• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.127-143
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• 2010

This research was made on the interpretation of cultural landscape elements which is shown at nature management around Gyeongcheondae managed by Udam Chae Deug-gi, scholar in Joseon dynasty. Naming the nature management and natural features not only reflected on the formation toward the view of nature by the contemporary intellectuals, but influenced on the fashion of garden culture. Udam Chae Deug-gi dwelt in the riverside of Sangju, Kyungbuk as the characteristics of hermitage and managed landscape and had a willing to live a life free from worldly cares. The Gyeongchundae 28 landscapes, which was managed by himself, represent that natural features are named on the basis of neo-confucian principle and loyalty and he imposed symbolic meaning on landscape management by practically translating his aesthetic consciousness to reality; the name of detailed landscape is largely 'loyalty to Ming dynasty and to king's order and loyalty', 'Taoism' and 'Management will of landscape' by the life of metaphor and enjoyment, and symbolizes 'Searching for learning'. In addition, by selecting 10 out of 28 landscapes around Gyeongcheondae, lyrically describing the landscape by representing the change of time, season and the climate which is the scenic term of Great 8 Sosang views in fashion at that time focusing on the place he strolled or enjoyed watching himself; it can be seen that such moves are related with the landscape management in fashion in order to understand microcosmic providence with the change of natural environment. Therefore, Udam Chaedeug-gi is regarded as the neo-confucian view of nature for which any value scholars in Joseon dynasty have to own - 'loyalty' and 'integrity' - he usually emphasized himself to name the natural features and overcome the darkness of society comparing the landscape management around Gyeongchundae he lived a life free from worldly cares to the situation of Joseon dynasty when a transition times between Ming and Chung comes from China.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.34-44
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• 2018

In the Ancient Mesopotamia, Egypt, Judas, Greece, and Rome, Phoenix dactylifera was planted in gardens or orchards to signify life, blessing, and victory. Branches of Phoenix dactylifera, likened to high and precious, were referred to one of the gifts to the king in the second century BC and have been used in the Feast of Tabernacles. And they were engraved on the walls of the temple and along with cherub. Besides, Phoenix dactylifera is compared with a righteous person in the Bible since it grows straight despite strong winds. And, it was used as a symbol of honesty, justice, and right. Churches call the week before Easter Palm Sunday since the crowd laid the leaves of date palm trees on the road and shouted "Hosanna" while waving the date palm branches when Jesus entered Jerusalem. Moreover, pilgrim in the Middle Ages was called 'Palmer' in English due to custom of returning with the leaves and branches of date palm trees as a memorial of the Holy Land pilgrimage. This study analyzes naming issue of Phoenix dactylifera through the old literature and 27 versions of the most influential Bibles in History of Bible Translation in Korea, China, and Japan. Phoenix dactylifera is translated into Chinese as '棕櫚(Trachycarpus fortunei)', a native tree of China. 棕櫚 is similar to Phoenix dactylifera, but its fruit and leaf are quite distinct. This being so, translating Phoenix dactylifera as 棕櫚 has a limit to convey symbolic meaning adequately. In the Japanese Bible, on the other hand, Phoenix dactylifera is translated as 'なつめやし(Natsumeyashi)' meant date palm tree. Most of Protestant Bible in Korea use 'Jongryeo' like Chinese Bible while translation in Korean Catholic Bible(2005) varies from one scripture to another: 'Yaja Namu (Palm Tree)' - 38 times, 'Jongryeo Namu' - 5 times, and 'Daechu Yaja Namu (Date Palm Tree)' - 3 times. Date Palm Tree, 'Jongryeo Tree', and Palm Tree don't grow in Korea. However, they had long been recognized as Haejo(海棗), Jongryeo(?櫚), and Yaja(椰子) respectively through China and Japan. Each of them called by a distinct name correspond with its own characteristic and used separately in Korean Classics as Jongryeo and Haejo were identified in ancient Chinese literatures. It seems that more confusion was raised since 'Palm' was translated as 'Jongryeo' in several books including "?藤和英大辭典 (1915)", "Modern 朝鮮外來語辭典(1938)", and "Latin-Korean Dictionary(1995)". However, the Latin term 'Palmae' is translated into English as either palm tree or date palm. The results of this study suggest that more accurate translation of Phoenix dactylifera in the Bible would be 'Daechu Yaja Namu (Date Palm Tree)' and using different name fit for its own characteristic would be more appropriate.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.216-241
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• 2019

