• The Korean Journal of Archival Studies
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• no.68
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• pp.151-204
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• 2021

Magazines also contain the daily lives of contemporary ordinary people. These characteristics serve as the possibility of daily archives. This study aims to build daily archives by analyzing the contents of the magazine Farmers' Life published in Daejeon for those archival values. To do that, it classified the articles that were published in Farmers' Life for 14 years from 1954 to 1967, it analyzed personal and organizational information, and also it implemented the daily life of farmers and rural society. The conclusion of the analysis on Farmers' Life summarized into following five points. First, the value of Daejeon private archives proved. Second, the personal information of people who were active in various fields of the society identified, and It classified by professional occupations such as politician, professor, agricultural scholar, doctor, and cartoonist, etc. Third, information on the organizations in the agricultural sector was able to collect that of some government organizations, public-private organizations, U.S. aids and 4H organizations. Fourth, certain evidence presented that help to correct the records that recorded wrongly or omitted or in need of speculation in the Christian Magazines, Literature and Art Fields. Fifth, the daily life of rural society and farmers classified into the series and organized into daily archives. This paper presented as a basic database to perceive the rural society and farmers' daily life in the 1950s and 1960s.

• Conservation Science in Museum
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• v.27
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• pp.67-90
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• 2022

A C-46 transport aircraft, which can be thought of as a large cultural heritage item from the modern period, was subjected to paint analysis and conservation treatment in preparation for its exhibition. The C-46 is the first aircraft ever dispatched to overseas combat zones by the Korean Air Force and carried out missions during the Vietnam War. The aircraft is mainly made of aluminum and shows signs of corrosion on its surface, including pitting and etching, as well as gray and white powdery attachments. In the analysis of the paint, diatomite(SiO₂·nH₂O) was confirmed in the red paint, titanium dioxide(TiO₂) was identified in the white paint, black iron oxide(Fe₃O₄) was detected in the black paint, and colcothar(Fe₃O₄) mixed with putty was confirmed in the blue paint. Infrared spectroscopy revealed the use of alkyd resin in the paint on the main body and nitrocellulose in the Taegeuk pattern. During the conservation treatment, mechanical cleaning, such as sanding, was conducted to remove paint and varnish from the surface. Corrosion was removed by sanding and cleaning with chemical solvents, and new paints and varnishes were applied. Through the paint analysis and conservation treatment, the aircraft was made available for exhibition in a stable condition.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• (The) Research of the performance art and culture
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• no.34
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• pp.133-172
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• 2017

Mansuseongjeol was originally a term that referred to the birthday of Chinese emperors. In October 1897, when Emperor Gojong ascended the throne, his birthday could be called mansuseongjeol. The celebratory events for mansuseongjeol took place throughout various levels of society and regions. Various places and classes including government officials, foreigners, students, religious people, journalists, merchants, civic groups, and nation-wide open ports celebrated the birth of Emperor Gojong, and the classes celebrating the day became stronger and wider. In other words, in the sense that the celebration had the nature of being universal, national, and global in terms of classes, regions, and races, the event was distinguished. Due to such nature, celebrating culture proceeded in various ways and the imperial family provided donation. Celebration on mansuseongjeol extended to respect toward the emperor and patriotism so it contributed to strengthening the emperor's power and solidifying the unity of the people. Also, such an event was reported around the world through diplomats and reporters living in Korea, raising the national status of Korea in the world. However, after the breakout of Russo-Japanese War, Japan controlled the finance of the royal family, reduced the power of the emperor, and the celebration of mansuseongjeol was also reduced. Due to the suspension of royal family's financial support, crackdown from Japan, and the dethronement of Emperor Gojong, events for mansuseongjeol disappeared and only inside the palace, did formal celebrations continue centering on pro-Japan officials and Japanese people. The abdication of Emperor Gojong came with the collapse of Korean Empire and along with that, celebration of mansuseongjeol came to an end. In the circumstances, the culture of court banquet disintegrated, and the best performers of Korean Empire degenerated into mere entertainers. Though mansuseongjeol, the medium of expressing respect toward the emperor and patriotism, lost its status, it is significant that the cultural achievements, which were created during the process established with the support of the financial power of the royal family, serve as internal power that drove Korea's modern and contemporary cultural history.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.

