• Journal of Korean Society of Rural Planning
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• v.30 no.1
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• pp.15-31
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• 2024

The study primarily aims to examine the characteristics of the transition from natural landscape to modern agricultural landscape on the Daesan plain in Dong-myeon, Changwon-si, in the lower reaches of the Nakdong River. The periods covered in the transition include the late Joseon Dynasty, the early Japanese colonial period, and the late Japanese colonial period. The study concluded the following: It was found that the Daesan Plain used to function as a hydrophilic landscape before it formed into a rural landscape. This is characterized by the various water resources in the Plain, primarily by the Nakdong River, with its back marsh tributaries, the Junam Reservoir and Jucheon. To achieve its recent form, the Daesan Plain was subjected to human trial and error. Through installation of irrigation facilities such as embankments and sluices, the irregularly-shaped wetlands were transformed into large-scale farmlands while the same irrigation facilities underwent constant renovation to permanently stabilize the rural landscape. These processes of transformation were similarly a product of typical colonial expropriation. During the Japanese colonial period, Japanese capitalists initiated the construction of private farms which led to the national land development policy by the Governor-General of Korea. These landscape changes are indicative of resource capitalism depicted by the expansion of agricultural production value by the application of resource capital to undeveloped natural space for economic viability. As a result, the hierarchical structure was magnified resulting to the exacerbation of community and economic structural imbalances which presents an alternative yet related perspective to the evolution of landscapes during the Japanese colonial period. In addition, considering Daesan Plain's vulnerability to changing weather conditions, natural processes have also been a factor to its landscape transformation. Such occurrences endanger the sustainability of the area as when floods inundate cultivated lands and render them unstable, endangering residents, as well as the harvests. In conclusion, the Daesan Plain originally took the form of a hydrophilic landscape and started significantly evolving into a rural landscape since the Japanese colonial period. Human-induced land development and geophysical processes significantly impacted this transformation which also exemplifies the several ways of how undeveloped natural landscapes turn into mechanized and capitalized rural landscapes by colonial resource capitalism and development policies.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.18-35
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• 2024

The Tomb of Jang Mui was discovered and investigated during the Japanese colonial era. It has provided key archaeological material for identifying the Daebang Commandery mentioned in historical records as Sariwon in Hwanghae-do Province when some bricks used in the construction of the tomb were found to be stamped with the official title "Prefect of Daebang Commandery." The discovery of the Tomb of Jang Mui served to confirm that the brick chamber tombs found along the Daedonggang River in 1909 were related to the Nangnang Commandery. It can be viewed as a major archaeological breakthrough that settled a debate over the locations of the Daesu River and Daebang Commandery that had been ongoing since the early Joseon Dynasty. Despite its significance for archeology and ancient Korean history, the circumstances of the discovery and investigations of the Tomb of Jang Mui have not been thoroughly examined. Inscribed bricks and roof tiles unearthed during the excavation conducted by Sekino Tadashi in 1912 are currently housed at The University Museum of The University of Tokyo. A number of other bricks excavated from the Tomb of Jang Mui are in the collection of the National Museum of Korea. Main agents of the investigations into these materials have not all been identified. Only some records on the materials collected during the investigations by Nomori Gen and others specify the main investigators. Inscribed bricks from other related tombs are also found in the Tokyo National Museum and at several universities in Japan. It is hoped that a comprehensive report incorporating all these materials can be written. Based on a reinterpretation of its structure conducted by Jung In-seung in 2010, the Tomb of Jang Mui has been dated to 348. This means it was not built during the Daebang Commandery period. The most compelling archaeological evidence regarding the location of the Daebang Commandery and its local capital has been undermined. It is hoped that active discussions will be held on the issue of the Daebang Commandery and its local capital.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.20-35
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• 2022

