years, to the thirteen-story theory and then to the idea that it had more than thirteen. Finally, Part IV addresses the change from the multi-story theory to the ten-story theory in the years after Korea's liberation from Japan until 1962. Moreover, it highlights how Korean intellectuals of the Japanese colonial era predominantly accepted the thirteen-story theory. Since 1962, a considerable quantity of significant research on the Wongaksa Temple Pagoda has been published. However, since most of these studies have applied the ten-story theory suggested in 1962, they are not individually discussed in this paper. This retracing of the history of theories about the Wongaksa Temple Pagoda has verified that although there are reasonable grounds for supporting the thirteen-story theory, it has not been proved in the last 100 years. Moreover, the number of pagoda stories has not been fully discussed in academia. The common theory that both Wongaksa Temple Pagoda and Gyeongcheonsa Temple Pagoda were ten-story pagodas was first formulated by Sekino Tadashi 100 years ago. Since the abrasion of the Wongaksa Temple Stele was so severe the inscriptions on the stele were almost illegible, Sekino argued that the Wongaksa Temple Pagoda was a ten-story pagoda based on an architectural analysis of the then-current condition of the pagoda. Immediately after Sekino presented his argument, a woodblock-printed version of the inscriptions on the Wongaksa Temple Stele was found. This version included a phrase that a thirteen-story pagoda had been erected. In a similar vein, the Dongguk yeoji seungnam (Geographic Encyclopedia of Korea) published by the orders of King Seongjong in the late fifteenth century documented that Gyeongcheonsa Temple Pagoda, the model for the Wongaksa Temple Pagoda, was also a thirteen-story pagoda. The Wongaksa Temple Stele erected on the orders of King Sejo after the establishment of the Wongaksa Temple Pagoda evidently shows that Sekino's ten-story premise is flawed. Sekino himself wrote that "as [the pagoda] consists of a three-story stereobate and a ten-story body, people call it a thirteen-story pagoda," although he viewed the number of stories of the pagoda body as that of the entire pagoda. The inscriptions on the Wongaksa Temple Stele also clearly indicate that the king ordered the construction of the Wongaksa Temple Pagoda as a thirteen-story pagoda. Although unprecedented, this thirteen-story pagoda comprised a ten-story pagoda body over a three-story stereobate. Why would King Sejo have built a thirteen-story pagoda in an unusual form consisting of a ten-story body on top of a three-story stereobate? In order to fully understand King Sejo's intention in building a thirteen-story pagoda, analyzing the Wongaksa Temple Pagoda is necessary. This begins with the restoration of its original name. I disprove Sekino's ten-story theory built upon flawed premises and an eclectic over-thirteen-story theory and urge applying the thirteen-story theory, as the inscriptions on the Wongaksa Temple Stele stated that the pagoda was originally built as a thirteen-story pagoda.

• Economic and Environmental Geology
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• v.52 no.6
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• pp.541-554
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• 2019

The Taebaeksan Zone of the Okcheon Belt is a prominent fold-thrust belt, preserving evidence for overlapped polyphase and diachronous orogenic events during crustal evolution of the Korean Peninsula. The Pyeongchang-Jeongseon area of the northwestern Taebaeksan Zone is fault-bounded on the western Jucheon and southern Yeongwol areas, showing lateral variations in stratigraphy and structural geometries. For better understanding these geological characteristics of the northwestern Taebaeksan Zone, we have studied the structural geometry of the Pyeongchang-Jeongseon area. For this, we have firstly carried out the SHRIMP U-Pb age analysis of the age-unknown sedimentary rock to clarify stratigraphy for structural interpretation. The results show the late Carboniferous to middle Permian dates, indicating that it is correlated to the Upper Paleozoic Pyeongan Supergroup. In addition to this, we interpreted the geometric relationships between structural elements from the detailed field investigation of the study area. The major structure of the northwestern Taebaeksan Zone is the regional-scale Jeongseon Great syncline, having NE-trending hinge with second-order folds such as the Jidongri and Imhari anticlines and the Nambyeongsan syncline. Based on the stereographic and down-plunge projections of the structureal elements, the structural geometry of the Jeongseon Great syncline can be interpreted as a synformal culmination, plunging slightly to the south at its southern area, and north at the northern area. The different map patterns of the northern and southern parts of the study area should be resulted in different erosion levels caused by the plunging hinges. Considering the Jeongseon Great syncline is the major structure that constrains the distribution of the Paleozoic strata of the Pyeongchang and Jeongseon areas, the symmetric repetition of the lower Paleozoic Joseon Supergroup in both limbs should be re-examined by structural mapping of the Hangmae and Hoedongri formations in the Pyeongchang and Jeongseon areas.

