• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.359-392
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• 2020

In this paper, we examined the development of Chinese Taoist architecture, its cultural implications, and comprehensively summarized the core principles of the Taoist ecological ideas that are reflected in Taoist architecture. This is a groundwork for exploring an ideological model for sustainable ecological architecture in modern cities. Taoist architecture has a long history that has led to changes, developments, and a gradual maturation. Zhi (治), Lu (廬), and Jing (靖), were the first architectural forms of the early Taoist body. These formed the basis for the future development of Taoist Courts (宮觀). The state-sponsored government-run Taoist Courts established from the time of the North and South Dynasties to the time of Tang Dynasty led to a constant standardization of the rites, and these Courts gradually became more and more formalized. Since the establishment of Quanzhenjiao (全眞敎) in the early 12th century, a movement that emphasized putiy training, architecture for the ascetic practice emerged in remote natural spaces suitable for strict ascetic practices. Meanwhile, in Taoist architecture, the type and structure of buildings were strengthened in order to worship various gods. The various Taoist Courts established through this historical process embody the elements, institutions, and ecological ideas of Taoist culture. Taoist architecture basically pursued the idealism of Paradise in a Deep Cave (洞天福地) and adopted a feng-shui theory of using natural terrain artfully in selecting a place and building a layout. This was reflected through their ecology. Meanwhile, Taoist architecture does not destroy the balance of nature by emphasizing the utilization of local natural resources whenever possible while selecting building materials according to the principles of yinyang and the five movements (陰陽五行). In addition, Taoism aims to select simple places for practising asceticism and ancestral rituals whenever possible because of the need to maintain a simple mind, suppress desire, and return to a state of purity. This attitude is an indication of a kind of simple ecological ideas and value of frugality easily found in Taoism. The ecological ideas of Taoism provide abundant resources for considering solutions to the ecological crisis that arises in the creation of residential environments. Through the ecological ideas of Taoism, we can find a direction to understand the relationship between human beings and nature while creating new, sustainable residential environments.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.64-78
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• 2023

This article examines the background and meaning of the construction of Josadang Hall in Buseoksa Temple, Yeongju, by Seolsan Cheonhee(1307~1382) in the late 14th century through the characteristics of the hall's mural. Six guardian deities(the Four Heavenly Kings in the center, Indra and Brahma on each side of the kings) are depicted on the southern wall(location of the entrance) of the Josadang, facing the statue of the great monk Uisang(625~702 AD) on the north wall. This mural is the oldest among Korean temple murals and exhibits very unique characteristics. In general, scenes from the scriptures are depicted on the back wall of the central statue. In contrast, the Josadang mural depicts only the guardian deities facing the main statue with no scene description. The appearance of the deities, who seem to protect the main statue of the monk Uisang, and their expressions, as if drawn from relief statues, are not seen in other murals. Nevertheless, it is similar to the stupas of the Seon(Ch. Chan 禪) sect monks established from the late Silla(57 BC~935 AD) through early Goryeo(918~1392 AD), with guardian deities on their surface. The iconography of the deities is a classic form of the late Silla to early Goryeo. The fact that the Josadang was built to commemorate Uisang, who founded the Korean Hwaeom sect(Ch. Huayan sect, 華嚴宗), and that guardians were placed to protect Uisang's statue reveals the concept of worship for the monk who founded the sect. As a result, the reason Cheonhee built the hall can also be understood as an extension of the ideology behind the construction of the stupas of the Seon sect monks. The problem, however, is that Cheonhee is a monk of the Hwaeom sect, and Buseoksa is a representative temple of the Hwaeom sect, not the Seon sect. Therefore, to