• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.42-56
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• 2012

This study was carried out to investigate the construction characteristics and the landscaping design skill for Wiyiam at Ongnyucheon(玉流川) in the rear garden of Changdeok Palace focusing on constructing technique, space composition and transformational process of the site. The results of this study were summarized as follows; First, Wiyiam of Ongnyucheon was constructed as garden ornament which was modified the huge bedrock into the shape of the mountain. The waterfall of Wiyiam was originally made of torrent which water flowed into the bottom, but it was reconstructed to take the effect of Inak(離落: the method to drop water from high place) by carving rock into square shape at the era of King Gojong(高宗). Second, main characteristics of Wiyiam appeared in Donggwoldo was the hill built up with a square pond and ground at the back of Wiyiam and the profound scenery of mountains and stream from the view of Wiyiam. Also, pavilions such as Soyojeong(逍遙亭), Cheongujeong and Taegeukjeong(太極亭) built in Ongnyucheon seemed to be constructed as the spots to appreciate the view and waterfall sound of Wiyiam. Also the spots were not bounded by the function of creating special water systems such as Cheongujeong pond and Taegeukjeong pond and showed the outstanding landscape design skill to make people feel unusual interest from each spot. On the other hand, this study considered that the evening scenery of Wiyiam, beautiful sound of falling water, unusual water system with beautiful plant materials were landscaped for the function of the psychological peace and stability to the appreciators. Lastly, the extreme change of space composition in Ongnyucheon was assumed as a strategy to improve the existing poor drain environment by confirming that the mountain stream and wall of Soyojeong were removed and drainage in both side of Soyojeong was installed in the 21th year of King Gojong's reign(1884).

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.

• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.56-85
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• 2010

UNESCO World Heritage Programme was introduced following the adoption of Convention Concerning the Protection of the World Cultural and Natural Heritage by the General Conference of UNESCO in 1972 in order to protect cultural and natural heritage with superb value for all mankind. Despite its short history of less than 40 years, it has been evaluated as one of the most successful of the cultural area projects of UNESCO with 890 world heritage registered worldwide. For systematic protection management of World Heritage, UNESCO, through systemization of registration, emphasis on the importance of preservation management plan, institutionalization of monitoring, and operation of World Heritage Fund, has utilized World Heritage Programme not just as a means of listing excellent cultural properties, but as a preservation planning tool, and accordingly, such policies have had a significant influence on the cultural heritage protection legislations of numerous nations. Korea has ratified World Heritage Convention in 1988, and with the registration of the Royal Tombs of the Joseon Dynasty in 2009, it has 9 World Heritage Sites. Twenty years have passed since Korea joined the World Heritage Programme. While World Heritage registration contributed to publicity of the uniqueness and excellence of Korean cultural properties and improvement of Korea's national culture status, it is now time to devise various legislative/systematic improvement means to reconsider the World Heritage registration strategy and establish a systematic preservation management system. While up until now, the Cultural Properties Protection Law has been amended to arrange for basic rules regarding registration and protection of World Heritage Sites, and some local governments have founded bodies exclusive for World Heritage Site management, a more fundamental and macroscopic plan for World Heritage policy improvement must be sought. Projects and programs in each area for reinforcement of World Heritage policy capacity such as: 1) Enactment of a special law for World Heritage Site preservation management; 2) enactment of ordinances for protection of World Heritage Sites per each local government; 3) reinforcement of policies and management functionality of Cultural Heritage Administration and local governments; 4) dramatic increase in the finances of World Heritage Site protection; 5) requirement to establish plan for World Heritage Site preservation protection; 6) increased support for utilization of World Heritage Sites; 7) substantiation and diversification of World Heritage registration; 8) sharing of information and experiences of World Heritage Sites management among local governments; 9) installation of World Heritage Sites integral archive; 10) revitalization of citizen cooperation and resident participation; 11) training specialized resources for World Heritage Sites protection; 12) revitalization of sustainable World Heritage Sites tourism, must be selected and promoted systematically. Regarding how World Heritage Programme should be domestically accepted and developed, the methods for systemization, scientific approach, and specialization of World Heritage policies were suggested per type. In the future, in-depth and specialized researches and studies should follow.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.1
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• pp.107-118
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• 2016

