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

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

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.281-304
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• 2022

Heungdeokjeon was the first pavilion built on the site of Sueocheong during the expansion of Gyeongungung. In this study, we tried to clarify the specific construction process of Heungdeokjeon, which was used for various purposes such as the copy location for Portraits of ancestors, temporary enshrinement site, and the funeral building for the rest of the body, which is Binjeon. In addition, we tried to confirm the historical value based on the characteristics derived by the history of the building and the rituals performed. Heungdeokjeon began to be built in the second half of 1899, and is estimated to have been completed between mid-February and mid-March 1900. It was a ritual facility equipped with waiting rooms for the emperor and royal ladies as an annex. The relocation work was planned in April 1901 and began in earnest after June, and it was closely linked to the construction of attached buildings of Seonwonjeon. In addition, comparing the records on the construction and relocation cost of Heungdeokjeon with those related to the reconstruction of Seonwonjeon, it was confirmed that annex buildings of Heungdeokjeon were relocated and used as annex buildings of Seonwonjeon. The characteristics identified in the process of Heungdeokjeon used as a place to copy portraits are as follows. First, it was used as a place to copy portraits twice in a short period of time. Second, it was the place where the first unprecedented works were carried out in relation to the copying of portraits. Third, the pavilion, which was specially built for imperial rituals, was used as a place to copy portraits. Since then, it has been used as a funeral building for the rest of the body, and features different from those of the previous period are identified. It was the building dedicated to rituals for use as Binjeon, and was also a multipurpose building for copying portraits. In other words, Heungdeokjeon, along with Gyeongbokgung Taewonjeon, is the building that shows the changes in the operation of Binjeon in the late Joseon Dynasty. Characteristics are also confirmed in portrait-related rituals performed at Heungdeokjeon. The first is that Jakheonlye was practiced frequently in a short period of time. The second is that the ancestral rites of Sokjeolje and Bunhyang in Sakmangil, which are mainly held in the provincial Jinjeon, were identified. This is a very rare case in Jinjeon of the palace. The last is that Jeonbae, jeonal, and Bongsim were implemented mutiple times. In conclusion, Heungdeokjeon can be said to be a very symbolic building that shows the intention of Gojong, who valued imperial rituals, and the characteristics of the reconstruction process of Gyeongungung.

• Journal of Korean Philosophical Society
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• v.145
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• pp.91-117
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• 2018

This paper aims to clarify the similarities and differences between the Zhouyi and artificial intelligence. The divination of the Zhouyi is rooted in the oldest system of human knowledge, while artificial intelligence stands at the cutting edge of modern scientific revolution. At first sight, there does not appear to be any association that links the one to the another. However, they share the same ground as seen from a semiotic standpoint because both of them depend on the semiotic system as a means of obtaining knowledge. At least four aspects can be pointed out in terms of similarities. First, artificial intelligence and the Zhouyi use artificial language that consists of semiotic signs. Secondly, the principle that enables divination and artificial intelligence lies in imitation and representation. Thirdly, artificial intelligence and the Zhouyi carry out inferences based on mathematical algorithms that adopt the binary system. Fourth, artificial intelligence and the Zhouyi use analogy as a means of obtaining knowledge. However, those similarities do not guarantee that the Zhouyi could arrive at the scientific certainty. Nevertheless, it can give us important insight into the essence of our civilization. The Zhouyi uses intellect in order to get new information about the unknown world. However, it is hard to know what kind of intellect is involved in the process of divination. Likewise, we do not know the fundamental character of artificial intelligence. The intellect hidden in the unknown subject is a mystic and fearful existence to us. Just as the divination of the Zhouyi inspires the sense of reverence toward the supernatural subject, we could not but have fear in front of the invisible subject hidden in artificial intelligence. In the past, traditional philosophy acknowledged the existence of intellect only in conscious beings. Nonetheless, it becomes evident that human civilization ushers into a new epoch. As Ray Kurzweil mentioned, the moment of singularity comes when artificial intelligence surpasses human intelligence. In my viewpoint, the term of singularity can be used for denoting the critical point in which the human species enters into the new phase of civilization. To borrow the term of Shao Yong(邵雍) in the Northern Song Dynasty, the past civilization belongs to the Earlier Heaven(先天), the future civilization belongs to the Later Heaven(後天). Once our civilization passes over the critical point, it is impossible to go back into the past. The opening of the Later Heaven foretold by the religious thinkers in the late period of Joseon Dynasty was a prophecy in its own age, but it is becoming a reality in the present.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.1
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• pp.10-19
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• 2021

