• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.186-205
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• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.1
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• pp.103-115
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• 2008

This paper investigates the historical significance of Independence Park in Korean landscape architecture by examining the idea and goal, master plan and scheme, and meaning and limitation of the park The construction was announced in July and began with the Independence Arch in the middle of September, 1896. Dr. Philip Jaisohn (Suh Jai-Pil), Counselor of The Privy Office and president of the Independence newspaper, played an important role in park construction. He formally advised the arrangements and general planning of the park, but he actually played a leading role in the park as much as he designed and superintended the erection of the arch. He had the conception of a productive park for cultivating and experimenting with a variety of trees surrounding the monument. In terms of the history of Korean landscape architecture, Independence Park is important in that it is the first modem city park that was tried independently as part of the modernizing-Seoul project and the only park of which object and scheme were revealed. It also strengthens the roots of Korean modem landscape architecture by pushing Korean history of public parks into the prior time to Japanese colonial period and enriches the contents of Korean modem landscape architecture. Independence Park is the original realization of a public park because it was constructed with participation and donations from the planning stage to the construction and use. In addition, it is the goal and means to inspire the spirit of national independence and patriotism in Korean people and lead them to voluntary awakening, enlightenment, and participation. Independence Park, however, was not constructed according to Dr. Jaisohn's original intent due to the lack of funds and the rudimentary level of landscape construction technology. In addition, the location was too far from downtown and accessibility was very difficult. For these reasons, many do not consider the park as having been constructed. However, this kind of view must be changed. Other parks of the time were not detailed and decorated like typical western parks, but were left as public spaces. In other words, these parks should not be judged by comparing them to western parks. This is the same concept as that of the first parks of modem Korea being called 'park land.' These parks were more natural environments than planned gardens.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.264-271
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• 2019

Cheomseongdae in Gyeongju, known as an astronomical observatory, is a cultural monument with great historical, academic, and artistic value, as its unique shape is preserved well in its original form. The outer structure, ground stability, and seismic reliability of Cheomseongdae have been assessed by numerous researchers through various scientific methods, but research on the underground structure has been insufficient. This paper contains detailed models of the underground structure of Cheomseongdae interpreted in 2D and 3D images based on the data acquired through GPR surveys conducted of features in and around the base of Cheomseongdae. As a result, the existence of twelve small features arranged in a circle, although only about half of them remain, was confirmed at a depth of 0.4 - 0.6m. Furthermore, a structure three bays long (north-south direction) and four bays wide (east-west direction) was detected beneath Cheomseongdae at the depth of 0.7 - 1.0m. Other than 2 layers of foundations as is known, a square structure with the dimensions of 7m × 7m is situated at a depth of 0.6m, directly under Cheomseongdae, and what is reading that is expected to be the foundation structure of Cheomseongdae was detected and confirmed. This foundation structure is circular with a diameter in the east-west direction of 11m and in the north-south direction of 12m. The northern, western, and eastern edges of this foundation structure are about 1m away from the foundation of Cheomseongdae, whereas the the south side extends to about 5m wide.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.181-208
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• 2019

This paper presents a new classification and code system on the Archives of the Government-general Museum of Joseon in the National Museum of Korea. Three points were noted that since the Museum belonged to the Government-general of Joseon, the classification system of the Archives should be established to comply with the Archives system of the Government-general of Joseon; based on the concept of the functional provenance, it is necessary to establish a classification system in accordance with the organization structure of the Government-general Museum of Joseon; a systematic and simple classification codes should be given based on the classification system to improve the convenience of searching and using the official document. The classification system and its code are proposed in the order of major function, medium function, small function, and detailed function. The major function of the Archives is 'A-Educational affairs', medium function 'Museum.' The small function may be divided into General affairs (01), Temple (02), Scenic Spot and Natural Monument (03), Historical Site (04), and Museum (05). The detailed function and detailed sub-functions are categorized by the various work assignments in each work units. I hope that this new classification system will make a contribution to organizing and utilizing the Archives of the Government-general Museum of Joseon in the National Museum of Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.46-56
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• 2022