There are 35 cultural properties of fourteen kinds in the Demilitarized Zone known so far, but this number is expected to increase in the future. Among them, Cheolwon-Doseong and Jeongol-Chong of Gimhwa should be the first step toward conservation efforts by conducting a joint investigation through the collaboration of North and South Korea. In particular, the joint investigation of Cheolwon-Doseong will not only remind the North and South that they are the same people who have had common history and cultural traditions for a long time, but will also give symbolic meaning to convert the demilitarized zone into a stage for peace. Since Jeongol-Chong is a mass grave of the fallen soldiers of Pyeongan Province who fought against the invasion of the Qing of China, it should be managed as a national designated cultural asset through joint investigation. In addition, the Demilitarized Zone should become a World Heritage Site because of its importance to the legacy of the Korean War, an international war caused by an ideological confrontation. Furthermore, it has more than 6,000 kinds of temperate forests in addition to 100 species of endangered species and natural monuments. The DMZ is very qualified to be a World Natural Heritage Site, and should be included as a World Complex Cultural Heritage Site that qualifies as a World Heritage and World Natural Heritage Site. In the Demilitarized Zone, we can also find numerous highlands, tunnels and posts used during the Korean War, as well as surveillance posts, a military demarcation line, barbed wire fences, and Panmunjom, which were created by the armistice agreement. it would be desirable to select some of its sections and war facilities and to register them as modern cultural heritage assets. Finally, it is necessary to reconstruct the Dorasan Signal Fire Site, which was the communication facility of a traditional era which connected the South (Dorasan) and North (Gaesong). This would symbolize smooth communication between the two Koreas. In order to prepare for the reckless development of the Demilitarized Zone due to the upcoming cease-fire, the government and cultural asset experts will have to work hard to identify and preserve the cultural properties of the Demilitarized Zone, and they will also have to maintain consistent control over matters such as indiscriminate investigation and mine clearance.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.86-109
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• 2009

Mireuksa Temple was founded during the reign of King Mu of Baekje(AD 600-641). The circumstance of the construction of this temple is documented in "Memorabilia of the Three Kingdoms (Samgukyusa)". The pagoda named stone pagoda at Mireuksaji temple stands outside the main sanctuary of the western area. The south and west sides of the stone pagoda have completely collapsed, leaving only the eastern facade of six of its levels intact. Through the recent discovery of sarira reliquary we can see that the erection of this pagoda was in 639. So owing to accumulation of excavation results about Baekje temple site and vigorous academic exchange, it is possible that architecture of western pagoda at Mireuksaji temple can be understood in connection with the architectural development of wooden pagoda from 6th to early 7th century in East Asia. So this study is on the consideration of building of this pagoda putting first structure of upper part and cross-shaped space in 1st floor. It was considered that the material characteristics as stone could be applied to the temple pagoda architecture of large scale. The results are as follows. First, it had been built in recognition that the outer and inner part of pagoda should be separated. As it is the expression of structural system in temple pagoda architecture of large scale at that time. In pagoda there was a self-erected structure and the members of outer part of it were constructed additionally. Second, in Mireuksaji stone pagoda there is central column with stones. With inner part of pagoda it can be regarded as mixed structural system that constitutes central contral column and inner structural part. And it could be a kind of middle step to more developed structure of whole as wooden pagodas in Japan. Third, as the sarira reliquary was in central column on the first floor, the cross-shaped space could be made. The formation of this space was so on the natural meaning of sarira that the concept as memorial service of graves could be apllied to the pagoda. The style of tomb in Baekje was expressed to the space of 1st floor in pagoda where Sarira had been mstalled. That was not only effective presentation of symbolic space but also easier method in the use of same material.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.91-120
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• 2004

The Yan mountain area of the northern part of Hebei province and its local neighbor area is categorized main-distribution area of the northern bronze culture of the Eastern Zhou period(770bc~221bc). Recently, it was discovered the concrete character of the culture by a large scale excavation of the Yuhuangmiao cemetery at Jundu mountain. In the chinese scholarship, the cultural character of this area has established the independent cultural type that is distinguished from the Bronze culture of existing. In this paper, I have as a target of analysis remains relate to the Yuhuangmiao culture of the mountain area of northern Hebei in the Eastern Zhou period. And I would like to judge about diverse infuluential relationships of the character of the Yuhuangmiao curture and the Bronze culture, especially burials, burial customs and the characters of the excavated article. In particular, diverse infuluential relationships of the upper Xiajiadian culture Ordos bronze culture and The Central Plains cultural from The Yan state have a important meaning to understand about the character of the Yuhuangmiao culture and the beginning development process. Ultimately, it is peculiar characters of the Yuhuangmiao culture that a shaft gave with stone compartment protecting a coffin as a symbolic form, mask-burial customs such as mainly burials of the living with the dead dogs, a drum shaped jar, a tripod jar with two handles, a short bronze sword with circle hilt, Central Plains cultural bronze containers, bronze halberd and horse-shaped accessories of cartage horse trapping are distinguished from a local neighbor, the bronze culture from northern. The territory of time-space of The Yuhuangmiao culture can be dominately recognized bewteen the upper Xiajiadian culture and Ordos bronze culture. It is the Yan culture after the middle Warring States Period considering with the peculiar chacters which reflected by burials and bural customs and diverse infuluential relationships with peripheral cultures.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.35-50
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• 2022