• 대한공업교육학회지
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• v.38 no.1
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• pp.259-274
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• 2013

Culture is already deeply imbued in our lives. The furniture has become a way of life and the human became part of the culture. In this study, the aim is to explore the traditional furniture that is projected through the culture as a lifestyle. Therefore, the purpose of this study is to explore the cultural implication in Korean traditional wooden furniture. Specific research questions in this study are as follows; 1) How to reflected house structure culture at traditional woodcraft furniture? 2) How to reflected interior space culture at traditional woodcraft furniture? 3) How to projected life form style culture at traditional woodcraft furniture? 4) How to harmonize between modern life culture and traditional woodcraft furniture? In order to achieve the purpose of this study, the literature of review was used masters of Korea's traditional woodcraft furniture. To collect information of Korean traditional furniture, the furniture was selected representative pieces of Korean Joseon Dynasty and interviewed an important intangible cultural asset somokjang. Based on the explore of Korean traditional furniture, the conclusions of this study are as follows; first, in the viewpoint of house framework culture, most of traditional furniture was made u sing a narrow interior space and was to be placed in close contact with the walls, and was developed as a type of molding on the front of the furniture to pursue beauty. Second, in the viewpoint of ondol culture, traditional furniture was closed to the wall by using low height furniture and furniture legs the structure punghyeol was used to reflect the phenomena of convective heat and humidity. Third, in the viewpoint of life form culture, traditional furniture was made that sat-down at eye level configuration is proportional to its size and height and appropriately been made. And patterns reflect the wishes of most things in nature and to be blessed with longevity origin were used in the decoration of wooden furniture. Finally, in the viewpoint of modern life culture, traditional furniture is simple but not dirty, and splendid but not luxurious. So although traditional wooden furniture are in any room or place, never discouraged by the dignity.

• 보존과학연구
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• s.34
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• pp.64-81
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• 2013

It is not easy to define the priority criteria of the need of conservation treatment for stone cultural heritage, although many of them have been treated and restored over the past decade. This study approached the correlation between damage grade and the need of conservation treatment based on damage diagnosis of stone cultural heritage carried out from 2001 to 2005. The number of Third-graded (from First to Fifth-grade) stone heritage in deterioration was the highest among state-designated stone cultural heritage. The Fourth-graded stone cultural heritage (143 in total) was mostly influenced by high physiochemical deterioration, whereas the Fifth-graded ones (61 in total) was dominantly affected by biological colonization. It was estimated that total 211 stone cultural heritage were treated for conservation and restoration from 2002 to 2011. They were usually cleaned (total 134, 26.1%), joined and consolidated, and maintenance works as shelter construction, drainage installation and surrounding cleaning were carried out for some of them. The number of conservation intervention increased with the high deterioration grade, and the case number of metamorphic and sedimentary rocks. By age, the stone cultural heritage in Three-kingdom Period were treated the most, and other heritage in Unified Shilla, Goryeo and Joseon showed an approximate ratio. The stone cultural heritage fallen in the fifth-grade in deterioration demonstrated the highest ratio, approximately 80% of conservation intervention. These results can be used as preliminary data to define the emergency criteria for conservation intervention policy.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.24-41
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• 2020

