• Journal of architectural history
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• v.20 no.4
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• pp.61-80
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• 2011

This study estimated the prototype of Yangjindang at the time of its foundation by putting together the literature and discovered data and historical research on family related to Sangju Yangjindang, and looked at its architectural characteristics. These are summarized as follows: First, Yangjindang is an office building which was completed in three years [1629] after its start of construction when Keomgan Jojeong was at the age of 72 [1626] in his latter days and it was used for performing ancestral rites for Jojeong's forefathers of the head family of Pungyang Jo by family origin. Yangjindang was founded as a base of utopia for putting ancestral rites & commemoration, harmoniousness of a tribe, and educational idea into practice together with Ojakdang. Such a movement can be judged to interpret and apply the circumstances of the times realistically and flexibly where they tried to pursue the promotion of Confucianism & studies of the proprieties as well as the consciousness of practice, and to bring a tribe into harmony after the war through the retirement of Toegye School. Second, it is located at a topographically ideal spot on the edge of the Jangcheon-a tributary of Nakdong with a good physiology and landscape and its location was also the lot for a house of Jojeong's ancestor, which was burned down by war. Behind such a location and planning of Yangjindang, it is presumed, though not certain that it was modelled after Naeap village at Andong- Jojeong's parents-in-low's home. Third, as for its foundation size, it's a head house as much as about more than 100-kan, and its structure is composed of Samyo, Bonche, and Yangjindang. In addition, arrangements of buildings and its composition system and renovation procedures followed Chu-tzu Garyoe. Composition of Samyo can be restored to Yangjindang, Jugo, Woesammun, and Samyo; however, there has been no case of existence in case of Jugo building composition & arrangement takes on an aspect of a compromise between Gamyojido and Sandangjido of Garoe, which seems to be the result from flexibly interpreting and applying the rituals and studies of the proprieties of Toegye School in keeping with locational topography and realistic circumstances while making it a principle for them to observe by Toegye School. There exists a difference between Bonche and its counterpart of the upper class housing at Sangju district in that Bonche[main building] is a squre-shaped 'Ttuljip' typical of Andong setting a family ancestral ritual as a main function. Fourth, there existed a lot of hardships in raising money to cover repairs in time of doing repairs to this structure after 180 years since its establishment. In case of the repair work on Bonche, the level of renovation was limited to the replacement of old materials for rafters, doorpost, roof members and railings with new materials, together with partial alterations in case of window system. It is estimated that Yangjindang was renovated in 1808, and afterwards it was renamed Okryujeong after being re-built at another site. Through the repairs, the floor was expanded for the clan's meeting, and angle rafters and roof members were mended as well. Especially, the plane and structure of Okryujeong which was re-built at another site are expected to give clues to its restoration due to the resemblance to original appearance of Yangjindang at the time of its renovation in 1808.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.246-263
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• 2019

The stone Buddha statue of Sangunsa Temple at Bukhansan in Goyang, Gyeonggi Province, is an excellent example of stone Buddha statues created in the late 15th century. On the base of the figure, there is an inscription, which informs that it was produced in 1497. In recognition of this significance, it was recently designated as a tangible cultural asset in Gyeonggi-do. Thus, this paper tried to evaluate the value of the statue by analyzing iconography and style. The characteristics of a typical 15th-century style that the Buddha statue of Sangunsa Temple shows are the form of ushnisha, the way clothes are worn, the form of a w-shaped chest muscle, and the simple lotus pedestal. On the other hand, the elongation of the waist and the disappearance of the waistband on undergarments are new forms of Buddha statues in the 16th century. Besides, parting the hair in the middle of the head and leaf-shaped short ribbon draped on undergarments are unique features that only appear on the statue of Sangunsa Temple. Sangunsa has been known to be built in the early 18th century based on Bukanji compiled by Seongneung in 1745, and Bongeunbonmalsaji composed in 1943. However, the statue was created in the late 15th century, before the establishment of the temple in the early 18th century. Therefore, this paper briefly reviewed the history of Sangunsa Temple, focusing on the initial period, referring to the historical sites and the relics that were passed on to the temple, as well as the literature records. The data newly referred to in the study are as follows: Sangunsa Stone Pagoda, presumed to be from the Goryeo Dynasty; the Stone Buddha Statue of Sangunsa; Wooden Amita Triad Buddha Statue of Sangunsa. According to the data and contrary to previously-held beliefs, Sangunsa Temple is believed to have been operating since the Goryeo Dynasty. It can be inferred through analysis of the stone Buddha statue of Sangunsa Temple that the size of the Temple before the 18th century was not very large.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.118-141
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• 2024