better understand the background of the hall's construction, this article examined the situation of Goryeo Buddhism in the 14th century as well as the activities of Seolsan Cheonhee. Since Ganhwa Seon(Ch. Kanhua Chan, 看話禪) was dominant in the 14th century, Cheonhee went to study in the Yuan Dynasty(1271~1368 AD) at the age of 58 and was approved by Chinese Ganhwaseon monks before taking the position of Guksa(國師 national monk). However, he was eventually pushed to Buseoksa Temple, where he worked hard to rebuild it. Cheonhee most likely sought to expand the Hwaeom sect, which had been shrinking compared to the Seon sect, by enhancing power with the reconstruction of Buseoksa. The desire that the Hwaeom sect, which was losing its power due to the rise of the Seon sect in the 14th century, attempted to develop it by building Josadang hall, is well revealed by the Josadang murals.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.1-19
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• 2013

This study tries to review 'Sakuteiki(作庭記)', the Book of Garden Making, compiled at the end of the 11th Century during the Heian Period of Japan, from the East-Asian perspective. 'Sakuteiki' is a Garden Theory Book, the oldest in the world as well as in Asia, and it contains the traditional knowledge of Japanese ancient garden culture, which originated from the continent(Korea and China). Traditional knowledge related to East-Asian garden culture reviewed in this paper is "Fungsu Theory"(風水, Asian traditional ecology: Fengshui in Chinese; Fusui in Japanese), stemmed from the culture to seek sound and blessed places to live in. Viewed from modern landscape architecture, the Fungsu Theory corresponds to ecology(science). The Fungsu Theory was established around the Han Dynasty of China together with the Yinyangwuxing(陰陽五行) Theory and widely used for making human residences including gardens. It was transmitted to Japan via Korea as well as through direct transaction between Japan and China. This study reinterprets garden design principles represented in Sakuteiki, which were selected in 5 key words according to the Fungsu Theory. The 5 key words for the Fungsu Theory are "the place in harmony of four guardian gods(四神相應地)", "planting trees in the four cardinal directions", "flow of Chi(氣)", "curved line and asymmetry", and "mountain is the king, water is the people". Garden design principles of "the place in harmony of four guardian gods(四神相應地)" and "planting trees in the four cardinal directions" are corresponding to "Myeongdang-ron(明堂論, Theory of propitious site)". The place in harmony of four guardian gods mentioned in Sakuteiki is a landform surrounded by the flow of water to the east, the great path to the west, the pond to the south, and the hill to the north. And the Theory originated from Zhaijing(宅經, Classic of dwelling Sites) of China. According to this principle, the city was planned and as a miniature model, the residence of the aristocrat during the Heian period was made. At the residence the location of the garden surrounded by the four gods(the flow of water, the great path, the pond, and the hill) is the Myeongdang(明堂, the propitious site: Mingtang in Chinese; Meido in Japanese). Sakuteiki explains how to substitute for the four gods by planting trees in the four cardinal directions when they were not given by nature. This way of planting originated from Zhaijing(宅經) and also goes back to Qiminyaoshu (齊民要術), compiled in the 6th Century of China. In this way of planting, the number of trees suggested in Sakuteiki is related to Hetu(河圖) and Luoshu(洛書), which are iconography of Yi(易), the philosophy of change, in ancient China. Such way of planting corresponds to that of Yongdoseo(龍圖墅, the villa based on the principle of Hetu) presented in Sanrimgyeongje (山林經濟), an encyclopedia on agriculture and living in the 17th Century of Korea. And garden design principles of "the flow of Chi(氣)", "curved line and asymmetry" is connected to "Saenggi Theory(生氣論, Theory of vitality)". Sakuteiki explains the right flow of Chi(氣) through the proper flow and the reverse flow of the garden stream and also suggests the curved line of the garden stream, asymmetric arrangement of bridges and stones in the garden, and indented shape of pond edges, which are ways of accumulating Chi(氣) and therefore lead to "Saenggi Theory" of the Fungsu Theory. The last design principle, "mountain is the king, water is the people", is related to "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory. Sakuteiki