The engraved line expression in metal crafts is a detailed technique of carving or decorating metal surfaces. This technique engraves a line using a tool on the surface of a metal craft. This technique was used extensively in articles made of various metal materials during the Goryeo Dynasty, and the range of patterns that could be expressed and the width of users was wide. In this paper, based on relics and literature, the concept of line representation of this engraving technique used in the metal crafts of the Goryeo Dynasty and the perceptions and terms of the Goryeo Dynasty were examined. In addition, the users engaged in this craft and the specific patterns and patterns of decoration were reviewed. Through these means, it was possible to confirm various aspects of a technique that was thought previously to involve just simple expression of lines using tools. In addition, through the literature, Geumseokmun Gate, and relics currently being transmitted, it was possible to confirm the utilization patterns of techniques used in various types of objects. Various uses have led to the combination with other metal craft techniques that were popular at the time, and while utilizing unique characteristics of the techniques, this maximized the molding of various patterns. In the meantime, it is true that the intaglio technique in metal crafts has not received much attention compared to the decoration techniques of other metal crafts, such as inlay, embossing, and openwork techniques in which decorative effects are maximized due to the recognition that the technique was used so widely in relics. However, the universality of the technique is premised on its wide use across all eras. As such, it was used in metal craft relics that reflect the various cultural characteristics of Korea and various cultural aspects that are currently passed down. On the one hand, technology has been passed down as a form of intangible heritage that embodies a longstanding craft culture which continues to the present in the fields of sculpture and intangible cultural properties. As such, the universality of Seongak contains many cultural meanings. In addition, the uniqueness of the technique is distinct, and it is deeply related to Goryeo, who was in charge of the use of technology and craftsmanship of the Joseon Dynasty and the metal craft technology that is currently handed down. I think research on future techniques should be continued in depth.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.124-141
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• 2019

This research explored the relationship between the water quality issue of Wolji Pond (Anapji Pond) with the maintenance of the channel flow circulation system. The water supply and drainage system closely related to the circulation system of pond has been reviewed, rather than the existing water supply and drainage system that has been analyzed in previous studies. As a result of reviewing the water supply system, it has been learned that the water supply system on the southeastern shore of Wolji Pond, being the current water supply hole, has been connected to the east side garden facility (landscaping stone, curved waterway, storage facility of water) between the north and south fence and the waterway. This separate facility group seems to have been a subject of the investigation of the eastern side of Wolji Pond, with the landscaping stones having been identified in the 1920's survey drawings. The water supply facility on the southeastern shore, being the suspected water supply hole, seems to have some connection with the granite waterway remaining on the building site of Imhaejeon (臨海殿) on the southern side of Wolji Pond. It is inferred that it provides clean water, seeing that the slope towards the southwestern shore of Wolji Pond becomes lower, the landscaping stones have been placed in the filter area, and it is present in the 1920's survey drawings and the water supply hole survey drawing of 1975. The water drainage facility on the northern shore is composed of five stages. The functions of the wooden waterway and the rectangular stone water catchment facility seem not to be only for the water drainage of Wolji Pond. In light of the points that there are wood plugs in the wooden waterway and that there is a water catchment facility in the final stage, it is judged that the water of Balcheon Stream (撥川) may be charged in reverse according to this setup. Namely, the water could enter and exit in either direction in the water drainage facility on the northern shore It also seems that the supply to the wooden waterway could be opened and shut through the water catchment facility of rectangular stone group as well. The water drainage facility on the western shore is very similar to the water drainage facility on the northern shore, so it is difficult to avoid the belief that it existed during the Silla Dynasty, or it has been produced by imitating the water drainage facility on the northern shore at some future point in time. It seems to have functioned as the water drainage facility for the supply of agricultural water during the Joseon Dynasty. The water supply and drainage facilities in Wolji Pond have been understood as a systematized distribution network that has been intertwined organically with the facility of Donggung Palace, which was the center of the Silla capital. Water has been supplied to each facility group, including Wolji Pond, through this structure; it includes the drainage system connecting to the Namcheon River (南川) through the Balcheon Stream, which was an important canal of the capital center.

