• Journal of Conservation Science
• /
• v.38 no.4
• /
• pp.347-359
• /
• 2022

Gongsanseong Fortress was registered of a World Heritage Site in 2015 as a representative cultural heritage from the Woongjin Baekje period, and it has been used throughout the entire period from Baekje Kingdom to the Joseon Dynasty. Within Gongsanseong Fortress, the area around Ssangsujeong is presumed the site of royal palace of the Woongjin Baekje. Also, the excavated culture layers of the Baekje Kingdom, the Unified Silla period, and the Joseon Dynasty were confirmed. In this study, paleotopography was modeled by digitally converting the elevation data obtained through surveying the excavation process, and the use of the topography in the Ssangsujeong area was considered by examining the variations in the topography according to the periods. As a result, the topography of the slope around the peak changed by periods, and the topography did not change on the flat land. The topography between the Baekje Kingdom and the Unified Silla period appeared to be almost identical, and it seems that the space of the Baekje period was maintained as it is. Also, during the Joseon Dynasty, it is confirmed that flat surfaces in the previous period were used. However, sediments on the slopes flowed down, reducing the area of the flatland, and architectural techniques that could utilize the natural topography of the changed slope were applied to interpret it as having a different topography from the previous period. In order to model and interpret the paleotopography, excavation data, geological and topographic analysis, and digital data must be secured. It is expected that location conditions and ancient human life can be identified if the analysis technique in the study is applied to other archaeological sites in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.4
• /
• pp.1-21
• /
• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.2
• /
• pp.66-73
• /
• 2019

The Royal Tomb of the Joseon Dynasty, which was listed as a UNESCO World Heritage site in 2009, is a cultural resource recognized for its 'outstanding universal value' around the world. The royal tomb of Joseon has been managed with an emphasis on the preservation of cultural assets since it was designated as a historical site in the 1970s, but it has received many visitors as a valuable historical and cultural resource and haven that connects the past and the present in today's bustling city. In order to investigate and analyze the current status of pavements in the royal palace in terms of quality and quantity, and to suggest the direction of improvement, this study conducted a complete survey of 53 royal palace viewing roads in 18 regions, and the results are as follows. First of all, problems are found in both the early Masato pavement of the creation, which was introduced with an emphasis on the preservation and protection of cultural assets, and the hardening pavement(KAP), which began to be used in the 1990s for the convenience of maintenance. In other words, the Masato pavement used to create a more environmentally friendly atmosphere of the Joseon royal tombs is showing a high percentage of use, but it lacks support for walking activities, such as the slippage of the pavement and water pooling during the rainy season or during the ice season. Also, hardening pavement introduced for convenience of maintenance, such as the movement of repair vehicles, is not functioning properly as it is damaged by physical deformation after construction. In addition, in awe zones such as parking lots, although the first image of the Joseon royal tombs is determined, the formation of the functional landscape centered on the carriageway does not harmonize with the traditional landscape, and, because of its lack of walking and environment-friendly features, there is a need for improvement, such as the experimental introduction of relevant pavement materials developed afterwards and continuous monitoring.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.4
• /
• pp.10-23
• /
• 2021

During the Japanese colonial period, the palaces of Joseon were damaged in many parts. Changgyeonggung Palace is the most demolished palace with the establishment of a zoo, botanical garden, and museum. During the Japanese colonial period, the palaces of Joseon were damaged in many parts. This study examined the construction process of Jangseogak(Yi Royal-Family Museum), located right next to the Jagyeongjeon site, which was considered the most important space in the Changgyeonggung residential area of royal family zone, through historical materials and field research. Built in 1911, Jangseogak is located at a location overlooking the entire Changgyeonggung Palace and overlooking the Gyeongseong Shrine of Namsan in the distance. Changes in the surrounding space during the construction of Jangseogak can be summarized as follows. First, in the early 1910s, the topography of the garden behind Jagyeongjeon and part of the Janggo were damaged to create the site of Jangseogak. The front yard was built in the front of Jangseogak, and a stone pillar was installed, and a staircase was installed to the south. In the process, the original stone system at the rear of Yanghwadang was destroyed, and it is presumed that Jeong Iljae and other buildings were demolished. Second, in the 1920s, many pavilions were demolished and the zoo and botanical gardens and museums were completed through leveling. After the Jangseogak was completed, the circulation of the Naejeon and surrounding areas was also changed. Cherry trees and peonies were planted in the flower garden around the front yard of Jangseogak and the stairs, and a Japanese-style garden was created between Yanghwadang and Jibbokheon. Third, in the 1930s, the circulation around Jangseogak was completed in its present form, and the museum, Jangseogak, Zoological and Botanical Gardens, and Changgyeonggung, which became a cherry tree garden, were transformed into a Japanese-style cultural park. After that, the surrounding space did not change much until it was demolished. The restoration of the present palace is a long-term, national project of the Cultural Heritage Administration. The results of this study will provide important data for the restoration plan of Changgyeonggung Palace in the future, and it is expected that it will provide additional information to related researchers in the future.

