• Journal of architectural history
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• v.32 no.1
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• pp.61-72
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• 2023

Korean architecture classifies Banja (the decorated flat of the ceiling visible from the inside) of Royal Palaces into two types: Woomul(water-well, 井) banja, which inserts rectangular wooden board into lattice frame, and paper banja, which applies paper to the flat ceiling. Such classification was established in the 19th century. Before that, Banja was classified according to what was inserted into the lattice frame, either wooden or paper board. At first, the banja that used paper board was widely installed regardless of the purpose or nobility of the building. However, since the 17th century, the use of paper board banja became mostly restricted to Ondol (Korean floor heating system) rooms which are characterized by private usage and the importance of heating, and it was considered inferior to wooden board banja in terms of rank or grace. The contemporary paper banja was mainly installed in low-rank ondol rooms until the late 19th century to early 20th century, when roll-type wallpaper was introduced from the West and the paper banja came to decorate the King's and Queen's bedrooms. The traditional paper board banja benefits heat reservation, reduces the weight of the ceiling, and allows the adjustment of the lattice frame size. Furthermore, it can feature unique artistry if covered with blue, white, or red Neung-hwa-ji (traditional flower pattered paper).

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.411-429
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• 2023

Modernism is an internationally accepted design style. In addition, traditional Korean costume is not the clothing of the past, but its form is also used in modern fashion. Therefore, the purpose of this study is to examine the social and cultural contents of the morphological structure of traditional Korean costume, in order to derive the design characteristics of modernism and examine the global applicability of traditional Korean costume structure. For this study, photographic materials from museums, schematic drawings of relics, and Hanbok production books published by government agencies were analyzed. Further, this study examined traditional Korean costume, especially the modernism characteristics derived from Paul Greenhalgh and previous studies. The results are as follows. First, The traditional Korean costume is a cut based on basic shapes, along with a silhouette appears according to the background of the times. Second, the characteristics of modernism can be divided into universality, functionality, and simplicity. Third, as a result of analyzing the form structure of traditional Korean costume based on the characteristics of modernism, universality is expressed as standardized form, functionality as practical aesthetics, and simplicity as sustainable diversity. Furthermore, Korean costume has a difference in that was greatly influenced by various Eastern ideas and aesthetics of the late Joseon Dynasty. These findings provide a perspective of modern reinterpretation of the uniqueness and universality of traditional Korean costume in line with globalization by utilizing the design characteristics of modernism, an international style.

• Journal of the Daesoon Academy of Sciences
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• v.25_2
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• pp.45-70
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• 2015

Master Jeungsan understood a general view of Pungsu but actually he used the theory of Pungsu in his own religious perspective, transcending it. The theory of Pungsu is different. But the fact that it is premised on the principle of 'in and yang', the five-element principle, the Book of Changes, energy thought, and To chugi piyung, etc. is generally recognized. The three important elements of Pungsu are mountain, water, and direction or man. Pungsu has formal principles such as Gallyongbeop, Jangpungbeop, Deuksubeop, Jeonghyeolbeop, Jwahyangbeop, and Hyeongukron. etc. In the late of Joseon, Jeungsan established a new traditional thought, understanding Bibopungsu, Gukdopungsu, Minganpungsu, etc. However, he reinterpreted them to be suitable to his religious ideal and let his followers understand them as well. In particular, Jeungsan overcame the previous view on earth and expressed a new perspective to enhance earth up to the level of heaven. In the perspective of the traditional world, earth is lower than heaven, but Jeungsan made it a status equal to heaven. He mentioned that in the past, the culture and history of man was influenced by earth's energy but today, at the age of man respect, he put passive man influenced by earth-condition on the more subjective and active status. Even though he mentioned different Pungsu, Hyeongguk, and Hyeolmyeong, he expressed the shape of Pungsu within the construction of three worlds, the one of heaven and earth transcending good or ill luck or a favorable change in fortune. He practised the expedient of Pungsu from the stand of the construction of heaven and earth instead of the usage of Bibopungsu, Gukdopungsu, and Minganpungsu. He diagnosed that the division of the world is caused by the one of earth and tried to solve it. Moreover, he said that Myeongdang(a propitious site) must be the man-orientation rather than the earth-orientation. It means that Pungsu, stressing the energy of earth and turning one's luck, is changing into the world of man-orientation. In other words, Jeungsan diagnosed the world of Pungsu but he ultimately used Pungsu theory in building up his own view of religious world transcending such a theory.

