• Korean Journal of Heritage: History & Science
• /
• v.46 no.2
• /
• pp.46-69
• /
• 2013

The results of study on the meaning landscape and environmental design techniques of the Byulup, Yoohoedang garden(Hageowon) based on the story in the collection of Kwon Yi-jin (Yoohoedangjip, 有懷堂集), are as below. First, Yoohoedang Kwon Yi-jin (有懷堂 權以鎭 : 1668~1734) constructed a Byulup garden consisting of ancestor grave, Byulup, garden, and a school, through 3 steps for 20 years in the back hill area of Moosoo-dong village, south of Mountain Bomun in Daejeon. In other words, he built the Byulup(別業, Yoohoedang) by placing his father's grave in the back hill of the village, and then constructed Yoegeongam(餘慶菴) and Geoupjae(居業齋) for protection of the pond(Napoji, 納汚池), garden(Banhwanwon, 盤桓園), and ancestor graves, and descendants' studying in the middle stage. He built an extension in Yoohoedang and finally completed the large-size garden (Hageowon) by extending the east area. Second, in terms of geomancy sense, Yoohoedang Byulup located in Moosoo-dong village area is the representative example including all space elements such as main living house (the head family house of Andong Kwon family), Byulup (Yoohoedang), ancestor graves, Hagoewon (garden) and Yoegeongam (cemetery management and school) which byulup type Byulseo should be equipped with. Thirdly, there are various meaning landscape elements combining the value system of Confucianism, Buddhism and Taoism value, including; (1) remembering parents, (2) harmonious family, (3) integrity, (4) virtue, (5) noble personality, (6) good luck, (7) hermit life, (8) family prosperity and learning development, (9) grace from ancestors, (10) fairyland, (11) guarding ancestor graves, and (12) living ever-young. Fourth, after he arranged ancestor graveyard in the back of the village, he used surrounding natural landscapes to construct Hagoewon garden with water garden consisting of 4 mountain streams and 3 ponds for 13 years, and finally completed a beautiful fairyland with 5 platforms, 3 bamboo forests, as well as the Seokgasan(石假山, artificial hill). Fifth, he adopted landscape plantation (28 kinds; pine, maple, royal azalea, azalea, persimmon tree, bamboo, willow, pomegranate tree, rose, chinensis, chaenomeles speciosa, Japanese azalea, peach tree, lotus, chrysanthemum, peony, and Paeonia suffruticosa, etc.) to apply romance from poetic affection, symbol and ideal from personification, as well as plantation plan considering seasonal landscapes. Landscape rocks were used by intact use of natural rocks, connecting with water elements, garden ornament method using Seokyeonji and flower steps, and mountain Seokga method showing the essence of landscape meanings. In addition, waterscape are characterized by active use of water considering natural streams and physio-graphic condition (eastern valley), ecological corridor role that rhythmically connects each space of the garden and waterways following routes, landscape meaning introduction connecting 'gaining knowledge by the study of things' values including Hwalsoodam(活水潭, pond), Mongjeong(蒙井, spring), Hosoo(濠水, stream), and Boksoo(?水, stream), and sensuous experience space construction with auditory and visualization using properties of landscape matters.

• Korean Journal of Heritage: History & Science
• /
• v.45 no.1
• /
• pp.190-217
• /
• 2012

This research has studied the building awareness of Nu-Jeong that a view of nature and aesthetic consciousness to unite the nature are inherent by considering Nu-Jeong of scholars who left fame and wealth behind and retired to hermitage in the backwoods in the 16~18 Century. This is to clarify correlation with leaving nature as it is, namely, an ideal state that scholars at the time would enjoy, through landscape awareness accepted into Nu-Jeong literature. In addition, this research has tracked the ideologic flow that acts on space formation by clarifying Korean unique meanings inherent to Nu-Jeong's cultural landscape. As a suggestion for this, the interpretation through 'Pungsu location Nu-Jeong name's analysis Nu-Jeong literature analysis', etc. was tried, so its integrated conclusion is as follows. It is not a chance that scholars of Joseon have left numerous literature works singing the nature. They already had huge interest and knowledge on the nature, and achieved active poetic exchange by sublimating the praise of nature as literature. Nu-Jeong, which was a place of exchange like this, had cleanliness of the nature and ideological purity as an oppositional space on turbid political realities. The Nu-Jeong literature drew the nature into a literature space as it is, without doing abstraction or ideation on the nature. The owner of Nu-Jeong exclusively possessed such natural landscape in grim and independent postures, so it provided a clue of Nu-Jeong cultural landscape that this research aimed to discuss. Scholars who aimed to raise wide and large vigor filled in between the sky and earth got to convince that people are born from the nature, grow in the nature and finally return to the nature. What people are born from the nature and finally return to the nature is just consistent with Taoistic and Zhua-ngzi thoughts denying human work, and leaving nature as it is or nature itself remained intact which is an ideal state. The construction at the time is a vessel containing the spirit of the times of the era. This thesis has proved that the Nu-Jeong culture of scholars located on the central line of Korean landscape was the flower of Joseon's scholar culture by interpreting it semantically.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.3
• /
• pp.66-87
• /
• 2009