• Journal of architectural history
• /
• v.29 no.6
• /
• pp.113-128
• /
• 2020

The king of Joseon Dynasty Jeong-jo commanded the renovation of Seongjeong-gak, once a study for crown prince, to serve as Pyeonjeon(便殿), a main office for kings. The renovated building strictly separated the routes designated for the king and the other officers, respectively. The interior space consisted of Youngnae, reserved for the king and his senior aides, and Youngwae, for lower ranking officers. Youngnae(楹內) and Youngwae(楹外) corresponded to the two blocks (the space between two columns) on the east and west side, respectively. Such structure of Pyeonjeon was heavily transformed over several occasions beginning from the late nineteenth century. Youngwae was subdivided into separate spaces, and the routes for the king and the officers became indistinguishable.

• The Journal of the Convergence on Culture Technology
• /
• v.10 no.5
• /
• pp.523-536
• /
• 2024

This article examines the types of abalone as recorded in 17 royal protocols studies of the Joseon dynasty (1392-1909). The types of abalone food during the Joseon dynasty appeared. The frequency of the Abalone types during the Joseon dynasty in order were; 'Tang with abalone' 37.4%, 'abalone-stir-fried(炒)' 12.8%, 'raw-abalone(膾)' & 'hwayangjeok with abalone' each 9.9%, 'abalone-sever(折)' 8.8%, 'steamed-abalone(蒸)' 7.0%, the other abalone food 6.2%, 'abaloneripening(熟)' 4.4%, 'echae(魚采)' 3.6%. In Jeonbokcho(全鰒炒), abalone and beef were generally used. In the stirfried(炒), raw(膾), hwayangjeok(花陽炙), steamed(蒸), ripening(熟), jeotgal(醢) and dumplings(饅頭) containing raw-abalone(生鰒), raw-abalone(生鰒) was used, and in other cases, abalone(全鰒) was used. This study, based on years of research on Euigwe, emphasizes the academic value of the author's new role and research outcomes. We anticipate that these findings will contribute to product development and the systematic establishment of Korean food culture.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.1
• /
• pp.243-263
• /
• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.2
• /
• pp.12-26
• /
• 2014

This study has researched the forms of arrangement and use of the oddly shaped stones which were used at palaces during Joseon Dynasty based on arrangements of stones as shown in Donggwoldo(東闕圖), and tried to identify its special features. The sorts of stone's arrangements which set formal patterns by assisting an axis in Donggwoldo can be classified as the single type using one stone, the symmetrical type using 2 stones symmetrically and the parallel type using 3 or more stones. The single type was used to endow a focal point and to accent centrality by arranging a stone on the axis performed from formal shaped buildings. The symmetrical type was used to show order and hierarchy by placing two odd-shaped stones on either side of a building. And the parallel type which is arranged three stones side by side, is put a middle stone on the central axis line to determine strong directional and frontality. Also similarity to method of arrangement of stones can be found from planting trees in a prominent way for scenery or planting trees symmetrically. Stones and trees can be chosen according to nature and scale of places and basically their effects of formation of axis and creating typical space is same. Based on these respect, the characteristics of arrangement of stones shown in Donggwoldo can be briefly summarized as follows. First, the oddly shaped stones were used by creating a centripetal space in order to show a grade of rank. Second, the distances among stones could be adjusted to the sizes of the architecture which was at the center. The aim was to provide stability through the balanced composition between the central axis and symmetrical structures. Third, the form of regularity was added by using stone vase in consideration of irregular shape of stone causing interference in forming regular symmetry. Fourth, a centrality was emphasized by adding change to central stones in the parallel type used 3 erect stones. Fifth, the sizes of stone were limited in order to make smooth for the mix and adjustment of its position with the types of other garden ornaments, so the oddly shaped stones in palace have portability. Sixth, the oddly shaped stones in palace which were appreciated as inspirational object basically were a sculpture of the same quality with suiseki (壽石), and the appreciative method, the composition and shape had developed in the same texture. Finally, the even number of stones by parallel type were arranged by equal partition. But odd number of stones followed the method with symmetrical arrangement on its center stone. These principles of stone arrangement are judged as distinguishing methods which oddly shaped stones was made and used in Joseon palaces.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.4
• /
• pp.85-98
• /
• 2021