This study aimed to analyze the locational characteristics of heritage sites in Seoul in order to identify flood susceptibility by type. As for the location factors related to flood susceptibility, elevation, slope, distance to streams, and topographic location were analyzed. Literature review was supplemented for the historical and humanistic environments of heritage sites. The results of the study are as follows. First, heritage sites in Seoul are distributed throughout the city, and are especially highly dense in the Hanyangdoseong fortress. It was also confirmed that heritage sites were concentrated around Jung-gu, Jongno-gu, Jingwan-dong, and Ui-dong in the quantitative spatial analyses. Second, types of heritage sites at the circumstance susceptible to flood damage were related to commerce and distribution, traffic, modern traffic and communication, geological monument, residence, government office, and palace. Third, heritage types with locational characteristics that showed low flood susceptibility were found to be natural scenic spots, telecommunication, ceramics, Buddhism, tombs, and tomb sculptural heritage assets. In a time when risk factors that can damage the value of heritage are gradually increasing due to anthropogenic influences along with changes in the natural environment, this study provides basic data for vulnerability analysis that reflects the unique characteristics of heritage assets. The results can contribute to more comprehensive and comprehensive insights for the management and protection of heritage by including the humanities and social science data together with natural factors in the analysis.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.26-44
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• 2017

Regarded as Korea's traditional pond, Gungnamj Pond was surmised to be "Gungnamji" due to its geological positioning in the south of Hwajisan (花枝山) and relics of the Gwanbuk-ri (官北里) suspected of being components to the historical records of Muwang (武王)'s pond of The Chronicles of the Three States [三國史記] and Sabi Palace, respectively, yet was subjected to a restoration following a designation to national historic site. This study is focused on the distortion of authenticity identified in the course of the "Gungnamji Pond" restoration and the invention of tradition, whose summarized conclusions are as follows. 1. Once called Maraebangjuk (마래방죽), or Macheonji (馬川池) Pond, Gungnamji Pond was existent in the form of a low-level swamp of vast area encompassing 30,000 pyeong during the Japanese colonial period. Hong, Sa-jun, who played a leading role in the restoration of "Gungnamji Pond," said that even during the 1940s, the remains of the island and stone facilities suspected of being the relics of Gungnamji Pond of the Baekje period were found, and that the traces of forming a royal palace and garden were discovered on top of them. Hong, Sa-jun also expressed an opinion of establishing a parallel between "Gungnamji Pond" and "Maraebangjuk" in connection with a 'tale of Seodong [薯童說話]' in the aftermath of the detached palace of Hwajisan, which ultimately operated as a theoretical ground for the restoration of Gungnamj Pond. Assessing through Hong, Sa-jun's sketch, the form and scale of Maraebangjuk were visible, of which the form was in close proximity to that photographed during the Japanese colonial period. 2. The minimized restoration of Gungnamji Pond faced deterrence for the land redevelopment project implemented in the 1960s, and the remainder of the land size is an attestment. The fundamental problem manifest in the restoration of Gungnamji Pond numerously attempted from 1964 through 1967 was the failure of basing the restorative work in the archaeological facts yet in the perspective of the latest generations, ultimately yielding a replication of Hyangwonji Pond of Gyeongbok Palace. More specifically, the methodologies employed in setting an island and a pavilion within a pond, or bridging an island with a land evidenced as to how Gungnamji Pond was modeled after Hyangwonji Pond of Gyeongbok Palace. Furthermore, Chihyanggyo (醉香橋) Bridge referenced in the designing of the bridge was hardly conceived as a form indigenous to the Joseon Dynasty, whose motivation and idea of the misguided restoration design at the time all the more devaluated Gungnamji Pond. Such an utterly pure replication of the design widely known as an ingredient for the traditional landscape was purposive towards the aesthetic symbolism and preference retained by Gyeongbok Palace, which was intended to entitle Gungnamji Pond to a physical status of the value in par with that of Gyeongbok Palace. 3. For its detachment to the authenticity as a historical site since its origin, Gungnamji Pond represented distortions of the landscape beauty and tradition even through the restorative process. The restorative process for such a historical monument, devoid of constructive use and certain of distortion, maintains extreme intimacy with the nationalistic cultural policy promoted by the Park, Jeong-hee regime through the 1960s and 1970s. In the context of the "manipulated discussions of tradition," the Park's cultural policy transformed the citizens' recollection into an idealized form of the past, further magnifying it at best. Consequently, many of the historical sites emerged as fancy and grand as they possibly could beyond their status quo across the nation, and "Gungnamji Pond" was a victim to this monopolistic government-led cultural policy incrementally sweeping away with new buildings and structures instituted regardless of their original space, and hence, their value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.21-29
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• 2018