The definition of the structure of wooden chamber tomb(piled stone-type) is as follows. It is a tomb with wooden chamber, and stones were piled on top of the wooden chamber, and then a wooden structure was placed on top of the piled stones, and more stones were piled on top of the wooden structure, and sealed with clay. Of course this definition can vary according to periods, the buried, etc. Gyeongju-style piled stone type wooden chamber tombs have some distinguished characteristics compared to general definition of piled stone type wooden chamber tombs. Outside the wooden chamber, either stone embankments or filled-in stones were layed out, and pilet-in stones are positioned right above the wooden chamber, and almost every class used this type, and finally, it is exclusively found in Gyeongju area. First generations of this Gyeongju-style piled stone type wooden chamber tombs appeared in first half of 5th century. These tombs inherited characteristics like ground plan, wooden chamber, double chamber(inner chamber and outer chamber), piled stones, burial of the living with the dead, piled stones, from precedent wooden chamber tombs. However these tombs have explicit new characteristics which are not found in the precedent wooden chamber tombs such as stone embankments, wooden pillars, piled stones(above ground level), soil tumuluses. stone embankments and wooden pillars are exclusively found on great piled stone type above-ground level wooden chamber tombs such as the Hwangnamdaechong(皇南大塚). Stone embankments, wooden pillars, piled stones(above ground level) are all elements of building process of soil tumuluses. stone embankments support outer wall of above-ground level wooden chambers and disperse the weight of tumuluses. Wooden pillars functioned as auxiliary supports with wooden structures to prevent the collapse of stone embankments. Piled stones are consists of stones of regular size, placed on the wooden structure. And after the piled stones were sealed with clay, tumulus was built with soil. Piled stones are unique characteristics which reflects the environment of Gyeongju area. Piled stone type wooden chamber tombs are located on the vast and plain river basin of Hyeongsan river(兄山江). Which makes vast source of sands and pebbles. Therefore, tumulus of these tombs contains large amount of sands and are prone to collapse if soil tumulus was built directly on the wooden structure. Consequently, to maintain external shape of the tumulus and to prevent collapse of inner structure, piled stones and clay-sealing was made. In this way, they can prevent total collapse of the tombs even if the tumulus was washed away. The soil tumulus is a characteristic which emerges when a nation or political entity reaches certain growing stage. It can be said that after birth of a nation, growing stage follows and social structure will change, and a newly emerged ruling class starts building new tombs, instead of precedent wooden chamber tombs. In this process, soil tumulus was built and the size and structure of the tombs differ according to the ruling class. Ground plan, stone embankments, number of the persons buried alive with the dead, quantity and quality of artifacts reflect social status of the ruling class. In conclusion, Gyeongju-style piled stone type wooden chamber tombs emerged with different characteristics from the precedent wooden chamber tombs when Shilla reached growing stage.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.2
• /
• pp.70-95
• /
• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• Korean Journal of Heritage: History & Science
• /
• v.45 no.3
• /
• pp.114-159
• /
• 2012