• Journal of the Korean Society of Food Culture
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• v.23 no.4
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• pp.438-447
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• 2008

"Gyuhapchongseo" was published in 1809, and introduced the cooking method of the noble class in the late Joseon dynasty. The characteristics of the side dishes in "Gyuhapchongseo" are as follows. Firstly, red pepper was used as whole red pepper, shredded red pepper, powdered red pepper, or Korean hot pepper paste. Secondly, salt-fermented fish was used in some forms of Kimchi, including Sukbakgi, Dong A Sukbakgi, and Gyochimhae. Thirdly, to retain the juiciness of meat during roasting, meat was spread cold water on the surface, dipped into the washing water of rice or wrapped with wet paper. Fourth, to improve the visual effect of a dish, cooked foods were displayed with various color schemes, panfried foods with two tones (egg white and yellow) of color on each side and the use of radish pigmented with deep red color. On examination of the characteristics of food in "Gyuhapchongseo", I would suggest applicable practices for the present cuisine. The use of gravy produced from the boiling down of fish flesh could raise the nutritive value of Kimchi. In "Gyuhapchongseo", Yak po (semi-dried minced beef) is noted as being good for elderly people with bad teeth. A steamed dish with dog meat in Dong A in "Gyuhapchongseo" is made by hollowing out Dong A and putting a dog in it to cook the dog meat to well done in a fire made with the hulls of rice. This technique could be used to present cuisine for steamed and roasted dishes using food ingredients such as pumpkin, sweet pumpkin, and overripe cucumber.

• Conservation Science in Museum
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• v.30
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• pp.127-144
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• 2023

"Buliseonrando," meaning "Buddhist virtues and the orchid are one and the same," was painted by Chusa Kim Jeong-hee. Four appreciation sentences are written in various fonts around the orchid drawn in the center of the painting, along with a total of 15 seals stamped. Hyperspectral image analysis(HSI), microscopy, and X-ray fluorescence (XRF) were conducted with a focus on the seals and the parts of the painting that have been applied with a conservation treatment. As a result of the analyses, the seals were classified into two types-seals with or without barium content. Stamp shade was identified only in five of themstamps, which allows the assumption that the composition and material characteristics of the stamp inks varied depending on the period. In particular, hyperspectral image analysis confirms traces of conservation treatment on the seals and the lost parts identified in addition to the 15 seals, which also demonstrates the utility of hyperspectral image analysis.

• Journal of the Computational Structural Engineering Institute of Korea
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• v.37 no.3
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• pp.197-204
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• 2024

In this paper, the structural performance of Suwon Hwaryeongjeon Unhangak, a representative traditional timber structure in the late Joseon Dynasty, was evaluated. Based on the structure composition of Unhangak, an analysis model was elaborately constructed with Midas Gen, a 3-dimensional structural analysis software. The safety and serviceability of major structural members were evaluated by static analysis, and the dynamic behavior characteristics were evaluated by eigenvalue analysis. Most of the members satisfied the safety and serviceability standards with a margin; however, the bending stress ratio in the oemogdori exceeds the standard by 20.7%, so it is considered that long-term monitoring is needed for this member. The natural period of Unhangak is 1.079 seconds, which is slightly longer than traditional timber buildings of similar scale. In particular, it is analyzed that torsional movement occurred in the secondary mode due to the influence of the rear masonry firewall.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.154-167
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• 2014