This study was wanted to select a value evaluation item to maintain the authenticity of the Planting Landscape in Hahoe and Yangdong villages. Above all, after checking the suitability of the 43 selected items by the Focus Group Interview, the weight was calculated in the Analytic Hierarchy Process expert questionnaire to establish the importance of the indicators for the development of the assessment items. The expert analysis analyzed the importance of 2 sections, 6 divisions and 11 detailed categories, and summarized the results of the study as follows : First, the comparative importance of each category and selection of the assessment items for the stabilization of the Planting Landscape of Hahoe and Yangdong indicated that cultural values are more important than biological values. In particular, details of the biological values of trees were derived with relatively low estimates, except for the specific characteristics of species and items of type of tree. Second, as a result of verification of the suitability of the 43 items selected by the Focus Group Interview, the source diameter, the collection width, reception, flushing, supersonality, records, memorials, 11 items were selected, Third, the results of the importance evaluation of the value properties for maintaining the resistance of vegetation through the Analytic Hierarchy Process were : specific in biological values (0.187), steady (0.094), and water pipe width (2007). There was relatively little difference in the highest weights, the width of the pipe except for the lowest value received, and the source diameter flushing. Fourth, the results of an evaluation of the importance of a value property aimed at historical values were whether or not the cultural asset was designated (0.134), the record value (0.092), the time (0.088), and the monument (0.063). In terms of the importance of evaluating the historical values of Planting sites consisting of Hahoe and Yangdong, the importance of designation of cultural properties was considered to be relative to the maintenance of the Planting Landscape including culture and history. Based on the assessment items and weighted values of the Planting Landscape of Yangdong Village and the World Cultural Heritage below and below, this study's Analytic Hierarchy Process can be applied to actual criteria for the assessment of the authenticity of trees in the village. Based on the assessment items and weighted values of the Planting Landscape in Hahoe and Yangdong villages, a follow-up study on the assessment standards for the authenticity of trees in the village will be left as a future task.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.88-103
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• 2018

The purpose of this study was to excavate the items of the comprehensive maintenance plan for scenic sites considering sustainability and analyze the needs of them. In this sense, based on 35 reports of the comprehensive maintenance plan established between 2006, when scenic sites started to be designated, and 2017, the items used in 'investigation field' and 'planning field' were examined, and then a survey regarding the needs of the items was conducted using a "5-point Likert Scale", targeting officials at 60 local governments in the whole country. Of 60 local governments, opinions from 48 officials at 45 local governments were analyzed. In order to verify the consistency of their opinions, "Reliability Analysis" was conducted, and Cronbach's alpha coefficient was 0.968 and 0.970 for 'investigation field' and 'planning field', respectively, showing high reliability. As a result of the survey, most opinions generally expressed the needs of 6 items of 'investigation field' of the comprehensive maintenance plan. Especially, the needs to investigate 'historical environment', 'natural environment', 'humanistic environment', and 'landscape' turned out to be high. In addition, as for 'general environment' and 'users', the needs of specific items such as 'distribution of main cultural properties and historic sites' (4.04) and 'acceptance of opinions from local residents and interested parties' (4.15) were found to be high. Besides, the items of 'planning field' also turned out to be needed in general (4.0). Particularly, the needs of 'enhancement of designated value and status' (4.26) and 'the comprehensive maintenance plan for designated areas of cultural properties and historic and cultural environment preservation areas' (4.25) in 'historical environment', 'maintenance of historic buildings at scenic sites' (4.28) in 'humanistic environment', and 'landscape trail planning' (4.28) in 'landscape' were found to be high. In conclusion, the practical items related to investigation and planning of the comprehensive maintenance plan for scenic sites are expected to contribute to effective conservation and management of scenic sites in the future.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.160-175
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• 2013