The Northern Song Dynasty Period (北宋時代) was a drastic transitional era in all aspect of Chinese society including the politico-economic system, ideology and cultural trait. These changes that began in the late Tang (唐) Dynasty Period accomplished in the Northern Song Dynasty. In this phase, the fundamental change influenced in all institutional area; and among them, the capital city planning and its associating building technology to pile stone walls shows one of the significant change of those time. Based on the geographical factor, confluences of many rivers, the Kaifeing (開封) area where the BianLieng palace had developed as a political and economical centre since the Tang Dynasty when the Grand Canal was constructed. According to archaeological researches, the central city structure of Dongjing Walled Town was begun to plan in the late Tang Dynasty and formed in Five Dynasties. The fundamental functional change of city completed in the Midnorthern Song Dynasty. In spite of the relatively late beginning of archaeological investigations to Kaifeng Walled Town and Dongjing Walled Town due to unfavourable natural environment, excavations inaugurated since 1981 have achieved the significant investigations including the actual measurement and excavation to the outer wall, the preliminary excavation to the inner city area, the investigation and excavation to the royal palace of Song and the survey to the royal palace of King Zho in the Ming (明) Dynasty. These surveys have provide important data to reconstruct the 변량 palace, and elucidate the characteristics of city plan in the Dongjing Walled Town and the institutional change of capital city plan of the Northern Song Dynasty. The basic layout of Dongjing Walled Town reflect the realisation of ideality of the late Chinese medieval capital city structure that establish the commercial and economic centre based on the intensification of emperor's power by means of the organisation of ethical institution and the development of commercial economy. Firstly, the central place of the Kaifeng area is encircled with triple walls. This emphasise the authority of emperor located on the summit in the hierarchical ethic system succeeding to the main capital city plan of the late phase of ancient China. Secondly, the location of Dongjing Walled Town was decided by the transport network and the commercial function and defence function. Thirdly, this site shows the change of city structure and landscape of the Northern Song Dynasty. The closed Fengri (坊里: block) system transferred the open Jiexiang (街巷: road) system. Fourthly, the capital city was characterised by the free market trade and the diversification of market place. Fifthly, a convenient transport network in the Bian River, a centre of the Grand Canals, enabled to construct the Kaifeng Walled Town. Therefore, the Northern Song Dynasty continuously accomplished the developed water system as concerning about the utilisation of waterways after the construction of city.

• Korean Journal of Heritage: History & Science
• /
• v.41 no.2
• /
• pp.61-78
• /
• 2008

Celadons painted in underglaze iron brown 'Sung(成)' inscription are characteristic celadons excavated only at the No. 7 kiln site located at Sadang-ri(沙堂里), Daegu-myeon(大口面), Gangjin-gun(康津郡), Jeollanamdo(全羅南道), Korea and has inscription in the inner center of the foot by brush. The inscription was marked where it is not easily seen. it can be assumed that since it showed a variety of hand writings, many people were involved in manufacturing these celadons and the 'Sung' inscription was marked after workshop rather than manufacturer. It was also found that quality of glaze, paste, shape, pattern and firing method were same and these were manufactured with the same techniques in the same period. Kinds of these celadons were mainly sets of tablewares including bowl with handle, bowl, plate, cup, bowl with cover and bottle. Raised relief designs using extrusion technic were especially preferred rather than incised designs and inlaid designs. Cases of using inlaid designs were not frequently found compared to incised designs, thus it can be assumed that in this period, inlaid designs were not generally used. Special designs having the meaning of authority or dignity such as chrysanthemum, peony, parrot and lotus plate designs were not found. Foot was molded with 'U' type except some bowls with cover and plates and firing was done after glazing the whole surface of the ceramic with the support of quartzite at 3 to 4 places of inner bottom of foot. Production period of these celadons with 'Sung' inscription can not be confirmed from other excavation sites outside of No. 7 kiln site at Sadang-ri since there are no other excavation sites whose relics bear 'Sung' inscription. Through comparison research with other relics bear the characteristics of these celadons from tombs, temple sites, shipwrecks, production period of these celadons with 'Sung' inscription can be assumed as second quarter of 13th century. And since the quality of these celadons are generally inferior to the top-quality celadons which were supplied to royal familes and high-ranking aristocrats, it can be deducted that these celadons with 'Sung' inscription were supplied to classes lower than royal familes and high-ranking aristocrats. So it is considered that Celadons with 'Sung' inscription have a great significance as a chronological material to complement the blank of the first half of the 13th century because most of celadons with raised relief designs and engraved relief designs were attributed to 12th century, the period of prosperity.

