• 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.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.232-245
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• 2021

The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.136-153
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• 2021

The restitution of cultural heritage located abroad has been going on for 107 years, starting with the return of the Jigwangguksa Tower to Beopcheonsaji Temple in Wonju after it was taken during the Japanese occupation in 1915. The Overseas Cultural Heritage Foundation, established in 2012, has laid the foundation for retrieval, preservation, restoration, and exchange of cultural heritage through research cooperation and the purchasing of cultural heritage items. The pace of the collection of cultural heritage objects and the locating of others has increased every year since its establishment, and the number of returned, rather than recovered, cultural heritage items has also increased. The present study aimed to complete a value inquiry of the cultural relics of Waryongmae (臥龍梅) and a restitution of cultural heritage as the main focuses. The process of recovering relics from Waryongmae has been recorded in the book The Cultural Property Returned into Our Arms, published by the above-mentioned foundation. This record was revised and supplemented to try and raise its cultural value by adding elaborate storytelling to the process of recovering the Waryongmae that grew in the courtyard of Changdeokgung Palace. The cultural value of Waryongmae is that it is unique. The Waryongmae is the first living cultural heritage, and therefore has cultural value due to its uniqueness. Second, the Waryongmae has unique cultural value due to its restitution and return to Korea twice, once in 1992, and another time in 1999. The first restitution was special in that it was featured by the Japanese media, and the second was special in that it was intensively reported by the Korean media. Third, 42 Waryongmae cultural content types were explored, including nineteen visual contents, eleven interactive contents, and twelve skate contents.

• (The)Study of the Eastern Classic
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• no.62
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• pp.231-262
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• 2016

The Jongmyo Shrine(宗廟) of Zhou dynasty was a king's main building where a diversity of rituals were held, such as 'the assembly ceremony between a king and vassals in the morning', and was also called as Taechim(太寢) Nochim(路寢) Jeongchim(正寢) and others. Before Zhou dynasty, the expressions of Taesil(太室) and Sesil(世室) were used, and especially the term of Taesil(太室) is found in the records of the early period of West Zhou. In "Seogyeong(書經)", not only the term of Nochim(路寢) but also the letter of 'chim(寢)' itself is not found at all, but the letter of 'sil(室)' appeared several times in the chapters of "Haseo(夏書)" "Sangseo(商書)" "Juseo(周書)" except for that of "Wuseo(虞書)". "Jwajowusa(左祖右社)" meaning that 'the Jongmyo Shrine(宗廟) which keeps the late king's mortuary tablet is established in the left, and Sajikdan altar(社稷壇) which enshrines a god of land and grains is established in the right' was first mentioned in the part of 'Janginyeongguk(匠人營國 : a master craftsman builds different national infrastructures, for instance, a palace and roads)' in "Donggwangogonggi(冬官考工記)" of "Jurye(周禮)". In addition, so-called 'Jwamyowusa(左廟右社)', that is, "Sajik(社稷) enshrining the god of land and grains is built in the right('右'), and the Jongmyo Shrine(宗廟) in the left('左'). (右社稷 左宗廟)" was mentioned as one of different duties of a Sojongbaek(小宗伯) in charge of ancestral rites, which was recorded in "Chungwanjongbaek(春官宗伯)" of "Jurye(周禮)". And it seems that had affected the mention of "Jwajowusa(左祖右社)" in "Donggwangogonggi(冬官考工記)" appeared thereafter. Many manners scholars including Jeonghyun(鄭玄) since Han dynasty interpreted 'Jwa(左 : left)' and 'Wu(右 : right)' here as the arrangement relation of left and right of Jongmyo(宗廟) and Sajik(社稷), but when it is interpreted as "helping(右=佑 : to help) to sacrifice to a god of land and grains in Sajik(社稷), and helping(左=佐 : to help) memorial ceremonies in Jongmyo(宗廟)." it can correspond with a 'Jongbaek(宗伯)''s duties. 'Jeonmyohuchim(前廟後寢)' is the term that began from the expression that "what's in front is called as an jongmyo shrine(宗廟) and what's back as a bedroom.(前曰廟 後曰寢)" in Jeonghyun(鄭玄)'s annotation explaining the chapter of "Hagwansama(夏官司馬)" in "Jurye(周禮)" and "Wolryeong(月令)" in "Yegi(禮記)". Chaeong(蔡邕), a figure in the same age as Jeonghyun(鄭玄), used the expression that "a court is placed in the front, and a bedroom in the back(前有朝 後有寢)." In the paper, two hypotheses were discussed about the theory about Jeonmyohuchim(前廟後寢). In one hypothesis, it expressed two facilities within a wall; 'a court in the front to deal with governmental affairs, and a comfortable interior space in the back.' In another hypothesis, it refers to two independent and separate buildings of 'an jongmyo shrine(宗廟) building in the front as the area of governmental meetings, and the residential building in the back as the residence area with family'.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.196-209
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• 2022

