• Journal of the Korean Geographical Society
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• v.31 no.2
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• pp.255-267
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• 1996

The so-called Cultural and Historical Geography, sometimes called even as the Historical and Cultural Geography, has been defined as an interdiscipline that encompasses several disciplines in Korea. Scholars with various academic background have participated in the academic activity of the Association of Korean Cultural and Historical Geographers that was organized in the late 1980s. The academic majors of these participants are cultural geography, historical geography, history of geography, urban geography rural geography, economic geography, social and economic history anthropology, landscape architecture, and so on. It was in the 1960s that articles about the Cultural and Historical Geography appeared for the first time in the major academic journals in Korea. The pioneers of publishing these articles in the 1960s continued to conduct their research, while training students majoring in the Cultural and Historical Geography in the 1970s. All of these pioneers and their students were very active in the formation of identity vrith the Cultural and Historical Geography In the 1980s. Cultural and Historical Geography in Korea took a great leap forward both in quantity and in quality. The number of articles in the journal increased substantially, and the range of research theme and methodology extended in a great deal. It was also in the late 1980s that the Association of Korean Cultural and Historical Geographers was organized in Seoul, Korea, and this association began to publish a professional journal named Cultural and Historical Geography once a year. In the 1990s, single-authored books dealing with Korean Cultural and Historcial Geography began to appear in public as textbooks or research monographs. These books are expected to speed up the spread of Cultural and Historical Geography in Korea. If it continues to grow further both in quantity and in quality as it has been, Cultural and Historical Geography in Korea will be able to stand as an independent academic field in the future. Until then, however, it cannot but avoid its mission to contribute to an integrated development of human geography in Korea. It has already gained not only its own merit in the humanistic perspective but also its own strength in its synthetic understanding.

• The Southeast Asian review
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• v.28 no.2
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• pp.47-84
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• 2018

Domestic debates on 'international development' has hitherto been rather more focused on the narrow topic of Official Development Assistance (ODA) - therefore, practical and practice-oriented enquiries for the former's effective implementation have dominated the field as a result. However, such lack of foundational debates on 'development' has rendered the field inept to respond to the rapidly changing development landscape since the new millennium both globally and in Southeast Asia. With this particular problematique in mind, the paper argues for the utility of critical Southeast Asian studies in enriching theoretical debates in Korea's international development studies. In doing so, we analysed the trend of academic research published since 2000, of which theme concern international development with a specific geographical focus on Southeast Asia. The result shows that such publication and the thematic issues have witnessed rapid quantitative growth since 2007 - while the nature of the publications still clearly remained practical and practice-oriented for effective execution of ODA. We therefore propose the critical Southeast Asian studies to overcome the problematique above by emphasising more inter-/multi-disciplinary approaches that challenge the hegemonic paradigm in the field.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.3
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• pp.9-20
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• 2008

The government is planning to link a small park with the soon to be ready subway line 9 as a part of Seoul's policy, "The standard or plan for making a water-friendly space by water use" (2007). However, the specified concepts and instructions of the small parks need further work. Therefore, the policy is expected to expand to neighboring small parks near the subway station, but these are not supported by research or data which suggests the needs or actual user behavior and utilization of small parks. our country added the specified concept of small parks and theme parks to the classification of urban parks in the Urban Park Act Revision (2005.3.31), but the concept of small parks is not clearly settled in the law in the scopes of its function, scale, promotion nor particularly defined plans for small park projects. This study examines as small park near a subway station. The characteristics of there region and users vary from the characteristics of the station and region. In the "directions for concrete standards under the types of urban parks and green zones" (2007.2) the types of small parks are classified by "regional characteristics" and "user characteristics". Therefore, this study classifies the subject of neighboring small parks near subway stations as the neighborhood and small urban parks according to the Urban Park Act. The study was paralleled with observation and questionnaires on the analysis of the neighborhood and small urban parks. The actual conditions of park utilization and user behavioral characteristics were deducted by observation, while the questionnaire determined actual user utilization, importance and satisfaction level as well as the small park environment. This study largely focused on three aspects: park facility, design of this sentence isn't even complete. The second aspect isn't finished and the third isn't here.

• Korean Journal of Environment and Ecology
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• v.27 no.1
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• pp.113-126
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• 2013

This study was performed to introduce ecological education program as for reporting the current vegetation state within the remaining trees as ecological golf course and to provide basic data. The survey site was S Golf course, which is located in Woonseodong, Incheon city. Its total area was about $3,298,428m^2$, but the relict forest was about $225,143m^2$. Existing landuse, topological structure, the flora, actual vegetation, and plants community structure survey were performed within the relict forest. As result of comparing and analyzing the existing land use, the relict forest was distributed in the forested areas (89.2%) and around the area (10.8%) which had been bare land and SAMMOK earthen ramparts. There were two courses (Ocean and Hanul) with the relict forests. The ocean course was compared of a natural forest, such as Quercus spp. mixed forest, Quercus acutissima forest, Pinus thunbergii forest within the rock fields, and an artificial forest (Ailanthus altissima-Robinia pseudoacacia forest, Robinia pseudoacacia forest) and Quercus acutissima - Elaeagnus umbellata forest. On the Hanul course, Pinus rigida forest and Robinia pseudoacacia forest were the main vegetation, which were artificial forest. It was the contrast aspect of vegetation species in a natural forest, a restoration forest and an artificial forest, which were Q. spp. mixed forest 26~28 species in a natural forest within the vegetation type per investigation area, 3 Pinus thunbergii forest species, and 5~7 artificial forest species on the Hanul course. Based on these vegetation status, the Ocean course was designed into ecological theme spaces named 'Quercus spp.' indigenous forest, 'Pinus thunbergii' restoration forest and ecological story of 'SAMMOK earthen ramparts'. The Hannul course was designed into an artificial forest observation area of 'Robinia pseudoacacia' and 'Pinus rigida' and a fragrance forest area of 'Robinia pseudoacacia'. At the time of the discussion about the introduction of eco-friendly approval system of golf course, it would be estimated that this survey would work as a major material not only raising awareness of the golf course on the ecological environment but also providing programs that can contribute to the community.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.13-22
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• 2015