The results of this study conducted to identify the substance, regional characteristics or landscaping of Namwon Yonghogugok, which is the only valley of Jiri Mountain, based on Kim Samun's 'Yonghokugok-Gyeongseungannae(龍湖九曲景勝案內)', 'Yongseongji(龍城誌)' and position, meaning of letters carved and projection technique by ArcGIS10.0 on the rocks are as below. The feature landscapes of the canyon of Yonghogugok, which is an incised meander and one of the Eight beautiful scenery of Namwon, ponds, cliffs and rocks generated with metamorphic rocks and granites weathered by rapids torrents. As a result of measuring the GPS coordinates of the letters carved on the rocks, excluding the 3 Gok Hakseoam and the distances based on the origin and destination of the letters carved on the rocks using the API(Application Programming Interface) function of Daum map, the total distance of Yonghogugok was 3.5km and the average distance between the each Gok was 436.5m. It is assumed that Yonghogugok was designated by Sarim(士林) of the Kiho School(畿湖學派) related to Wondong Hyangyak(元洞鄕約) which is the main agent of Yonghojeongsa(龍湖精舍), the forerunner of Yonghoseowon(龍湖書院), between the late Joseon Dynasty and the early Japanese colonial era, in 1927. Its grounds are the existence of Yonghoyeongdang mentioned on 'Yonghojeongsilgi'(龍湖亭實記), records of 'Haeunyugo(荷隱遺稿)', 'Yonghopumje(龍湖品題)' of Bulshindang(佛神堂), 'Yonghojeongsadonggu Gapjachun(龍湖精舍洞口 甲子春)' letters carved on the rocks and 'Yonghogugok-Shipyeong(龍湖九曲十詠)' posted on Mokgandang of Yonghoseowon. Comprehensively considering the numerous poetry society lists carved on the stone wall of Punghodae(風乎臺), the Sixth Gok Yuseondae, its stone mortar, 'Bangjangjeildongcheon(方丈第一洞天)' of Bulshindang and Gyoryongdam(交龍潭), the Yonghoseokmun(龍湖石門) letters carved on the rocks, Yeogungseok adjacent to the First Gok and Fengshui facilities, centered on Yonghoseowon and Yonghojeong, Yonghogugok can be understood as a unique valley culture formed with the thoughts of Confucianism, Buddhism, Taoism and Fengshui. 'Yonghogugok-Gyeongseungannae' provides very useful information to understand the place name, called by locals and landscaping aspects of Yonghogugok in the late Joseon Dynasty. In addition, the meaning of "Nine dragons" and even though 12 chu(湫: pond) of Yonghogugok Yongchudong including Bulyeongchu, Guryongchu, Isuchu, Goieumchu and Daeyachu are mentioned on Yongseongji, a part of them cannot be confirmed now. Various place names and facilities relevant to Guryong adjacent to Yonghogugok are the core of the place identity. In addition, the accurate location identification and the delivery of the landscaping significance of the 12 ponds is expected to provide landscaping attractiveness of Yonghogugok and become very useful contents for landscaping storytelling and a keyword of storyboard.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.18-37
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• 2019

This study derived a method for establishing the chronology of cloud patterns by examining the arrangement of the treasure motifs in the cloud pattern used in the relevant pattern-decorated book covers of 89 Oegyujanggak Uigwe books, which are currently housed in the National Museum of Korea. The cloud pattern with a treasure motif was used in the covers of a total of 89 books from King Hyojong Gukjangdogam Uigwe (1659) to Sadoseja Garyedogam Uigwe (1744), spanning 86 years. First, to analyze the cloud pattern, it should be broken down into smaller parts to the extent that the different shapes of treasure motifs can be recognized. Secondly, the method of decoding the pattern is as follows: First, check whether the pattern is arranged in one or two directions from the vertex of the cloud's head, and determine the direction of the cloud tail. Then, decode the treasure motif's arrangement starting from the vertex of the cloud's head toward the direction the tail of manja is headed. Record the findings of this decoding process by categorizing them. Thirdly, as a result of the analysis, a total of 28 types of cloud patterns with treasure motifs were identified in 89 books. There were 45 types of treasure motifs used in such patterns. Finally, we have concluded that applying the method of decoding the treasure motif in the cloud pattern to portraits, excavated costumes, and various relics can be useful to establish the chronology of cloud patterns in the late Joseon period. The method suggested in this study is called 'The Reading Method of Chronology in Cloud Pattern with Treasure Motifs' (also 'Jeung-ha Cloud Pattern Reading Method').