The Seoul metropolitan government announced an open design competition for reconfiguring the annex building of the National Tax Service Building site on Sejong-daero as a space for citizens to commemorate the 70th anniversary of Korea's liberation. The site, built during the Japanese colonial period, has been in use ever since. This study, as one of the entries for the competition, described the strategy and design contents by drawing the concept and main points of the design through an analysis of the historical context of the site. As the guidelines instructed to consider the value of the Sejong-daero area and the cultural heritage through a comprehensive analysis, this study specified the site as a place connecting the past, present and future. Since the foundation of the Joseon dynasty, the Korean Empire and the Japanese colonial period, Sejong-daero has been a main site for important events and activities along with the change of the city structure. Jungdong, to the rear of the site, was a place for adopting new culture during the beginnings of modern Korea, while adjacent places like Duksugung, the Anglican church, and the Seoul City Council building have also been historic urban landscapes of the historical layers of time as the city has changed. When Gojong announced the Korean Empire, the city structure was remodeled with this site as the center along with Sogong-ro, Wongudan and so forth. In this study, public interest stated in the guidelines was focused and the relevance of the road and the plaza was considered from the view of an historic urban landscape by a comprehensive analysis with Sejong-daero as the center. The restoration of public interest was to be drawn as the concept of the object site by considering the current status and the change around the site and Jungdong at the rear. Returning the site to the public is ambiguous with the relevance of the restoration of public interest and as the symbol of the idea of the Korean Empire by Gojong's announcement. The object site, having the characteristic of being returned to the public, must ensure public interest and therefore the design strategy has been established with the keywords of openness, connection and void. As a result of a review of the alternatives, a plan for a square has an 8% slope, just as the original site does, and provides ramps for convenient access for all, including the disabled and the elderly, and is connected to the grounds adjacent. No construction is allowed at the terrace square of the Anglican church level and the main square connected to the pedestrian street, so a variety of modern city utilization can be done. The value of the site at which this design is aimed shall be given back to the public with the concepts of modern democracy, independence, and the vision of Gojong by reinterpreting the space from a modern viewpoint. This study focused on the processes of establishing a main concept and strategy rather than the content of the design details, and the suggestion is meaningful in that the design for the object site with historic backgrounds and the layers of time can continue to be grown.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.31-43
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• 2014

The purposes for this research were to find the correct building background of Jondeokjeong(尊德亭) in the rear garden of Changdeok Palace(昌德宮) based on the historical facts for the area of Jondeokjeong and investigate the internal theory of construction through the metaphysical consideration. The results were as follows. 1. Building background of Jondeokjeong was related to Sohyunseja(昭顯世子) and Bongrimdaegun(鳳林大君) as forms of rear garden where was not built in the area of Jondeokjeong, bamboo pavilion, hexagonal pavilion, octagonal pavilion, etc. They were built two or three times after returning of Sohyunseja and Bongrimdaegun from China, and the area of Jondeokjeong was continuously developed by building Chunhyanggak(天香閣), Mangchunjeong(望春亭) and Cheoknoidang(滌惱堂) after Hyojong(孝宗) succeeded the royal authority of Hyunjong(顯宗) who was born in Shenyang(瀋陽) and hung a signboard of Jondeokjeong after then, etc. 2. Dazhengjeon(大政殿) of Shenyang Palace(瀋陽故宮, 1625) played the roles of major hall, Jeongjeon(正殿) which held national big events as a one-storied building with two piles of roof similar with Jondeokjeong (1644). Also, it was the building encountered when Sohyunseja and Bongrimdaegun participated in breakfasts held in the palace or banquets supervised by a king, so building background of Jondeokjeong was judged to be related with Dazhengjeon. 3. In consideration of characteristics which are shown commonly in Jondeokjeong and Dazhengjeon, relations of two buildings were verified and characteristics of Jondeokjeong were examined. First, dragon which is representatively symbolizing royal authority was formed. Therefore, Jondeokjeong was judged as a garden building which purposes were to obtain and train natural reasons, govern the nation and let people comfortable. Second, the purposes of sun dial, Ilyoungdae(日影臺) were judged to examine the accurate time and express appropriateness of the king. Third, Taechungmun(太淸門) around there is related to Samcheong(三淸) of Taoism and judged to be caused by floral wall and secular happiness accomplishment for king's longevity without disease. Fourth, for building style, one-stories pavilion of duplicated roof and building with only cylinder were to king's embodiment of supporting the sky and governing the nation.4) 4. By examining the differences between Jondeokjeong and Dazhengjeon, Jondeokjeong's own characteristics were considered. First, constructive characteristics of Jondeokjeong were changed by existing of pond and it was changed for characteristics, location and function of pavilion built in the garden while accepting oversea culture and embodied by absorbing to Joseon culture. Second, the appearance of the pond in Jondeokjeong was shown as the situation that half moon typed pond with the form of young moon is full by stream to the East. It was to express movement of moon which was always changed through the form of pond and stream of water iconographycally and it was considered as an imaginary environment method of the period.