explains the meaning of garden through a metaphor, which views mountain as king, water as the people, and stones as king's retainers. It compares the situation in which the king governs the people with the help of his retainers to the ecological phenomena in which mountain(earth) controls water with the help of stones. This principle befits "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory which explains landform on the analogy of social systems, people, animals and things. As above, major garden design principles represented in Sakuteiki can be interpreted in the context of the Fungsu Theory, the traditional knowledge system in East Asia. Therefore, we can find the significance of Sakuteiki in that the wisdom of ancient garden culture in East-Asia was integrated in it, although it described the knowhow of a specific garden style in a specific period of Japan.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.72-92
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• 2023

As described above, the location of Jagiso eunchon in Goheung-hyeon and the nature of Undae-ri kiln site were examined. Goheung-hyeon's administrative agency was moved to Joyang-hyeon, which is now Joseong-myeon, Boseong-gun in 1395. Therefore, Goheung-hyeon Jagiso Eunchon in Sejongsillok Jiriji corresponding to 1424~1432 should be found in the west of Joseong-myeon, Boseong, where the administrative agency was moved in 1395. Among the four boundaries of Goheung-hyeon recorded in the 『Sejongsillok』 Jiriji, it is recorded as 2-ri by the sea in the south and 8-ri by Nakan in the east. If the current Goheung-hyeon is Goheung-hyeon's administrative agency in the Sejongsillok Jiriji Records Compilation Period, it cannot be the boundary the south and east mentioned above. This is because it cannot be 2-ri from the current Goheung-eup to the sea in the south, and Nakan is close to the north, not the east, as recorded. However, it has already been suggested that Joyanghyeonseong(朝陽縣城), located in Gonae Village, Ucheon-ri, Josung-myeon, Boseonggun is an Goheunghyeon's administrative agency. And if the four-way boundary of Goheung-hyeon was converted into the current distance unit based on this place(Joyanghyeonseong, 朝陽縣城), an approximate result could be obtained even if it did not exactly match. Therefore, it is highly likely that Goheung-hyeon's administrative agency, which was moved to Joyang-hyeon, Boseong in 1395, is Gonae Village, Ucheon-ri, JoSeong-myeon, Boseong. Jagiso eunchon(犾村) in Goheung-hyeon can be interpreted as a "dog-shouting village." It is thought to be a meaning structure of "animal + sound". A place name thought to have the same structure was identified in Jeongheung-ri, west of Ucheon-ri, Joseongmyeon, Boseong. It is the name of a village called Hoeum-dong(虎吟洞), and it is interpreted as the sound of a tiger or the bark of a tiger, which is the same as the meaning structure of Eunchon. However, there is Gaesan Village in the south of Hoeum-dong, and a Buncheong ware kiln site was identified around it. At this kiln site, a fragment of carved Buncheong ware engraved with the character "Eon", which corresponds to the right stroke of the character "Seom (贍)" in the name "Naeseom (內贍)" was identified. A small amount of Buncheong ware and Joseon celadon pieces were also identified. It can be seen that the Buncheong ware paid to the government was made by checking the Buncheong ware with the government name engraved on it. On the west side of Joyanghyeonseong Fortress in Ucheon-ri, joseong-myeon, Boseong, which was the administrative agency of Goheung-hyeon and the area around the Gaesan Buncheong ware kiln site in Jeongheung-ri, where the Buncheong ware paid to the government was, is thought to be Jagiso Eunchon, Goheung-hyeon. Jagiso and Dogiso are located in the four directions based on the administrative agency. Naturally, the location of Jagiso and Dogiso is also determined on where the administrative agency of Hyeon is. Since the Goheung-hyeon's administrative agency in the early Joseon Dynasty was moved to Ucheon-ri, joseong-myeon, Boseong-myeon, it is necessary to naturally find Jagiso and Dogiso in Boseong. In addition, regarding the nature of the kiln site in Undae-ri, the aspects of the excavated relics were considered. As a result, it is believed that the Undae-ri kiln site functioned as a jagiso in Heungyang-hyeon from February 1441 to the 1470s. If so, the "Ye" Buncheong ware, which was collected around Undae-ri kiln No. 7, could be naturally understood.