The study discovers mood state and enhancement effect of users by scenery of location targeting Seonyudo Park; where is widely recognized as the representative recycling environmental park as well as theme experience space and scenery admiration in Korea. Also, the influence level of park and thematic space upon wellness was researched for future park design and its base data. As a result of semantic differential(SD), the most items showed low point in positive way when people admiring the scenery in Seonyudo. Also, a subject experienced differently depending on each inside scenery element of the park. As a result of profile of mood states(POMS), a tension and anxiety points were shown in order of Urban (7.78) > Water Purification Basin(3.33) > Gardens of Water Plants(2.11) > Garden of Green Pillar(2.00) > Garden of Time (0.89). The depression points were shown in order of Urban(4.94) > Water Purification Basin(3.50) > Garden of Green Pillar(2.94) > Garden of Time(1.61) > Gardens of Water Plants(1.38). The anger and hostility points were shown in order of Urban(4.22) > Water Purification Basin(3.33) > Garden of Green Pillar(2.22) > Garden of Time(1.39) > Gardens of Water Plants(1.11). The fatigue points were shown in order of Urban(6.5) > Water Purification Basin(3.39) > Garden of Green Pillar(2.78) > Garden of Time(2.28) > Gardens of Water Plants (2.06). The vigor points were shown in order of Gardens of Water Plants(11.39) > Garden of Time(11.00) > Garden of Green Pillar(8.39) > Water Purification Basin(7.77) > Urban(5.28). Also, as a result of statistics analysis, difference value of scenery type is significant. The result of total emotional disturbance(TED) was analyzed in order of Urban(24.5) > Water Purification Basin(9.5) > Garden of Green Pillar(4.67) > Garden of Time(-1.39) > Gardens of Water Plants(-1.22).

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.52-71
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• 2011

This study was initiated with the intent to consider the features of Gugokwonlim and to compare Gabsagugok(甲寺九曲) to Yongsangugok(龍山九曲) against the backdrop of Mt. Gyeryong by revealing their nature and confirming the names and exact locations. A literature review, interviews with local people and field studies confirmed that Gabsagugok and Yongsangugok are each composed of 9 seasonal features. The former is made up of Yongyuso(龍遊沼) - Iilcheon(二一川) - Baengnyonggang(白龍岡) - Dalmuntaek(達門澤) - Geumgyeam(金鷄?) - Myeongwoldam(明月潭) - Gyemyeongam(鷄鳴巖) - Yongmunpok(龍門瀑) - Sujeongbong(水晶峰) while the latter is made up of Simyongmun(尋龍門) - Eunnyongdam(隱龍潭) - Waryonggang(臥龍剛) - Yuryongdae(遊龍臺) - Hwangnyongam(黃龍岩) - Hyeollyongso(見龍沼) - Ullyongtaek(雲龍澤) - Biryongchu(飛龍湫) - Sillyongyeon(神龍淵). Both Gabsagugok and Yongsangugok are part of Gugokwonlim built in the valleys of Mt. Gyeryong in the late Joseon Dynasty by Byeoksu Yun Deok-yeong (1927) and Chwieum Gwon Jun-myeon (1932), respectively, with a 5 year difference. Gabsagugok was supposedly designed to reflect an individual taste for the arts and to admire principles of Juyeok (ch. Zhouyi) and the beauty of nature. On the contrary, Yongsangugok appears to be the builder's expression of his longing for independence day, likened to the life of a dragon after receiving the sad news of Japan's annexation of Korea. Such differences show that these two builders had very different intentions from one another. The letters of Gabsagugok have a semi cursive style and were deeply engraved on the rock in a square shape. Consequently they have not been worn away except for those in Yongyuso, the first Gok. In contrast, the letters in Yongsangugok have an antiquated, cursive-Yija style but because they were engraved relatively lightly, serious wear and damage occurred. In terms of location, Gabsagugok was built around Ganseongjang adjacent to the 5th Gok while Yongsangugok was set up around the 5th Gok, Hwangnyongam. Meanwhile, the important motif which forms the background of Gabsagugok seemingly highlights the geographic identity of Mt. Gyeryong using the dragon and the chicken as themes. It also appears to symbolize the principles of Juyeok focusing on Kan of the Eight Trigrams for divination; this requires an in-depth study for confirmation. The main motif and theme of Yongsangugok is the dragon. It infuses the builder's intentions in Sangsinri Valley by communicating with nature through a story of a dragon's life from birth to ascension. It is assumed that he tried to use this story to express his hope for restoring the national spirit and reconstructing the country.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.