• The Journal of Art Theory & Practice
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• no.8
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• (The) Research of the performance art and culture
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• no.23
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• pp.281-312
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• 2011

The aim of this study is to examine various life conditions of actors of Joseon periods in unofficial historical stories. Yadam Literature(Korean unofficial historical stories) had been collected Sadaebu(the past Korean nobility and Confucian intelligentsia) among the people that stories had been handed down orally. and they had been wrote them. So Yadam Literature was heterozygous between the folk culture and the ruling class. And it was mixed and adapted legends and folktales, adding literary imagination. had a decisive role to cultivating novel that owed much to prosaic inspiration during A. D. 18~19. Besides, set a high value on excellent novel itself. Yadam Literature had a verisimilitude because it described a contemporary reality as it was founded on freely prosaic inspiration. In those days, so called Suchok and Seunggwangdae had performed Uhee(a comic theatrical performance) in Joseon periods. Suchok was the lowest class of people and Seunggwangdae was performing Buddhist monk in that time. Uhee had performed three kinds of comedies. One satirized and insinuated kings. Other satirized corrupt officials, too. Another had mimic everything. It is famous at that time as a king knew repertoire. Confucian scholars very were fond of Uhee in those ages. Because they favored a criticism of Uhee's satire. They thought that it gave people good lesson or instruction. Heri Bergson said that comic and Humor included lesson. At that time, those thought were universal in the world whether east or west. At any rate, I classify six kinds of types Uhee in Yadam Literature. First, satirizing and accusing corrupt officials. Second, an actor who use a satire in order to appeal secure a government position of his lord to a king. Third, shamans and actors who use a satire in order to appeal sufferings themselves to a king. Forth, actors and performing Buddhist monks that skillfully mimic anything. Fifth, describing actor's extremely miserable life. Sixth, wit and humor of actors. The contents of Uhee were various. Korean traditional actors adeptly dealt with aspects comic of wit, satire, humor, etc. Sometimes they used changeable transition them. By doing that, a great number of people enjoyed fully the sense of freedom. Korean traditional actors were the lowest class of people. They had lived extremely miserable life. But they had been exist as actions, interactions, and relationship in society those days. they were not only open to people, but also might foster community to peoples.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.18-27
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• 2016

A 'flowered-wall,' which are also called a 'flower plant patterned wall,' or a 'flower patterned wall,' is a wall of a building or a fence with various patterns on it. A flowered-wall can be an external mean to look into the owner's authority and values while internally it possesses the symbolic meaning of wishing the well-being and peace of the household. In the research area of the flowered-wall, the walls located in the palace were well researched in various studies across architecture, horticulture, and art design, however, the walls belonging to the local regional traditional folk houses and temples have been involved in little to no research in the landscape architectural area. Taking notice of this perspective this study researched and analyzed the cases of the flowered-walls of the traditional folk houses and the temples that belonged to the national and municipal cultural properties of Jeollabuk-do Province from the landscape architectural perspective. The whole samples were examined and it was shown that there were 9 traditional folk houses with flowered-walls. Among the temples there were 7 cases. Therefore the research focusing on tracing the shape and symbolic meaning of the flowered-walls in the 16 cultural properties located in the Jeollabuk-do Province which consisted of traditional folk houses and temples resulted in the following. Flowered-walls displayed hierarchical differentiation revolving around the main space and its spacial characteristic. This differentiation is variously displayed across the flowered-wall, gable, crack plastering, and chimney. In the case of the folk houses the symbols have the meaning of the prosperity of the household and progeny, exorcism, longevity, number of fortune, harmony, and peace etc that prays for practical wishes such as long life and good health with the prosperity of their descendants. Meanwhile in the temples, symbols indicating an easy passage into eternity, perpetuation of the Buddha-nature, and three marks of existence are applied, differentiating from the folk houses by the appliance of the religious values in the patterns. In conclusion this research resulted in the rightful illumination on the local landscape culture, the possibility of expressing the Korean sentiment through flowered-walls in the contemporary space, the reassessment of flowered-walls, and the provision of basic data for a plan to success the cultural heritage.