This study compared and analyzed the spatial division function and role of partitions by comparing the entire space and the spatial changes before and after the installation of partitions in <Donggwoldo>, which was manufactured in the late Joseon Dynasty. As a research method, a set standard was prepared to decompose the space of <Donggwoldo> into a unit space, and the standard was set according to the role and height of the space by classifying it into a main space, sub space, and transition space. Two convex maps were prepared according to before and after the installation of the Panjang, and the values of connectivity, control, and integration, which are spatial syntax variables, were calculated and analyzed. The results of the study are as follows. First, the partition in <Donggwoldo(東闕圖)> did not affect the overall spatial arrangement and control or connection of Donggwol, but the movement and access of space is limited to specific areas. Second, the partition was a facility intensively distributed in Naejeon(內殿) and Donggung(東宮) to be used actively in the way of space utilization. It shows that the unit space increased rapidly due to the installation of the partition. Since the partition was installed in the spaces that were open and under high control in the case of Naejeon(內殿), it helped to secure private spaces as closed ones under low control. On the other hand, for Donggung(東宮), the spaces were compartmented and divided with the partition to guide the movement path through narrow gates of the partition and increase the depth of the space. This helped to create spaces that are free and can be hidden as it increased the number of spaces coming through. Third, In addition to the functions of "eye blocking, space division, and movement path control" revealed in prior research, the partition has created a "space that is easy to control" within a specific area. The installation of the partition reduced the scale through the separation of spaces, but it occurred the expansion of the movement path and space. Also, the partition functioned to strengthen hiding and closure or increase openness as well through space division. This study is significant in that it revealed the value of the spatial control function of panjang through the analysis of spatial control and depth by analyzing the function of the partition with a mathematical model in addition to the analysis and study of the function and role of panjang. In addition, it is valuable in that it has prepared a framework for analysis tools that can be applied to traditional residential complexes similar to palaces by applying space syntax to <Donggungdo> to create convex spaces according to unit space division and connection types of palace architecture and landscape elements.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.100-121
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• 2023

This paper examines the interior settings of a chamber and of a temporary place of enshrinement at Yeonghuijeon (永禧殿, Hall of Eternal Happiness), the representative official portrait hall in which portraits of early and late Joseon kings were enshrined. Also, it discusses the features of the Five Peak screens used therein. The physical environment of a chamber at Yeonghuijeon mainly consisted of a four-panel folding screen with a painting of Five Peaks and a large wooden platform, which was adorned with dragon and lion patterns and attached to lotus-leaf column balustrades. The Five Peak screen was installed on a large platform in the shape of ⊓, spreading across the second and third panels on the back and folding out on the first and fourth panels on the right and left sides. When a portrait was enshrined in a temporary place, a simpler and smaller platform with railings was used. A four-panel folding screen of the Five Peak painting was installed in the same way as in a chamber, but was unfolded around a smaller platform behind it. A royal portrait was displayed in each chamber, whereas a case in which a portrait was rolled up was put on the smaller platform in a temporary place. The Five Peak screens for a chamber and a temporary place were all large four-panel folding screens with two wide panels in the middle and two narrow panels on each side, and only strips of silk were mounted on the four edges of the screens without additional wide lower-side mountings. While screens for the chamber used patterned silk for mounting and white paper for backing on screen frames, screens for the temporary place used plain silk and recycled failed test papers for mounting and backing, respectively. By examining records in the literature on the Five Peak screens for Yeonghuijeon, this paper highlights two Five Peak screens, both of which lost their provenance from the hall. The structures of the two screens reflected the way they were to be installed at the hall. Furthermore, this paper assumes that a Five Peak screen, which had been unfolded on the throne in the main hall of Changdeokgung Palace after the 1960s, was produced in 1858 for the purpose of temporarily enshrining King Sunjo's portrait due to the fact that failed test papers of the 1840s were laid taut over the frame.

• (The) Research of the performance art and culture
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• no.39
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• pp.509-547
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• 2019

The cocoon breeding related national ritual ceremony exercised from the beginning time of Joseon is the 'clothing culture' that has taken its role in the ritual ceremony where it demonstrates the resolution of a state that placed importance in 'things to wear'. During the reign of King Seongjong, it enhanced the level of importance by adding the 'procedure to pick up the mulberry leaved by the queen personally'. During the reign of King Youngjo, the implication of the ritual ceremony was even more expanded that there was an new emergence of new type of national ceremony for the Joseon Era with its first ritual ceremony for woman to personally administer the memorial ceremony to the 'woman divinity' in addition to the 'Jakheonrye' procedure to personally present by the queen for the cocoon breeding. This is intended to meet the status of chingyeonguirye (farming-friendly ceremony) with King Youngjo to personally cultivate the dry field after administering Seonnongje (good harvest paying ceremony) that it is conspicuously demonstrating the importance of farming and cocoon breeding activities. As a result, the Chinjam (a type of ceremony that queen personally breeds cocoon for fabrics) related ceremonial rite that was rearranged during the reign of King Youngjo was settled into 11 ceremonial rites with the expansion of its contents. It ranges from the procedure to leave the palace for carrying out the ritual ceremony to the procedure for the crown princess and Hyebin-gung to accompany the queen, ritual for the queen to devote the Jakheonrye to exercise Chinjam, the ritual for the king to announce his royal message, johyeonui (morning assembly) exercised after completing Chinjam, it is the ritual for the queen to receive the box that contained the cocoon. This type of ritual ceremony is a significant expansion when compared with the exercise carried out earlier and it is part of characteristics displayed for ritual overhaul trend in the reign of King Youngjo. In the main procedures of these ceremonial rites, the music is accompanied and the music includes folk music, inspiration and so forth. The Chinjam related ritual ceremony in the reign of King Youngjo was established in the direction to establish it as the ritual ceremony for a woman who had the divine role of the seonjamje ritual to administer the ritual in a way of having the justification and reality to be consistent.