This study investigates and analyzes ancient literature records and iconographic materials to examine the Willow Tree Fence(樹柵) built on Gasan(假山) Cheonggyecheon(淸溪川) within the Hanyangdoseong, which was deliberately created to prevent flood damage during the Joseon Dynasty. Although there have been research cases related to the willow tree, it is difficult to find research conducted with the purpose of identifying its archetypal value by investigating and analyzing specific use cases of the willow tree and its historical background. Accordingly, this study aims to identify examples of the Willow Tree Fence(樹柵) created in Cheonggyecheon(淸溪川) during the Joseon Dynasty and reinterpret their value by illuminating the background of construction and regional characteristics. The main contents of this study are as follows. It is presumed that floods during the Joseon Dynasty were a great hazard. Between the 16th and 18th centuries, Joseon suffered severe damage from floods. By the time of King Yeongjo, all Four Mountains(四山) of the capital had become bare mountains, which was the cause of frequent floods. In the year of Gyeongjin(庚辰, the 26th year of King Yeongjo's reign, 1760), King Yeongjo dredged the channel bottom of Cheonggyecheon(淸溪川), which overflowed every rainy season, with the Juncheon Project(Channel-Dredging, 濬川事業) and planted willow trees on the mountain on both sides of the Ogan Water Gate(五間水門), as measures to prevent flood damage and soil loss. was implemented. In the <Doseongdo(都城圖)> in 《 Gwangyeodo(廣輿圖)》 produced in the mid-18th century during the reign of King Yeongjo, Gasan(假山), built in front of the Ogan Water Gate(五間水門) is visible, and in the record 『Sinjeung Donggukyeoji Seungnam(新增東國輿地勝)』 In the record, it appears that willows were planted on both sides of the mountain in the year of Gyeongjin(1760). With <Hanyangdoseong Map(漢陽都城圖)> produced in the 46th year of King Yeongjo's reign(1770), it is confirmed that willow trees formed a thick forest on Gasan Mountain near the Ogan Water Gate(五間水門) in the late 18th century. In addition, the Juncheon Project(Channel-Dredging, 濬川事業) and the creation of the Willow Tree Fence(樹柵) continued from the 15th century, the early Joseon Dynasty(朝鮮前期), to the end of the 19th century, the late Joseon Dynasty(朝鮮後期), through the records of ancient literature such as 『Annals of the Joseon Dynasty(朝鮮王朝實錄)』, 『Seungjeongwon Diary(承政院日記)』, and 『Records of Daily Reflections(日省錄)』. This study is meaningful in informing that the willow tree was a unique cultural heritage and traditional landscape resource by investigating the composition and use of the Willow Tree Fence in the Joseon Dynasty, which was a great basis for preventing floods and flood damage, as well as forming a beautiful landscape.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.253-281
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• 2018

The purpose of this paper is to analyze the meaning of of "Nikolai Garin - Mikhailovsky's the "Joseon tale". talks about the origins of the Joseon Dynasty and the Qing Dynasty. In this paper, we revealed the features of the form of "Otter Legend". And analyzed the confrontation between Nurhachi's family and Yi Seong-gye's family shown in the story. The result is as follows. is complex tale. The start of is 'the typr of Yaraeja'. Next is the story of Myoung-Dang. Myoung-Dang is deep in the water. also has anecdotes of Jeong, Chung-shin. rearranged at least three stories or more. transformed each type of stories, communing the different patterns of stories with different logic. The basic logic of the transformation was to maximize the confrontation between the NuruhachI and Yi Seong-gye clans, the origins of Manchuria and the Chosun Dynasty. As a result, the sacredness of Nurhachi's Family, the origin of the Qing Dynasty, was expanded. On the other hand, Yi Seong-gye s Family was less extraordinary than Nurhachi's Family. Also, the ability of the person is also inferior. This is not the yearning for the Qing Dynasty. This is because the Qing Dynasty and the Joseon have the same pedigree. shows that the Qing Dynasty's experiences should be shared since the Qing Dynasty was born of another clan of Joseon. This is a new perception of Qing Dynasty. This is similar to the interpretation that dragged the Qing Dynasty's history into the Joseon's ethnographic historical point of view.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.153-184
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• 2016