• Cartoon and Animation Studies
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• s.50
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• pp.327-347
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• 2018

From the end of the 18th century to the end of the 19th century, the late 19th century was a genre of a new art that was in contrast to the distribution between social class and low class, and it was also a popular culture that attempted to transform the late Joseon Dynasty's social class. It is no exaggeration to say that it is the origin of the Korean folk art, started as popular art concepts, use colorful techniques and decorations which doesn't yield to ordinary iconography. But, because of the attempt of this technique was used by lower class, the meaning of the idea was lowered from iconography to secular picture. Ethics character picture, passed on to the present from going through the upheaval cultural time, was started from secular picture and transformed into hyukpil time illustration, and it represented popular arts until now. This thesis aims to reflect the meaning, various visual expressions and the lifestyle of Ethics Character Picture of filial piety and brotherly love, which is a unique genre of popular arts. Also, propose to suggest about the kinetic typography using video media, and how the traditional ethics character picture, which are combined with video technology, effects to the advertisements. These kind of attempts will show the world about the korea's traditional contents, and through the various media information it can be recreated as national symbolic key words. Furthermore, its meaningful to pass down the noble and cultural Ethics Character Picture of filial piety and brotherly love to younger generations. And by realigning to modern expression, it is predicted that it will be significantly meaningful to pass down and make the younger generations to understand to spirit of the ancestors. This will allow various attempts to reconstruct various items of contents from Korea's traditional contents to new media content that merged with video media.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.91-101
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• 2009

In this study, the landscape of Insa-dong was interpreted from the viewpoint of a social construction of landscape, which regards the dynamic process of landscape change as more important than landscape visibility. This viewpoint also regards landscape as the result of its interaction with certain actors. From a review of previous studies on the same subject, it was found that the physical environment, institutions, and images are essential factors influencing landscape change. Insa-dong, which was Kwanindaing and Daesadong during the Joseon Dynasty, acquired symbolic meaning as a traditional area during the Japanese colonial period because of its many antique shops and Korean-style buildings. In 1970, the establishment of modern galleries in the district added to its image as a haven of the traditional Korean culture. Insa-dong thus eventually came to be referred to as "the street of traditional culture" by the people of Korea. Thanks to global festivals like the Asian Games, the Olympics, and the World Cup, Insa-dong's reputation as a cultural tourist destination has become stronger as these festivals created a need for a place in Korea where the country's traditional culture can be showcased to foreign tourists. After the mid-1990s, the merchants of Insa-dong began to cash in on the district's image as a showcase of traditional Korean culture due to the economic depression that emerged then. The people of Insa-dong and those outside it, however, came to feel that this trend damaged the district's image. Therefore, the people of Insa-dong and the district's local government started a movement to restore the aesthetic value and symbolic meaning of the district's landscape. This effort induced institutional change. Insa-dong used to be a natural haven of traditional Korean culture. Its landscape has recently been reconstructed so that this image could be restored. This process was made possible by the active interaction of diverse people: merchants, users, administrators, and NGOs.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.104-123
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• 2019

Various European countries were active rather early on in the formation and research of Korean ceramics, which are considered a representative genre of Korean art. Of these, England is especially noteworthy due to its relatively large volume of extant archival material related to the procurement of Korean ceramics in modern Britain. The material is important in that it contributes to our understanding of the formation and economic worth of these collections. Especially meaningful are the previously unknown documents dating to the period when institutions such as the British Museum and the Victoria & Albert Museum were most actively collecting Korean ceramics. These documents provide insight into the circumstances-process, prices, standards, perceptions, etc.-of procurement for the Korean ceramics now in British collections. The changes in the perception of Korean ceramics and the intention for forming such collections in modern Britain can be divided into three periods. The first, starting from the late 1870s and ending in the late 1880s, is categorized by the collectors' misguided ideal of Korean ceramics in the absence of a true understanding of the subject. During the late 1880s up until 1910, the Korean ceramics entering British collections were mostly ethnographic in nature and examples of implements used in Koreans' daily lives. Lastly, from 1910 to 1940, Korean ceramics were regarded as art objects to be collected, and Goryeo celadons formed the core of many of the British collections being assembled at the time. As for the matter of collecting standards and processes, the matter is examined through the study of three individuals who visited Korea and acquired Korean ceramics in the early 20th century. After 1910, the British started to make trips to the Far East via boat or the Trans-Siberian Express and purchase Korean ceramics during their travels. It has been confirmed that former bureaucrats were able to acquire 'good and old Goryeo ceramics' at reasonable prices from either tomb robbers or through direct visits to regions where such wares were being excavated. In addition, this study also focuses on the previously unfamiliar company Kavanaugh & Co, which made important sales and provided transport of various objects, including Korean ceramics, to its Western clients. The final part of this study examines the standards of appraisal for the Korean ceramics collected in modern Britain. The main criterion the balance between form and price of the piece. In other words, the best pieces were those that were of superior quality but acquired at the cheapest prices. British collectors particularly valued not only the Goryeo celadons favored by the Japanese but also Joseon ceramics for their innovative form, design, and technique. These standards of aesthetic and form were important factors that influenced the formation of diverse Korean ceramic collections in modern Britain.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.72-89
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• 2012