This study investigated the actual state and transformation of the major garden ornaments in Changdeokgung Palace(昌德宮) in the modern and contemporary period, focusing on Nakseonjae(樂善齋), Juhamnu(宙合樓), Jondeokjeong(尊德亭), and Daebodanji (大報壇址). This study can be used as useful data for establishing the restoration and maintenance plan of the garden ornaments in Changdeokgung Palace, and the main results of the study can be summarized as follows. First, according to a photo taken by the Czech Vráz, in 1901, a total of six garden ornaments, including a stone pond and odd-shaped stones, were located in the backyard of Nakseonjae. Since liberation, arbitrary relocation of garden ornaments has frequently occurred, and in the process, two odd-shaped stones, originally located on the first floor of the terraced flower bed, have been transferred to the backyard of Gyeonghungak(景薰閣). Second, unlike the late Joseon Dynasty when 「Donggwoldo(東闕圖)」 was produced, odd-shaped stones were arranged symmetrically in the backyard of Juhamnu in the early 1900s. It was a traditional style garden ornament with similar appearance, size, and design. However, all the odd-shaped stones in the backyard of Juhaumnu were relocated to other places in the 1970s and 1980s. One is located at the rear of Aeryeonjeong(愛蓮亭) through the entrance of Bingcheon(氷泉) and the vicinity of Geumcheongyo(錦川橋), and the other remains in front of the Yeongyeongdang Jangnakmun(演慶堂 長樂門). Third, among the garden ornaments located in the area of Jondeokjeong in the past, one odd-shaped stone is now relocated around the stone bridge near the pavilion and the Yeonghwadang(暎花堂) with its components separated. The bondstone near Yeonghwadang was relocated in 1990 for the purpose of installing an imitation of Angbuilgu(仰釜日晷). Another odd-shaped stone has been relocated to the front door of the Secret Garden(後苑), and now it is difficult to grasp the location. Fourth, the two bondstones remaining in the Daebodanji were actually building materials that were used as the foundation stone for the entrance pillars of the Yi Royal Office Building(李王職廳舍) during the Japanese colonial period. After liberation, the Yi Royal Office Building was reorganized into Imperial Estate Administration Office(皇室財産事務總局), and when the office building was burned down in 1960, the stone statues and foundation stones placed on the stylobate were relocated to the Daebodanji. The bondstone at Daebodanji is a representative example of construction materiasl being mistaken for gaeden ornaments.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.182-205
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• 2023

The use of royal artificial flowers was finally found through schematics and records in Wonhaeng Eulmyojeongri Uigwe, which organized the procession to Hwaseong in 1795. The results of classifying the uses of artificial flowers in the brthday banquet at Bongsudang Hall in 1795 and considering the shape, user, and usage are as follows. According to literature records, artificial flowers were made with high-quality materials such as gold, silver, and silk thread in the early period, but were mainly made of paper in the later period. Artificial flowers were used for decorating official hats, Bongsudang Hall, and banquet tables. The Sagwonhwa was used for decoration of the official hats of members of the royal family, and the one on the top was called Eosam-Sagwonhwa. At the birthday banquet inBongsudang Hall, King Jeongjo and Hyegyeonggung used the Eosam-Sagwonhwa and put it on the right side of the official hats. Officials put peach blossom with two petals on the left side of the official hats for decoration. The artificial flowers for decoration of the official hats of musicians and dancers were more expensive and flashier than the officials' ones. Depending on the dance, several artificial flowers were inserted into the official hats. When measuring the size of artificial flowers, the scale used was when making a ceremonial article. For artificial flowers for decoration of the banquet hall, red and white peach blossoms were placed in two jars with dragons painted on them and them placed on two red-painted tables, respectively. The table and jar with flowers were tied together with a red cotton string and fixed so as not to fall over. The artificial flowers for decoration of the banquet table of King Jeongjo, Hyegyeonggung, and the king's sisters were a large lotus, medium-sized lotus, peony, rose, and specially made peach flowers. The artificial flowers for decoration of the banquet table of guests and officials were small lotuses and peach blossoms. The artificial flowers used in the birthday banquet at Bongsudang Hall the most were peach blossoms, and peaches had the meaning of longevity and exorcism. It is expected that the above research results will be helpful in understanding the characteristics and usage of artificial flowers in the period of King Jeongjo and use in reproducing royal feasts and producing traditional cultural contents.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.44-63
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• 2019