The Korean cultural heritage protection act, enacted in 1962, is known to have been enacted in imitation of the Japanese cultural heritage protection act. The Japanese law differs from the current law dealing with intangible cultural heritage, folklore materials, and buried cultural properties. The Japanese law was enacted in consultation with the GHQ, and reflected the historical issues at the time of the enactment. Recently, in Japan, GHQ documents have been released and so research on the cultural heritage protection act is carried out. Therefore, it is necessary to understand the meaning and achievements of the Japanese cultural heritage protection act before comparing it with the Korean law. GHQ stipulated the emperor as a symbolic entity in the Japanese constitution and prescribed the country as a liberal democracy. Influenced by this, the cultural heritage protection act was enacted to identify the people's cultural heritage. Accordingly, the cultural heritage protection committee is a private and independent organization in Japan. The committee designates cultural heritage assets, and it operates as the national museum and the cultural heritage research institute. This system was a part of policy changes shifting cultural heritage management to the private sector. Since many cultural heritages are associated with the imperial family, museums were managed by the imperial family. Meanwhile, the Japanese house of councillors persuaded GHQ, which was negative about including intangible cultural heritage in the cultural heritage protection act. The purpose of this idea was to provide the system of the government support for Japanese imperial court music and dance. In addition, folk materials were included with the consent of the GHQ in that they represent the cultural heritages and the academic achievements of the people at the time in Japan. According to the Korean Law, the subject of designation of cultural heritage is the government, and the cultural heritage committee acts as an advisory body with its limited functions. In the early days, the committee confused the concept of intangible cultural heritage and folklore materials. This was because the concepts of cultural property was borrowed from Japanese law and applied to the Korean law without a full understanding. In response, the cultural heritage committee urged the ministry to investigate the current situation in Japan. The cultural heritage committee, mainly consisting of folklore scholars, was confused about the concepts of intangible cultural heritage and folklore materials, but the concept became clear when the enforcement regulations of the cultural heritage protection Act was enacted in 1964.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.6
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• pp.80-92
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• 2021

Mount Tai, with an elevation of 1,532 meters, has a reputation as 'The Most Revered of the Five Sacred Mountains(五嶽獨尊)', despite not being the highest mountain in China. The literati of the past dynasties created a multitude of works based on the landscape of Mount Tai. Traditional literature is a part of national culture that directly reflects the national characteristics and styles, and is an important part of humanities, which can be linked to landscapes. The purpose of this study is to investigate the landscape elements and characteristics of Mount Tai by analyzing the landscape types and elements and the Kernel Density, Mean Center and Standard Deviational Ellipse of the landscape elements appearing in the representative poems of traditional literature. The research results of this study are summarized as follows. First, Mount Tai is a scenic spot dominated by human activities, different from the natural landscape of prior research related to scenic spots. Second, among the landscape elements of Mount Tai, the importance of "sunrise", "cyan", "towering" and "majestic", "Divine Dragon" is confirmed, symbolizing the hope, brightness, vitality, national stability and prosperity represented by Mount Tai, which can explain the leadership position of Mount Tai. Third, it can be found from the poems about Mount Tai that various landscape elements were embodied in belief (the behavior of gods or emperors) in the Pre-Qin, Sui and Tang dynasties, while in modern times, landscape elements are shown by action (climbing and looking far into distance), so it can be said that the landscape elements have changed from belief landscapes to experience landscapes. Fourth, the spatial distribution of landscape elements in the past dynasties was widely distributed in the Daiding(岱頂). Approaching the modern times, the mean center moved from south outside of Mount Tai to the summit of Mount Tai, and the spatial distribution changed from a widely scattered distribution to narrow linear distribution centered on Mount Tai. The present study is of great significance to provide key factors or spaces for future landscape protection and restoration of Mount Tai.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.243-272
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• 2022