• Korean Journal of Heritage: History & Science
• /
• v.41 no.1
• /
• pp.35-55
• /
• 2008

This paper is written to results of excavated ChungJu ChangDong site located in ChungJu and the article Keumcheonchang in Joseonwangjosilrok. The structure rerics of compositing cornerstone-distance 420cm has been showing to Keumcheonchang of legend in region people. The solution to problems is that the enforcement of the river-shipping service linking Han River and NakDong River. King Taejong commanded the new tax-warehouse of 200 Kan to built at Keumcheon in ChungJu and named Keumcheonchang for the receipt of innner region and KyengSang Province. King Sejo established the foundation of the government owned tax-grain transportation systerm for the strong centralization by the sovereign right. This logistic system is gone the middle and the latter of Joseon Dynasty. Joseon Dynasty is absolutely dependent the national finance for government operation on the tax-grain from HaSamDo(ChungCheong JeonLa KyengSang) region. JoUn(tax-grain transportation by shipping) is the best logistic system in Korea surrounding sea. Joseon Dynasty has refomed the logistics base on GoRyeo's system that the Tax-grain transportation system by shipping. There is the tax-warehouses reducing from 13 numbers to 9 numbers and making up for the weak points in the matter of the Japanese Pirate and the ship wreck in transporting in the sea. The ship wreck in the sea specially make the matters of the reducing tax and political issues. We know that Keumcheonchang is operated ChuaSuCham(the government agency for taxgrain transportation by shipping at a warehouse) from King Taejong 11(1,411)year to King Sejo 11 (1,465)year. There is the result of enforcement the river-shipping service system for social stabilization and forward their new ideal in the first half Joseon Dynasty.

• Korean Journal of Heritage: History & Science
• /
• v.43 no.4
• /
• pp.4-23
• /
• 2010

Danggol, in other words the hereditary shaman, is a person who is performing the Gut(the Korean shamanistic ritual) as the job but fortuneteller simply tells someone's fortunes. Nowadays most of fortunetellers think their works are wholly managed the Gut as the holy jobs. But Generally this kinds of jobs, we think it is lower than ordinary people's level of education in the korea. Actually we can meet eleven fortunetellers who have a college diploma out of them, so we can know that their education's level is increasing gradually. On the other hand a house of fortunetellers is the place where can lead the way of our lives in the method of seeing one's past life or making predictions of someone's coming events etc. Gradually this place seems to be separated with a private home, so the most of them is managing as the monthly rent. Consequently this houses are heavily located at the Gyerim five-way crossing, the Yang-dong Dakjeonmeory street, Jungheung-dong local culture street area. Each fortunetellers have the different ways of fortune-telling because this methods are decided by their one's characters. So their fortune-telling time and its time required for a task is far different. The methods of telling it is very much different in accordance with the learning fortuneteller or spiritualistic fortuneteller. But the process of fortune-telling is common like as a preparatory stage, carrying a Jumsa(fortune-telling) stage and acting by a Jumsa stage. These steps are sequential but linked together. There are six special features of fortune-telling culture in Gwang-Ju. 1. The role of a fortuneteller and Bosal(spirit-descended shaman) runs at the same time. 2. The house of fortune-telling is doing Gutdang(ritual house)'s works. 3. Its location are heavily collectivized at the specific districts. 4. The learning fortuneteller are increasing gradually. 5. The youth are growing use in the fortune-telling house. 6. There are many person that are visiting this house because of individual problems not their family's problems.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.1
• /
• pp.100-121
• /
• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.3
• /
• pp.26-47
• /
• 2009

This study examined dwelling site from among the sites of the Neolithic age found in the Asan Bay(牙山灣) area, and the temporal-spatial location and meaning of the dwelling site (settlement). The majority of the settlements in the area are of a square style but some coexist with rectangular-style settlements, which is noteworthy. The dwelling sites of the Neolithic age found in Asan Bay area are mostly located in a ridge of hilly areas, divided into gentle, low areas (20~50 meters above sea level) and relatively high areas (50~80 meters above the sea level). Although location strongly corresponded to the residents' subsistence and the technical levels within the culture, it likely was greatly affected by natural environment where they lived, as well. In examining radiocarbon dating results and the excavated artifacts, the settlements found in Asan Bay were determined to belong to the period II(3,500~3,000 B.C.) stated in the Relative Chronological table of Dwelling sites in the Neolithic age, written by the author. Said Dwelling sites are proven to have a close relationship with those found on the coast of Gyeonggi Province(京畿道) and in the Geum River(錦江) valley. This is deemed to be the result of expansion and interchange between Gyeonggi Province(京畿道) group and Geum River(錦江) valley group, who constituted the large settlements. Additionally, the Daecheon-ri type dwelling sites in the Geum River valley were verified to be the result of exchange, and spread to the Asan Bay area in the same era. Two forms of Dwelling sites coexisted dynamically in the Asan Bay area around 3,500 B.C. Such a phenomenon resulted primarily from the expansion of the dwelling site due to the introduction of primitive agriculture, as well as environmental (temperature), biological and social changes at those times.