• Journal of the Korean Geographical Society
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• v.47 no.1
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• pp.60-78
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• 2012

The main objective of this study is to conduct subnational population projections of Korea based on a Myriad Things" (萬物門), which is part of Seongho's representative work entitled $Miscellaneous$ $Explanations$ $of$ $Seongho$ (星湖僿說), has been in this paper in order to understand Seongho's "thinking on geography". To do so, contents related to geography were selected and these were discussed and interpreted in terms of the classification system of today's geographical knowledge. Following is the result of this research. First, information on astronomical geography and natural geography such as uplift, tornado, structure of soil, and the $yut$ board as well as humangeographical topics such as wild $ginseng$, cigarettes, hot pepper, traditional fruits and nuts (chestnuts, jujubes, and persimmons), Goryeo paper (Korean paper), mulberry trees, cotton plants, natural dye, policy about horses, magnetic compass needles, and farming implements for rice transplantation are mentioned in "Myriad Things" in relation to geography. Second, the depth of information described varies from topic to topic, but the topics on tornado and magnetic compass needles, horses, wild ginseng, traditional fruits and nuts, and $yut$ board are described in depth and in detail. Third, authenticity of the contents on these topics are "true" insofar as bibliographical information and citations are provided for support. Fourth, these topics reflect the interests and circumstances that are related to the "economic improvement of common people's livelihood" in those days, such as agriculture, crops, and transportation of goods. Fifth, the bibliography and citations explaining all instances reveal that China (Qing) is a great civilization of the advanced world and that the scholarship of Joseon relied on and accepted it. Sixth, except for horse raising and management, farming implements for rice transplantation, sericulture, and natural dying of cloth, most of the topics are useful even today. In short, theres is a profound aspect to the content that makes it possible to estimate the "geographical thinking". In general, the focus of the content of this book directly linked to the practical agricultural economy of the common people.

• Journal of the Korean Geographical Society
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• v.50 no.6
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• pp.571-605
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• 2015

This research revealed that 'Yipjiamlyu' in the Mukedeng's map is geographically 'a beginning point of underf low,' whose location is on the Heishigou's riverbed(E.L. 1,840m) in the NNE side of Daegakbong peak, and that 'Tomungangweon'(Heishigou) is one of the upstream reach of the Sungari River, which, according to historical documents and my fieldwork, Mukedeng also knew at the time of Yimjin(1712) Boundary Making and Demarcation(YBMD). These findings suggest the need to reinterpret the processes of YBMD. Mukedeng set up the Baekdusanjeonggyeobi on the mistaken assumptions on the linkage of 'Yipjiamlyu' and Tumen River. It should have been set up on the Daeyeonjibong peak. Mukedeng found the 'Yipjiamlyu' on the riverbed of 'Tomungangweon'(Heishigou), went downstream, and realized that this river did not flow into the Tumen River. During the search for the source of Tumen River, he found a water stream, and regarded it as the source of Tumen River. He speculated that the water at the 'Yipjiamlyu' flows through the underground to reappear at the his 'identified' source of Tumen River. Consequently, he adjured the construction of demarcation from Baekdusanjeonggyeobi through 'Yipjiamlyu' to the his 'identified' source of Tumen River. The water stream pointed as the source of Tumen River, however, was not part of the upstream reach of Tumen River. Actually, Korean officials, who were in charge of establishing boundary features, set up the demarcation from Baekdusanjeonggyeobi through Huanghuasongdianzi to the true source of Tumen River identified by themselves, which Mukedeng had not intended. The ambiguity of the location of 'Yipjiamlyu' caused a difference between Mukedeng's original request and Korean officials' implementation in the boundary demarcation. Throughout the whole processes of YBMD, Korea(Joseon) and China(Qing) both mistook the real geography of the river system. Their understanding on Yalu River system was correct. But the identification of the spring source of the Tumen River by Korean participants was the only geographically correct result related on this river system in YBMD.