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.1-10
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• 2018

This study aims to find out the characteristics of the vegetation landscape characteristics and system which led the formation of the urban image in Jeonju in the late Joseon period connected with urban spatial structure, using designated as treasure No. 1586 which was made in the middle of 18C. The vegetation landscape characteristics of Jeonju in the late Joseon Dynasty derived from the analysis of are summarized as follows. Firstly, the vegetation landscape system in Jeonju is composed of the natural vegetation around mountain area of Jeonju-Buseong, the independent vegetation or cluster planting forests linked with the main facilities, the Bibo-Forests connected with topographical characteristics of Jeonju, and the vegetation combined with a private garden. Secondly, planting landscape was specialized using flag species and local species. Thirdly, the garden-type plantation centered on the back yard or front of main facilities, with the background of natural vegetation landscape combined with the mountain area and the vegetation combined with a private garden, dominates vegetation landscape of Jeonju Buseong as objects. Fourthly, in order to overcome the defects of topographical characteristics, the Bibo-Forests were emphasized as an important planting landscape element in addition to the vegetation landscape elements connected with main facilities. Fifth, ecological vegetation landscape technique was taken considering the topographical characteristics. The characteristics of vegetation landscape of Jeonju Buseong, which is derived from , have an important meaning to restore and reproduce Jeonju's historical features. Especially, the vegetation communities of the non-booming concept combined with the geographical features, the ecological landscape harmonizing with the topography, the round house type landscape mixed with the private house, and the specialization of vegetation landscape using local species are important factors in securing the city image based on the historical characteristics and creating a city brand that utilizes vegetation landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.14-30
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• 2020

This study focuses on the fact that pictorial maps in the late Joseon Dynasty were conceptual diagrams with the place names perceived by the people at the time of their production. In this regard, targeting on five pictorial maps, the humanistic landscape characteristics of Pyongyang, which had cultural identities such as a historically old, commercial, and Pungnyu(appreciation for the arts) city, were derived as follows. First, the historic legitimacy of Pyongyang Castle was represented by ritual and religious facilities. They include 'Dangunjeon' and 'Gijagung' related to the nation founder, 'Munmujeong': the remains of Goguryeo, 'Sajikdan' & 'Pyongyanggangdan': the place of the national rites, Hyanggyo and Seowon: education & rite functions, Buddhism and Taoist facilities, 'Yongsindang', 'Sanshindang', and 'Jesindan': folk religion facilities. Gija-related facilities, which became symbols of Pyongyang due to the importance of Small-Sinocentrism and Gija dignity tendency, were distributed throughout Pyongyang Castle though, the facilities related to King Dongmyeong of Goguryeo and the spaces of religion praying for blessings are spread in Bukseong and on the riverside of Daedonggang each. Second, as a Pyongando Province's economic center, Pyongyang's commercial landscape was represented by logistics and transportation facilities. The Daedonggang River, which was in charge of transportation functions, had many decks such as 'Yangmyeongpo', 'Cheongryongpo' and 'Waeseongjin' and bridges, such as 'Yeongjegyo' and 'Gangdonggyo', which connected major transportation routes. The road network was created in Oeseong area to facilitate logistics transportation and management, and many warehouses named after the jurisdiction of Pyongyangbu were distributed near the roads and Provincial Offices of the main gates. In addition, it was characterized by the urban area systematically divided with hierarchical roads, 'Bukjangnim' of willow trees planted on the main entrance roads of Pyongyang Castle, a linear landscape created by 'Simnijangnim' consisting of mixed forests with elm trees. Third, Pungnyu City is realized by the distribution of amusement facilities. The riverside of Daedonggang adjacent to Naeseong exhibits characteristics of artificial landscape such as a canal leading to the inside of the castle, a docking facility with embankments, and a port with cargo ships anchored. However, Bukseong of the natural surroundings had numerous pavilions and platforms such as 'Bubyeongnu', 'Eulmildae', 'Choeseungdae', 'Jebyeokjeong' and engraved letters such as 'Cheongnyubyeok', 'Jangbangho'. 'Osunjeong', 'Byeogwolji', 'Banwolji' near 'Sachang', and 'Aeryeondang', built on the island of a square pond, created waterscape in Naeseong invisible from the Daedonggang, and for practical purposes, ponds and repeated willow vegetation landscape related to Gija were placed in the western rampart of Jungseong. In addition, 'Seonyeondong', a cemetery of Gisaeng, located near by Chilseongmun, was used as poem titles and themes by literary people, contributing to the creation of the Pungnyu image of Pyongyang.