Jeongeup, Jeollabuk-do, is an area that requires attention from those who study the history of Korean thought. In addition, Jeongeup is an area wherein many works were recorded for the first time in literary history. This is the case with Jeongeupsa as a style of Baekje songs and the lyrics of the noble families of the Joseon Dynasty, Sangchungok. Jeongeup is likewise the location where Choi Chi-won (857~?) was selected to serve as a local taesu (viceroy) and where a unique tradition of music and style were passed down. In this paper, the relationship between Choi Chi-won's role in the process of establishing a silent Confucian academy in Jeongeup and the emergence of scholar culture was examined. When Choi Chi-won left after his term in office, a birth shrine called Taesansa Temple was built to repay the selection of the villagers, and it became the source that led to the opening of the Confucian academy Museongseowon in the future. Jeongeup will be shown to be the location where Choi Chi-won realized his aspirations and honed his capabilities. In particular, Choi Chi-won's played a crucial role in the mid-Joseon Dynasty by supporting the construction and securing the name of Museongseowon. That is why Choi Chi-won was able to be revived as a symbolic figure in the region. In addition, it can be seen that the shape of Choi Chi-won was more sedentary- in the form of a Confucian scholar- and Confucian scholars emphasized the transfer of portraits at Museongseowon. Through the poetry written by Choi Chi-won, readers can learn about the worries and perceptions of scholars during those times. Although his value in the field of poetry is diverse, he can especially be recognized as a Confucian intellectual. In a large number of his works, he expresses his anxiety, agony, and critical inner consciousness all of which came from his encounter with the realities of his time. In fact, Choi Chi-won showed his qualities as a prominent literary figure of his time who had extraordinary aspirations and an admirable work ethic. However, he failed to overcome his regional and mental alienation as a poet in neighboring countries. Therefore, he internalized a sort of fierceness in terms of his perception of the world. However, it seems that it was rather a factor that made his work exhibit a strong lyrical style. In addition, Choi Chi-won's collection of writings includes a number of works that strongly criticized various forms of pathological phenomena caused by terminal phenomena of the time. He also highlighted the wrong in society by realistically depicting the lives poor and needy people and their eventual sacrifice via distorted relationships. This can be read encapsulating the agony of intellectuals of that time. The dictionary definition of a 'Confucian scholar' is "a Confucian term referring to a person or class that embodies Confucian ideology," and in its contemporary meaning it suggests " ⋯ an example of a personality, but not an identity, and the conscience of one's time period as a source of human morality inwardly and social order outwardly." In this respect, it could even be said that Choi Chi-won could be considered the originator of scholar culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.10-19
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• 2022

In this study, historical and cultural landscapes were reviewed focusing on Mangjinsan Mountain in Jinju, Gyeongsangnam-do, and the scenic value was examined through this. First, Mangjinsan Mountain was noted in history, as Ansan(案山, a mountain on the opposite side of a housing/grave site) in Jinju, where Bongsu(烽燧, the beacon fire station) is located. Information on Mangjinsan Mountain was gradually doubled due to its status, and the beacon fire station of Mangjinsan Mountain was in charge of defending the Jinju area. Mangjinsan Mountain was described as a symbolic landscape of Jinju. Regarding the etymology of Mangjinsan Mountain, Sung Yeo-Sin(成汝信) analyzed the geography of Jinju and suggested that it was a place name originating from the phoenix. However, looking at various records, it is confirmed that the name of Mangjinsan Mountain is maintained uniformly, but the inscription is not unified. Second, Mangjinsan Mountain became one of the major stage for the Japanese Invasion of Korea in 1592, and in 1597. It is confirmed to be a place which has joys and sorrows, for that it provided an opportunity to win the Siege of Jinju in 1592, but many casualties occurred in 1597. On the other hand, in the area of Mangjinsan Mountain Byeolseo(別墅), temples, and administrative facilities were located to establish cultural history of the time, and in the 19th century, Manggyeongdae Pavilion was built due to the scenic value of viewing Jinju Castle. These are examples of testimony how Mangjinsan Mountain has an important meaning in Jinju's history and culture. Third, in the late Joseon Dynasty, a poem reciting Mangjinsan Mountain appears, which shows that the Mountain has established itself as a scenic site in Jinju. The description of Mangjinsan Mountain is confirmed in the literature that lists the scenic sites of Jinju. On the other hand, writers who lived in Jinju paid attention to the beacon fire station, singing about the peaceful world without war and looking back the history. In the 19th century, Jeonbyeolyeon(a farewell party) was held, which seems to be the result of the beauty of viewing Jinju and overviewing the area. Through the facts, the symbolism and scenic value of Mangjinsan Mountain in Jinju were confirmed.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.