• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.4
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• pp.81-93
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• 1995

Landscape Style would take various influences in general. In that of Korean Palaces religious thinking has been caused he most important factor. This conceptual attitude has been derived from Confucian philosophies and the doctrines of Taoism, the realm of ideas that had constituted the schema of culture through long times in the Orient. This paper has dealt with the influences of one's outlook on the universe, antropocentricism, and on the relationships of man and nature in those two major teachings upon the landscape style of palaces in Chosun Dynasty. The Confucian philosophies and the doctrines of Taoism in Taosim in palaces would be summarized as followings: 1. The composition of exterior spaces had been understood as a place for moral training and political morality in the world view of Confucious. 2. The view point on court circle with plants and trees had directed to the influences of beauty upon the human spirit, and it is clear in naming attitude. 3. The composition type of void and solid in palaces would focused on the completion of Confucian thoughts totally, and the method of a unit space is same. 4. The double symbolic ideas could be find out in the components of exterior space; one is Confucian in phenomena, the other is Taoism in meaning. This can be cleared in Pangji(方池), layout of natural features, and in planting methods. As a conclusion, the common spiritual base in landscape architecture of Korean old palaces can be understood as two major thinkings; Confucian philosophies and the doctrines of Taoism.

• (The)Study of the Eastern Classic
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• no.67
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• pp.379-418
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• 2017

Weoldae -which we can find inside Joseon palaces- is usually erected in front of important structures including the Main Hall(Jeongjeon, 正殿). There is no clear definition of its nature that we can find in official law codes or dynastic ritual manuals, and such records do not specify what kind of rules should be observed in creating them either. In illustrations of palaces such as and , Weoldae can be seen at structures such as the Main "Jeongjeon" Hall(正殿), Royal office(Pyeonjeon, 便殿), Royal Quarters(Jeongchim, 正寢), Queen's bedroom(Chimjeon, 寢殿), Quarters of the Crown Prince(Dong'gung, 東宮), and other structures. All these structures equipped with a Weoldae were related to special figures inside the royal family such as the king, the queen, the crown prince, and the crown-prince' son. These figures were literally above the law, and as such their treatment could not be defined by law. And these spaces were where they worked or rested while they lived, and where their posthumous tablets(Shinju, 神主) or portraits(Eojin, 御眞) were enshrined after they died. (When such spaces were used for latter purposes, they were designated either as 'Honjeon[魂殿, chamber of the tablet]' or 'Jinjeon[眞殿, hall of portrait']). Joseon was a Confucian dynasty with a strict social stratification system, and the palace structures reflected such atmosphere as well. We can see that structures described with Weoldae in and were structures which were more important than others that did not have a Weoldae. Among structures with Weoldae, the place which hosted most of the dynastic rituals was the Main Hall. In this Main Hall, the King swore an oath himself, passed the incense(香) himself during memorial services, and observed honoring ceremonies[Manbae-rye(望拜禮)] at the "Hwangdan"(皇壇) altar which was built to commemorate the three Ming Emperors. The so-called "Two Palaces[兩闕]" of Joseon shared a unique relationship in terms of their own Weoldae units and the rituals that were held there. In the early half of the Joseon dynasty period, Gyeongbok-gung(景福宮) and Dong'gweol(東闕) constituted the "Two palaces," but after the war with the Japanese in the 1590s during which the Gyeongbok-gung palace was incinerated, Dong'gweol and Seogweol(西闕) came to newly form the "Two palaces" instead. Meanwhile, Changdeok-gung(昌德宮) became the main palace[法宮], replacing the previous one which had been Gyeongbok-gung. In general, when a king moved to another palace, the ancestral tablets in the Honjeon chamber or the portrait in the Jinjeon hall would accompany him as well. Their presence would be established within the new palace. But king Yeongjo was an exception from that practice. Even after he moved to the Gyeong'hi-gung(慶熙宮) palace, he continued to pay visit to the Jinjeon Hall at Changdeok-gung. While he was positioned inside Gyeong'hi-gung, he did not manage the palace with Gyeonghi-gung as its sole center. He tried to manage other palaces like Changdeok-gung and Chang'gyeong-gung(昌慶宮) as well, and as organically as possible.