This study was conducted on the locational results of the 'Yusanggoksu(流觴曲水)' petroglyphs located in Hwanggak-dong(黃閣洞), Shinsong-ri, Geumma-myeon, Iksan-si through literature study, analysis of old maps and aerial photos, field observations, drone photography, elevation surveys, and interviews with residents. It was attempted for the purpose of illuminating and preserving the relics of the domestic Yusanggoksu garden by clarifying the spatiality of this place by tracing the spatiality and examining the possibility of enjoying the Yusanggoksu water system in this place. The conclusion of this study is as follows. The area around Hwanggak-dong, where the Yusanggoksu remains, has been selected as the most beautiful scenic spot in Iksan in various documents. The origin of 'Hwanggak' is considered to be closely related to the nickname of Uijeongbu(議政府). In other words, he paid attention to the relationship with Yanggok, So Se-yang(蘇世讓), who served as Chan-seong Jwa(左贊成). In particular, he paid attention to the relationship with his birthplace, Taeheojeong, a separate book, and Toehyudang, a retreat hall), tombs, and posthumous Confucian academies were distributed in the vicinity. Haseo-dae(荷鋤臺), a wide rock on which a hoe is hung on a rock after field work, seems to express a leisurely rural life and a simple and hermit life, based on the examples of Chinese and Korean poetry. The dark blood on the upper part of the Seobwi Rock with the inscription 'Yusanggoksu', which is the core of this site, is identified as a chailgong(遮日孔) to support the water system, and Ilgan-pavilion and Mojeong(茅亭) nearby are to support the yusanggoksu. It seems to have performed a spatial function for The inscription 'Hwanggak-dong' engraved on the front of Deungzanbawi is the gateway to Hwanggakdongcheon(黃閣洞天) and identified the idealized world existing in the village. Judging from the documentary records of the Iksan-gun 『Chongswaelog(叢瑣錄)』, the rock letters 'Hwanggak-dong' and 'Haseodae' were engraved on March 29, 1901, the 5th year of Gwangmu, the 5th year of the Korean Empire, by Iksan-gun Governor Oh Haeng-mook(吳宖默) and his acquaintance Seokseong Kim In-gil(金寅吉) Confirmed. Also, considering the tense of Lee Bong-gu's 「Hwanggakdongun(黃閣洞韻)」 and So Jin-deok, a descendant of Yanggok, 「Hwanggakdongsihoe(黃閣洞詩會)」, it is presumed that it was related to Goksuyeon(曲水宴) in Hwanggak-dong. It can be inferred that the current affairs meetings were held at least until the early days of Japanese colonial rule. Meanwhile, the maximum width of the current curved waterway was calculated as 11.3m and the transverse slope was 15.0%. If so, it is estimated that the width and extension distance of the curved waterway would have been much longer. Judging from the use of mochun(暮春), drinking and poetry, the tense 'Hwanggakdongsihoe' related to the Yusanggoksu relics in Hwanggak-dong, and the existence of a pavilion presumed to be Yusangjeong(流觴亭) called Ilgan-pavilion in the nearby Yusanggoksu site It is confirmed that it was a space where Yusanggoksuyeon(流觴曲水宴) spread at least until the end of the Joseon Dynasty. Unfortunately, it remains a limitation of the study that it cannot be confirmed due to lack of data on the rock characters of 'Yusanggoksu' and those who enjoyed it before the end of the Joseon Dynasty. This is an area that needs to be elucidated through continuous efforts to find data on this issue in the future.

• (The) Research of the performance art and culture
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• no.34
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• pp.315-353
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• 2017

This study examined the music policies of the three kings, Seongjong, Jungjong, and Injo, who were in power for about 200 years from the late 15th century to the early 17th century. These three kings deserve attention in musical history for different reasons. Sungjong published "Gugjooryeui"(1474), "Gyeong-gugdaejeon"(1476), and "Aghaggwebeom"(1493), the typical etiquette books, law books, and musical books that take the most important position in the history of Joseon, so his direction of music policy deserves attention. Jungjong was the king who rose to the throne after there was a revolt against Yeonsangun's tyranny. Injo ascended to the throne by starting a military coup d'etat himself. One may wonder how the aspect of music policies developed by a king, who was crowned by a revolt, is different from other cases. As each of these three kings had different background of enthronement and the contents of music policies in the royal family also developed with different emphasis, this study examined each aspect separately. Sungjong emphasized the importance of music and regarded it important to cultivate officials who know music. To this end, he gave a special order to Yejo(the office of protocol) and this study tried to clarify the contents first. In addition, this study examined the process, contents, and meaning of various modification works related to the revision of the lyrics used in the ceremonies. Jungjong supplemented the institutional aspects of music. This is the result of expressing the will to correct the anomalous and reckless music policies of the period of Yeonsangun. In addition, many words in the lyrics had been about Buddhist doctrines and love songs between male and female, so there were efforts to reform these. As for the period of Injo, this study examined the music policies that were made in the process of resolving the crisis after the war. It was a time when court musicians were scattered after two times of war and it was not possible to hold the national ritual properly, so music policies in this period were different from the ones in stable era. This study covered discussions on the measures to collect lost instruments and scattered musicians. It also looked at how the restoration effort was made in the situation that the music used in ancestral rites was abolished.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.74-91
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• 2014