In accordance with planning to construct culture park on Songhyeon-dong (district) near Gyeongbokgung Palace, This study analyzed literature and drawings from the early Joseon Dynasty to today for the district, known as 'Songhyeon (pine hill)' to identify historical and cultural landscapes during essential times. The following are the results; First, the owners of significant lots were identified, and land use and landscape components were extracted for a diachronic examination of the landscape of the whole area of Songhyeon-dong. Songhyeon district had been regarded as the 'Inner Blue Dragon (Spot) of Gyeongbokgung Palace' in terms of geomancy since the foundation of Joseon in 1392 in that the government created and managed a 'pine forest' in the district. A state warehouse called 'bungam' was constructed, and small fruit stores, 'ujeon,' opened due to the complete reformation and urban planning led by King Taejong in 1410. From the 19th century, mansions of the upper class, such as 'Gaseonggak', 'Changnyeongwuigung' and 'Byeoksugeosajeong' were in the district. A prominent official residential complex called 'Sigeun Sataek' was constructed in 1919 after Chosen Siksan Bank purchased the site. Later, it was transferred to America in 1948 and used as the 'US Embassy Staff Quarters'. Second, the changes in the site view, associated with the aspects of society by the times, were examined by estimating the location and the time the landscape components lasted in each period extracted and identifying the physical entity. The pine forest, regarded as the 'Inner Blue Dragon' that guards the left side of the palace within the geomantic world view, was located in the highlands in the west of the site. In the same period, the flat area in the east was regarded as the 'commoner's district', the streets adjacent to various government facilities and the market, packed with people from different walks of life. From the 19th century, the gardens of the aristocrats of the capital city were created in the pine forest, turning the place into the forest in the middle of the city. The whole area of Songhyeon-dong, which existed as a large lot in the city center for a long time, was developed by Japanese imperialists in the 20th century based on the concept of 'Ideal Healthy Land,' which interrupted the placeness of Songhyeon-dong that had adhered to the traditional geomatic view of the Joseon Dynasty.

• Journal of architectural history
• /
• v.21 no.1
• /
• pp.7-26
• /
• 2012

Nakseonjae in Changdeokgung Palace was established at The King Hunjong's 13rd year (1847), the mid-19th century. It was constructed for own rests of King Hunjong and the residence of Kyungbin (king's concubines), and is showing features of upper-class houses from several points such as rustic architectural types by getting out of authoritative aspects as king's shelter space within the palace, block and floor distribution that separated spaces for men and women, simplicity in structures and styles, and non-colorful painting etc. This study aims at tracing on which architectural types did the upper-class houses within Hanyang (modern Seoul) at late Joseon Dynasty have and what was characteristics of Nakseonjae. The resemblance between Nakseonjae and the upper-class houses was very little differences from scale aspects, and floor plan shapes of Anchae (women's quarters) and Sarangchae (men's quarters) were followed basic common styles. Also, resemblance could be confirmed in the structural styles too. Characteristics of Nakseonjae are showing apparent differences from clearance compositions such as hall configuration etc. Nakseonjae was king's dwelling place, and spaces for house's collateral functions such as kitchen, stable, and warehouse etc together with shrine were unnecessary, and such places were substituted into servants' quarters for assisting the Royal family. In detailed structural styles, column's size was larger 3cm or more than the upper-class houses, and its height was higher to the degree of 30~60cm. Besides, formality as king's shelter space was raised more in decorating aspects, and Nakseonjae was implemented by getting architectural influences from Qing Dynasty of China. This study induced features of Hanyang's upper-class houses at the 19th century by supplementing distribution and space configurations at existing cases of Seoul and Gyeonggi area together with house diagrams having been collected by Gaokdohyung (site and floor plan) of Jangseogak Library, and confirmed resemblances and differences with Nakseonjae, that is, features of Nakseonjae. Through the result, this study judges a fact that architecture of Nakseonjae seemed to be affected from conveniences of upper-class houses within Hanseong, and also architectural styles and distribution types of Nakseonje would give influences to the upper-class houses.