• Korean Institute of Interior Design Journal
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• no.38
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• pp.30-37
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• 2003

During the years of KwangHaeGun, an active public services of building large scale palaces such as reconstruction of ChangDukGung and ChangKyungGung and new construction of InKyungGung and KyungFukGung were carried out. And palaces of Chosun dynasty didn't go much different from those of KwangHaeGun years. By analyzing historical records, ancient maps, palace drawings, architectural forms of ChimJun(寢殿) in InKyungGung(仁慶宮) are examined. ChimJun is sleeping rooms of king and queen. The results are followings: Since Sejong dynasty, functions of king and queen were starting to differentiate, that during the years of KwangHaeGun, two Chimjun(寢殿) were made. ChungWaJun(靑瓦殿) is king's sleeping rooms, located in the west among two, and have a blue tiled roof. KyungSooJun(慶壽澱) is queen's sleeping rooms, located in the east among two. King's ChimJun built on stone pillars, and queen's ChimJun on a wide base as it called Waldae(月臺).

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.4
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• pp.141-157
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• 1998

It has been general view to Josun palace space that the Kyongbok palace, a main palace, is arranged with symmetric geometrical composition principles and, unlikely main palace, sub-palaces such as Changduk, Changkyong and Kyonghee palace are placed in organic structure adapted to natural land form. With that view, there are no common factors to be considered between these palace, main and sub palace, in composting principles of the space. In this study, because of same ideological period, although there is external difference of that palaces, that common ideological principles are projected to these two palaces types through compositing space is assumed. On this hypostasis, this study has been focused on finding the ideological principles projected to these palace space commonly. As result of study, some of them are considered as common principles; Firstly, they are arranged in the text of contents through the way of naming to building, enterence and so on. The second point is ; it is viewed that the Oheung and symmetric arrangement method based on Oheung are used in compositing of palace space. The third is ; through analizing central space of Kyongbok palace, it is analized that oneness composition principles, which are based on the theory of Umyangheong, are projected to different palace space commonly.

• 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).

• Journal of architectural history
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• v.6 no.3 s.13
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• pp.23-44
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• 1997

There are two main halls in the Main Palace of the Koryo Dyansty in the 11th and 12th century. One, named Hoekyongjeon, was served only for special ceremony ; hundred Buddhist priests' sermons or receiption of Chinese emperor's letters. The other one, Kondukjeon, was used as ordinary throne hall. The ordinary throne hall was built when the palace was erected at the beginning era of the Koryo Danasty, while the special ceremony hall built after the reconstruction in the 11th century. The throne hall was located at northwest side of the special ceremony hall. Audience chamber and King's bedroom were located at west and northwest side of the throne hall. The basic layout of the Palace showed unsymmetrical shape. It seemed mainly effected by its undulating terraine. The acess road from main gate to the throne hall showed zigzag way, by following a stream penetrating the site obliquely, It could be said that the Main Palace of the Koryo Danasty achieved its originality on the aspect of unsymmetrical layout and zigzag acess road, which was not found in the former palaces.

• Journal of architectural history
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• v.31 no.4
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• pp.29-44
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• 2022

This thesis is a study to Haengnang(行廊, a series of buildings) of Sijeon(市廛, licensed markets), which was built along with palaces, Jongmyo(宗廟) and roads in order to establish Hanyang(漢陽) as the capital of Joseon (朝鮮). Sijeon, built on Jongno and Namdaemun-ro, the main roads in Hanyang, created two-row lands on both sides of the road, and formed Pimat-gil as an inner road between the Jeonbang and Doga. The formation of the city proceeded along with the maintenance of the water path, and the situation of the water path parallel to the flow of Sijeon was achieved. The Sijeon building was a spatial structure managed by independent rooms as a result of reflecting the unique operation method of Sijeon. The Sijeon of Hanyang had an impact on the formation of land, architecture, roads, and waterways, and acted as a major factor in determining the urban spatial structure of Hanyang City.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.1-12
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• 2019