The stone statues in the site of Mireuksaji Temple(Iksan, South Korea) were created after the stone pagoda was built in 639. They, transitional statues between animal sculptures and human shaped statues made from the late Goryeo dynasty until the early Joseon dynasty, were set up at the four corners of the stone pagoda by way of guardians. In the case of three statues, their surfaces were denudated and their iconographies have been indiscernible. However, the one in the southwest clearly shows its iconography. It is inferior in properties to the other three statues in the northwest, the northeast and the southeast respectively, but on the other hand its iconography has been well maintained. The reason is related to exposure to harmful environments; specifically, the retaining wall, built around the stone pagoda in the 17th century, had the southwest statue inside and could naturally worked as a buffer against harmful environments. As a result, for about 400 years there has been difference in weathering conditions between the three stone statues and the southwest statue, which brought denudation, the consequent indiscernibleness of iconography and biological invasion to the three statues, notwithstanding superior properties(northwest statue:$176kgf/cm^2$, northeast statue:$109kgf/cm^2$, southeast statue:$273kgf/cm^2$). In contrast, the southwest statue significantly shows its iconography with black contaminants and granule decomposition, despite inferior properties($133kgf/cm^2$). Defenseless exposure to external environment is not recommended for the stone statues, because it is hard to preserve the extant iconography. Herein lies the application of the data on microclimate around Mireuksaji Temple. As regards the weathering zone in which the stone statues are located, Conservation increases in acidity and frequency as years go by, Hereat, in the approach to the Conservation of stone statues, the first consideration needs to be morphological historicity rather than geographical location.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.255-262
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• 2023

In the early 20th century, Yeomjae Song Tae-hoe (念齋 宋泰會, 1872-1941), a disciple and onetime adopted son of teacher Song Su-myeon(宋修勉, 1847-1916), moved to Gochang and laid the foundation for Gochang calligraphy and painting, and it can be seen that a full-fledged flow began. Yeomjae Song Tae-hoe was a scholar and calligrapher of the late Joseon Dynasty and modern period from Hwasun, Jeollanam-do. He is a person who created the foundation of Gochang calligraphy and painting while working as an educator in Chinese literature, calligraphy, and painting, mainly in his hometown of Hwasun and Gochang, while engaging in creative activities. He was intelligent from a young age and showed an extraordinary talent for calligraphy. At the age of 16, he passed the Jinsa exam (童蒙進士) and became the youngest student to study at Sungkyunkwan. He was active by holding exhibitions nationwide based in Gochang and Jeonju, and was also an educator who fostered younger students by establishing Gochang High School (currently, Gochang Middle and High School) to cultivate national spirit and history. Yeomjae drew strong and healthy landscape paintings under the absolute influence of the painting style of Saho Song Su-myeon, and dealt with various materials of southern school literati paintings such as flowers and birds and four plants. In particular, he is a representative calligrapher who encompasses the early modern era and the modern era in that he expressed his interest in new cultural artifacts as well as the realization of a modern-oriented realistic landscape based on Korean natural beauty. He laid the foundation for modern and contemporary calligraphy and painting. Goam Lee Eung-no (顧菴 李應魯, 1904-1989), a world-renowned painter, learned the basics of ink painting from Yeomjae in his late teens.However, compared to his various artistic and social activities, it is regrettable that he is limited and evaluated as a local writer.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• 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.