This study aimed to reconsider the theory that the renowned Amisan(峨眉山) terraced garden at north of Gyotaejeon(交泰殿) was artificially made, by reviewing the historical records and drawings. It has been widely accepted that Amisan was made of the digged soil from Gyeonghoeji(慶會池). But several arguments about artificial mountain theory of Amisan that completely not be found in historical records have been raised in this study. The results were summarized as follows; the inherent contradiction in existing opinion, the discordance between the time of building Gyeonghoeji and Gyotaejeon, the existence of the mountain range which connect Baekaksan and Amisan appeared in Dohyeong(圖形), historical documents written in the years of kingdoms of Youngjo(英祖) and Gojong(高宗), a high position seen from Heungbogjeon(興復殿) in the north Amisan through the wall in the east but impassable, an opinion about realization Amisan as geomantic term of Amisa(蛾眉砂) at the time of Gyeongbok Palace reconstruction, and preservation of the mountain range in Gyeongbok Palace that comes from the result of the arguments in main mountain of Gyeongbok Palace in the year of Sejong(世宗). In addition, it was investigated why the slop in the north of Gyotaejeon was named as Aminsan and why the artificial mountain theory is appeared and made a conclusion that the Amisan comes from the change of the pronunciation of the geomantic term "Amisa", and modeling the yijing[意景] of Amisan which is a sacred place of Taoism and Buddhism in Sichuan[四川] of Chinaand the view of construction to mean defeating a spirit of smallpox which had to be cured. And it seems to be a result which retroactively applied the artificial mountain theory of Amisanis the technique of 'constructing mountain with digged pond dirt' to the relationship between Gyeonghoeji and Amisan. The greater part of mountain range which was connecting with Baekaksan and Amisan was seriously disconnected with large scale of exposition by the Japanese colonial period in 1915. But low slope is kept about 70 meters along the trail northeast of Gyotaejeon. Accordingly, it is judged that the range has not been entirely destroyed. And according to the result of elevation analysis, discontinuous slope form certain axis is found, so the mountain range of Amisan is approximately estimated. This basic research about the mountain range of Amisan might provide a critical clue about restoration of topography in Gyeongbok Palace.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.204-221
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• 2020

East Asian countries share a culture of perfuming clothes. The prosperity of the Maritime Silk Road and the incense trade are direct factors that have led to the development of incense culture. Perfuming clothes is a method of applying fragrance by burning incense. The Chinese could make an incense mixture with various types of incense, and records demonstrating use of perfuming clothes tools (熏籠) show that they might have perfumed clothes with incense mixtures. During the Tang dynasty, the incense trade thrived. Examples of ancient literature such as 『千金要方』, 『香譜』, 『香乘』 describe how to make incense for perfuming clothes and how to perfume clothes. 『桂海虞衡志』 and 『諸蕃志』 shows trade partners and goods. Incense was introduced to Korea alongside Buddhist culture. 『買新羅物解』 shows Silla traded incense with Japan. One of the trade goods recorded in 『買新羅物解』 is perfuming cloth incense (熏衣香), which establishes that Silla performed perfuming clothes at that time. During the Goryeo dynasty, Goryeo exported musk as well as ginseng. The royal family burned incense from the Song royal family. Noblewomen preferred sachets. The use of this dress continued into the Joseon dynasty. 『買新羅物解』 showed that Japan imported incense from Silla. 『The tale of Genji』 illustrates Heian nobles' incense culture, perfuming clothes culture, and trade of incense. Perfuming clothes tools became essential articles for marriage purposes and it developed in a practical shape. The Champa had a perfuming clothes culture. It is described on 『諸蕃志』. As Agilawood is found in Tongking, and Tongking was neighbor to the Champa and China, they might have had a perfuming clothes culture as well. Korea, China, Japan, and Vietnam shared a perfuming clothes culture. We can identify universality and commonality in the purpose of perfuming clothes, time of development, the method of making the incense mixture for perfuming clothes, the method of perfuming clothes, the tools, the gender of perfumer, and the type of herbs and spices.