A bridge is a structure constructed on water or in the air for convenient passage. Compared to other buildings, the building materials and structures of bridge required unique functions to cross the space. It depends on the productivity of the building, the level of science and technology, and the ecological environment of the building site. Also, it has important relationship with functions such as politics, military, economy, and life. Most of the academic research on bridges is focused on research in the field of bridge-building technology, so the study on the landscape aesthetics and history of bridges is lacking. Against this backdrop, the study will be valuable as a accumulation of both countries' understanding of bridge types, history and culture, as well as technical and aesthetic data, by analyzing the bridges located within the palaces of Korea and China. The research method is to analyze the bridge through field survey and literature analysis.. First, the bridges of royal palace of Korea and China are to be classified quantitatively as physical shapes, landscapes, and decorations by comparing the materials, forms, landscapes, and decorative culture of bridges. Second, characteristics, common points, and differences are extracted by classifying bridges of both countries. Also, the results are discussed based on the physical environment or cultural background. This would be worth cross-referencing in the building technology and aesthetics of the two countries. For the first important characteristics of result, main materials of Korean and Chinese palaces are stone. However, the bridge in China's royal palaces is also focused on wood. Second, in terms of form, the bridges in the royal gardens of Korea and China are all based on the beam bridge. However, the specific form, ratio, style of the beam bridge, and airspace of arched bridge are very different. Third, most of the connection methods are focused on the over bridge. It values the convergence with the surrounding landscape. Due to the difference in the area and location of water, the bridge in the Korean palace is more focused on the convergence of the surrounding buildings and plants, while the bridge in the Chinese palace is more concerned about the harmony of hydration. Fourth, the decoration places importance on the artistry and aesthetics of both the bridges in Korea and China. There is a difference in style in the same type of decoration due to culture.

• Archives of design research
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• v.18 no.4 s.62
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• pp.277-286
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• 2005

The purpose of this study is to ascertain the design element in traditional palaces of Korea, China and Japan. It takes threesteps to proceed this study. Firstly, it needs to be established the analysis framework from the documents. In second step, the design elements - the form, the material, the pattern and the color - should be collected and investigated through the observation of the actual traditional palaces the Changduckung, the Forbidden City, the Nijo castle. The third step is the analysis of the results of the investigation of the design elements from step two. To sum up similarities and dissimilarities among the design element in traditional palaces of Korea, China and Japan is as the following It is to be noticed that the mainly common characteristics of the artistic design are 'naturalism', 'harmonious ideas' and 'confucianism'. But the representation style of the design element is differed from the country. : The typical features of China are symmetry, glassy surface by artificial process, the meandered curve, the magnificent pattern and the constrable color. In Japan, the mathematical asymmetry, made-up rough surface by artificial skill, decorativepattern with abbreviation and achromatic color are important feature of the design element. While the major features of Korean design element are asymmetrical balance with nature, rough surface by natural process, moderate pattern and harmonious color.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.24-47
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• 2013

This study focused on the constructional concepts, landscape design techniques and changes made of the Sandan(山壇) area in the rear garden of Changdeokgung Palace based on the spatial organization of the zone. The results of this study are as below. Constructional layers that have been maintained throughout the centuries from King Injo(仁祖), King Sukjong(肅宗), King Sunjo(純祖), the Japanese colonial period to the present, were found in the Sandan area. The Sandan area, which was developed with the establishment of Chuiseungjeong(取勝亭) during the ruling of King Injo(仁祖), was created as a resting place for the King, and its usage continued until King Sukjong(肅宗) built Nakminjeong(樂民亭). However, the whole area was reorganized to host ritual ceremonies, where ancestral rites were performed for the mountain gods, after Sandan and Baekunsa(白雲社) were built during King Gojong's reign, before the drawing of 'Painting of Eastern Palaces(東闕圖).' The architectural component used then appears to have been designed to serve ancestral ritual formalities for the god of land, or to satisfy the religious desires of the royal family not fulfilled by Confucian courtesy. These are characteristics that define the Sandan area. Meanwhile, the analysis of the ground plan of the Changdeokgung Palace revealed that the Sandan had been maintained until the Japanese colonial era, but was removed sometime after liberation. The area underwent extensive reform in the early 1970s, when the whole area was developed into a tourist destination called Bingcheon(氷泉). Then, a new road that runs through Bingcheon was laid, and the present condition reflects the construction result of the time. An interview with a person who had taken part in the repair work in the 1970s confirmed that the construction work at the time had the goal of establishing two drainage systems for drinking water and copied the Okryuchon(玉流川) well.