There is the need to make a sharp distinction as regards JANGSEUNGs (Korean traditional totem poles) that are different in origin, history and function. This study is to identify the functions of the figures, as well as to trace stone JANGSEUNGs to their origins. In this regard, researched were conducted into the origins of JANGSEUNGs and their changes in history. There was a tradition in the GORYEO Dynasty (an ancient dynasty in the Korean Peninsula) that it erected JANGSAENGs (the archaic name of JANGSEUNGs) or allied stone figures within temples; especially, 'TONGDOSA GUKJANGSAENG SEOKPYO (a stone JANGSAENG that was erected by the royal command and is at the entrance of TONGDO Temple located in YANGSAN, South GYEONGSANG Province, South Korea)' functions as a stone monument rather than as a stone sign. In the engraved inscription, it is written that it should be erected in the form of PANA as before. 'PANA' refers to 'ZHONGKUI', a god in Chinese Taoism believed to exorcise devils that spread diseases. The inscription is to define the territory of TONGDO Temple. The article on HAN JUN GYEOM in a book 'WORAKGI (a travelogue on WORAK Mountain in North CHUNGCHEONG Province, South Korea)' written by HEO MOK makes it possible to guess the scale of GUKJANGSAENGs erected in DOGAP Temple. The stones, on which 'GUKJANGSAENG' or 'HWANGJANGSAENG' were engraved, are not JANGSAENGs but are demarcation posts. In the JOSEON Dynasty (the last dynasty in the Korean Peninsula) JANGSAENGs functioned as signposts. Unlike JANGSAENGs in temples, they were made of wood. At first, the word 'JANGSAENG' was written '長生' in Chinese characters, but in the JOSEON Dynasty another character '木 (wood)' was added to them, and thus the orthography was likely to change into 'JANGSEUNG.' In the JOSEON Dynasty, in addition, optative or geomantic figures were not called 'JANGSEUNG.' Historically, for instance, there has been no case where 'DOL HARBANGs (stone figures found only in JEJU ISLAND, South Korea)' are called 'JANGSEUNG.' In a book 'TAMRA GINYEON (a historical record on JEJU Island, South Korea)' it is written that KIM MONG GYU, JEJU governor, erected ONGJUNG Stones outside the fortress gate. ONGJUNG Stones usually refer to stone statues erected in front of ancient kings or dignitaries' mausoleums. Moreover, they were geomantic figures erected to suppress miasma. A magazine 'GWANGJUEUPJI (a journal on old GWANGJU, South Korea, 1899)' shows that two two ONGJUNG Stones were so erected that they might look at each other to suppress miasma from a pathway through which lucks lose. On the two stone figures located in BUAN-EUP, North JEOLLA Province, South Korea, inscriptions 'SANGWON JUJANGGUN' and 'HAWON DANGJANGGUN' were engraved. The words are to identify the figures' sexes. They are a kind of optative geomantic figures, and therefore there is no reason to call them 'JANGSAENG' or 'JANGSEUNG' or 'DANGSAN.' The words 'SANGWON' and 'HAWON' are closely associated with Taoism. Since then, the words have been widely used as inscriptions on stone figures in temples, and subsequently are used for JANGSEUNGs. A hatted ONGJUNG Stone, found in BUKANSAN Fortress, disappeared and other ones may be being buried somewhere. Meanwhile, ONGJUNG Stones in JEJU Island and stone figures in BUAN-EUP have hardly been displaced and thus have properly functioned. Stone figures, made in those days, seem to be most similar in function to JANGSAENGs made during the GORYEO Dynasty. Specifically, like earlier JANGSAENGs, stone figures made during the early to mid-18th century were likely to function not only as optative figures but as boundary stones. Most of stone figures in temples were made whenever the land use survey was conducted throughout the nation, but given that at the same period of time, the commonalty filed many lawsuits against grave sites, temples might erect many stone figures to mark their territories. Currently, wooden or stone figures are commonly called 'JANGSEUNG', but they were erected in different epochs and for different reasons. Their origins are to be sought in stone figures that functioned not only as optative figures in temples but as boundary stones during the GORYEO Dynasty.