This study investigates the funeral rituals practiced by the Joseon Dynasty as recorded about Lee Mun Geon (1494~1567, a.k.a Mukjae), who mourned by the grave of his deceased mother, Ms. Shin (1463~1535), a woman whose family's origin was Goryeon. The study focuse on the rituals performed by Lee after his mother's death, his participation in the funeral, and his mourning specifically as an individual who has lost his parent. Reviewing Lee's mourning life beside the grave, the contents of diary belonging to a nobleman in the middle of Joseon Dynasty were studied aimsing to find out the meaning of rituals, the overall recognition accorded to death, and the filial duties that were carried out by the noblemen of the time. Although noblemen in the middle of Joseon Dynasty ceaselessly attempted to change the observance of funeral rituals through legislation, it was difficult to change the mindset of the people, who fllowed the deep-rooted traditions of long history. It must be acknowledged that the Joseon Dynasty had a different cultural background than that of China. There was a fundamental problem when they tried to adapt The Family Rituals of Zhu Xi, followed by the Chinese, to the Joseon society. Although The Family Rituals of Zhu Xi emphasized ancestral rites focusing on enshrining mortuary tablets and the importance of establishing the family shrine hundred times, noblemen in the mid-Joseon Dynasty period cared for their parents in the grave by mourning for them than by following such practice. The solemn memorial service held in front of the grave, and the annual ritual service on the death anniversary were far more important to the noblemen in the mid-Joseon Dynasty. Amid such contradictions, the noblemen accepted and performed the mourning rituals beside the grave of their parent. Human beings across the ages have always dwelt upon thoughts of the afterlife. Most people believe that they attain a state after the death of their physicalbody. If humans did not have such thoughts, they would not be bothered if death occurs on being hit by a car on the street. Thus, human beings often think of the ritual services related to death, although in different forms. Therefore, mourning by the grave of their parent held great significance among the noblemen of the Joseon Dynasty as a sign of their filial piety.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.110-123
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• 2024

Onyanghaenggung Palace(temporary palace at Onyang) is an important cultural heritage that can substantially confirm the king's visiting at hot springs based on literature records such as <Ongungyeonggoedae(溫宮靈槐臺)>, <Oncheonhaenggungdo(溫泉行宮圖)> of 『Ongungsasil(溫宮事實)』, <Younggoedaedo(靈槐臺圖)>, 『Younggoedaegi(靈槐臺記)』 and cultural properties such as Yeonggoedae(靈槐臺) and Shinjeong Monument(神井碑). Through a photo taken by Hermann Sander in 1906, it can be confirmed that the hot springs(Tangsil building) at Onyanghaenggung Palace during the Joseon Dynasty was maintained until the early Japanese colonial period. The purpose of this study is to estimate the compositions of the hot springs(Tangsil building) in Onyanghaenggung Palace based on literature records and <Oncheonhaenggungdo>(1795). To achieve these purposes, we firstly examined the changes in Onyanghaenggung Palace and the hot springs (Tangsil building); secondly, the bathing behaviors of kings were reviewed; thirdly, we organized the architectural composition of the hot springs (Tangsil building) according to "Ongung Repair" of 『Ongungsasil (溫宮事實)』; and fourthly, by comparing Sander's photo in the early days of Japanese colonial rule, the architectural composition of the hot springs (Tangsil building) in the late Joseon Dynasty was examined. The results of this study are as follows. First, the hot springs(Tangsil building) of Onyanghaenggung Palace were continuously connected to the Onjeongsil(溫井室) in the reign of King Hyeonjong and maintained until 『Hoseo-eupji』 (1871) in the late Joseon Dynasty. It matches the photograph taken by Hermann Sander(1906) and <1912 Onyang Hot Springs in Asan City>(1912) of Korea Copyright Commission during the early Japanese colonial period. Second, the various king's bathing methods during the Joseon Dynasty were adopted such as washing, spilling and bathing head while sitting on a bathing platform or chair, or exposing the steam of hot spring water, dipping feet into the water and a half-body soaking bath below the navel immersed in water. Third, the stone bathtubs of hot springs(Tangsil building) are composed of the upper bath which was hot spring water gushes out from the northwest, bends to the east, enters the middle bath, and bends to the south to come out to the outside to gather in the lower bath. Around the stone bathtubs, pebble stones brought in from Taean were laid on the floor of the hot springs(Tangsil building). From the above considerations, the compositions of the Tangsil building in Onyang Temporary Palace is based on the king's approach from the main royal building, the king's bathing method and bathing tools, the bathing behavior of enlisted medical officers and bathing assistants, and each rooms mentioned in "Ongung Repair". By comparing it with Hermann Sander's photo, the architectural compositions of the hot springs(Tangsil building) can be estimated.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.5-27
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• 2016

This study shows the points of interest and the meanings contained within Hyangga which are derived from three literary characteristics: easy-to-understand structure of dialectic thinking, old-fashioned and universal lyric, and the sense of a place from the past that it reveals. Hyangga is a literary genre that is structured on dialectic thinking in its form and contents. The construction of meaning in these poems happens three stages, which is explicit in four-line and eight line Hyangga as well as in ten-line Hyangga. Therefore, to enjoy Hyangga, it makes more sense to understand the structure of the thoughts contained in Hyangga. A deeper understanding and enjoyment of the thoughts contained in Hyangga can be gained by thinking dialectically. The poems of Hyangga that have survived to present day have peculiar and rich lyrics. The emotions and thoughts contained in Hyangga are a combination of the universal human being and historically peculiar ones. The literary interests of Hyangga come from its universality and individuality, and the concreteness and reality of emotions expressed in its poems. Its beautifully and aesthetically described emotions resonate deep within us. The poems of Hyangga reveal features relating to spaces. We are able to get a sense of places from the past by reading their description in these poems. The places mentioned in Hyangga bring about a connection between our past and our present because they describe the same place but in a different period. Hyangga is a literary genre depicting the emotions and thoughts derived from places that belong to our people's territories. Therefore, the sense of place that Hyangga awakens in us reveals how we exist in the flow of our history. To sum up, the point of interest and meaning contained within Hyangga reveal the structure of dialectic thinking, the lyrics of those days, and the feeling of a sense of place. If these boundaries can be extended, there will be a wider scope for enjoying Hyangga.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• Fire Science and Engineering
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• v.25 no.4
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• pp.8-21
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• 2011

This study surveyed historical records on outbreak and features of forest fires during Chosun Dynasty's 518 years in being and analyzed the Annals of the Chosun Dynasty; The Diaries of the Royal Secretariat, archives from Records of the Border Defense Council, The Compilation of Ministry Proposals, Posthumous Records of King Cholchong etc. Forest fires were most prevalent and extreme during King Hyunjong (14 cases) and King Sunjo (13 cases) due to strong wind, and the biggest-ever forest fire broke out in the fourth year of King Soonjo (1804) in the east coast of Korea in Kangwon province. The fire had resulted in 61 fatalities and 2,600 destroyed houses. Forest fire in the east coast of Korea, Kangwon province, in the $13^{th}$ year of King Hyeonjong (1672) is recorded to have caused the highest number of deaths, 65people. The most frequent cause of forest fires during Chosun Dynasty was unidentified (42 cases), followed by accidental fire (10 cases), arson or lightning (3 cases), fire during hunting (2 cases), play with fire by children, destruction of patty fields and dry fields by fire and house fire (1 case respectively). By region, 56 % of forest fires erupted in the east coast (39 cases) and this was followed by the west sea (9 cases), Seoul and central region (8 cases) and the southern part of Korea (7 cases). By season, spring was found to be most vulnerable to forest fire as it accounted for 73 % of the total amounting to 46 cases. Behind were summer (11 cases), winter (6 cases) and autumn (0 case). Specifically, most forest fire broke out on April and May, which is the same as today. Archives and literature indicate that the person who involved in forest fire by accidental as well as arson had to be punished by banishment, expulsion from government office and public hanging. Also, officials in charge of the region that suffered forest fire were subject to reprimand. In conclusion, risk and gravity of forest fires were evident during the Chosun Dynasty as specified in historical archives and share many similarities with today's forest fires in terms of the duration and regional patterns.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.121-152
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• 2016

The purpose of this study is to illustrate the history of the Cheonsu-Temple天壽寺 and to describe the echo verse poem trend with regard to 'Waiting'待人 and why it is beautiful. The Cheonsu-Temple was located in the outskirts of Gaesung開城, the capital city during the Corea高麗 Dynasty. However, the temple was destroyed when the dynasty collapsed. Cheonsu-Station天壽院 was built amidst the temple ruins, as the temple was an important traffic point. The Cheonsu-Pavilion天水亭 was built in 1476 by Yi-Ye李芮 in the station's neighborhood. The station and the pavilion were completely ruined during the 17th century. Many poets visited the Cheonsu-Temple and composed poems in the latter part of the Corea Dynasty. 'Waiting'待人, written by Choi-Sarip崔斯立, -is the most famous work. Following this work, many poets composed echo verse poems 'Waiting' work that represented the anxiety of waiting for an old friend in front of the Cheonsu-Temple. The following is a highlighted verse: So many people who look like the old friend come to me, but it turned out no one was the man. This work is very picturesque. Over twenty echo verse poems 'Waiting' are categorized in three periods. They compared the "present" to the past by using the Zhenglingwei丁令威 origin from the former Joseon朝鮮 period. In the middle of Joseon period, Jungjong中宗 visited Cheonsu-Station and composed an echo verse poem 'Waiting'. The official literaries also composed poems there. In their works, they presented the collapse of the Corea Dynasty as inevitable and the construction of Joseon Dynasty as something reasonable. Cheonsu-Station was ruined in 17th century, followed after by the ruin of the Cheonsu-Pavilion. It appears that the echo verse poems to 'Waiting' in the latter Joseon period represented the ruin of the Cheonsu-Temple, the Cheonsu-Station, and the Cheonsu-Pavilion.