This study empirically investigated the construction and aspects of change in Chugyeongwon, which is located in Donggweol (東闕). In detail, this study investigated the location of the construction and range of Chugyeongwon, the background and intention of the construction, and the affiliated system and aspects of spatial changes of it. The research results can be summarized as follows: First, Chugyeongwon has been assumed to be the space near Haminjeong (涵仁亭) or between Simindang (時敏堂) and Jinsudang (進修堂) in Changgyeonggung Palace. However, according to related historical materials, it is said that Chugyeongwon was located west of Dochongbu (都摠府) in Hyeopsangmun (協祥門) and near Sungmundang (崇文堂). Through Donggweoldohyeong (東闕圖形), evidence of the construction of Chugyeongwon can be found, which verifies such claims. According to The Plan of Changgyeonggung Palace (昌慶宮配置圖), in the form of modern measured drawing, Chugyeongwon today is the green space created in the south of Munjeongjeon (文政殿) and Sungmundang in Changgyeonggung Palace. Second, According to Donggweoldo (東闕圖), Chugyeongwon was a green space where trees grew on the ground within the walls. No artificial facilities were constructed inside. In addition, Chugyeongwon was located at a site with an altitude higher than the surroundings. Especially, the composition forms and location characteristics of Chugyeongwon are similar to those of the Palace Outer Garden located in Hanyang. Thus, based on this evidence about the form and other aspects of the operation of the Palace Outer Garden, it can be inferred that Chugyeongwon was constructed for the preservation and cultivation of the geographical features inside Donggweol. Third, in the late Joseon period, Chugyeongwon was assigned to Changdeokgung Palace or Changgyeonggung Palace in the same manner as was Donggung (東宮). Thus, it is very likely that Chugyeongwon served as a garden for the Royal Family in the Donggung area. The west boundary of Chugyeongwon, which originally consisted of walls and a side gate, was changed into the form in which the walls and colonnades were combined. Chugyeongwon has been modified due to various acts of development since the Japanese colonial era, and in the end, it has disappeared so that no trace can be found.

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.138-153
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• 2018

The purpose of this study was to analyze , which was made in the late Joseon Dynasty to specify the vegetation landscape of the Donhwamun Gate area in Changdeokgung Palace. The study results can be summarized as below. First, based on "Jieziyuan Huazhuan(芥子園畵傳)", the introductory book of tree expression delivered from China in the 17th century, allowed the classification criteria of the trees described in the picture to be established and helped identify their types. As a result of the classification, there were 10 species and 50 trees in the Donhwamun Gate area of . Second, it was possible to measure the real size of the trees described in the picture through the elevated drawing scale of . The height of the trees ranged from a minimum of 4.37 m to a maximum of 22.37 m. According to the measurement results, compared to the old trees currently living in Changdeokgung Palace, the trees described in the picture were found to be produced in almost actual size without exaggeration. Thus, the measured height of the trees turned out to be appropriate as baseline data for reproduction of the vegetation landscape. Third, through the Rubber Sheeting Transformation of , it was possible to make a ground plan for the planting of on the current digital topographic map. In particular, as the transformed area of was departmentalized and control points were added, the precision of transformation improved. It was possible to grasp the changed position of planting as well as the change in planting density through a ground plan of planting of . Lastly, it was possible to produce a three-dimensional vegetation landscape model by using the information of the shape of the trees and the ground plan for the planting of . Based on the three-dimensional model, it was easy to examine the characteristics of the three-dimensional view of the current vegetation via the view axis, skyline, and openness to and cover from the adjacent regions at the level of the eyes. This study is differentiated from others in that it verified the realism of and suggested the possibility of ascertaining the original form of the vegetation landscape described in the painting.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.196-209
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• 2022

This study compared and analyzed the spatial division function and role of partitions by comparing the entire space and the spatial changes before and after the installation of partitions in <Donggwoldo>, which was manufactured in the late Joseon Dynasty. As a research method, a set standard was prepared to decompose the space of <Donggwoldo> into a unit space, and the standard was set according to the role and height of the space by classifying it into a main space, sub space, and transition space. Two convex maps were prepared according to before and after the installation of the Panjang, and the values of connectivity, control, and integration, which are spatial syntax variables, were calculated and analyzed. The results of the study are as follows. First, the partition in <Donggwoldo(東闕圖)> did not affect the overall spatial arrangement and control or connection of Donggwol, but the movement and access of space is limited to specific areas. Second, the partition was a facility intensively distributed in Naejeon(內殿) and Donggung(東宮) to be used actively in the way of space utilization. It shows that the unit space increased rapidly due to the installation of the partition. Since the partition was installed in the spaces that were open and under high control in the case of Naejeon(內殿), it helped to secure private spaces as closed ones under low control. On the other hand, for Donggung(東宮), the spaces were compartmented and divided with the partition to guide the movement path through narrow gates of the partition and increase the depth of the space. This helped to create spaces that are free and can be hidden as it increased the number of spaces coming through. Third, In addition to the functions of "eye blocking, space division, and movement path control" revealed in prior research, the partition has created a "space that is easy to control" within a specific area. The installation of the partition reduced the scale through the separation of spaces, but it occurred the expansion of the movement path and space. Also, the partition functioned to strengthen hiding and closure or increase openness as well through space division. This study is significant in that it revealed the value of the spatial control function of panjang through the analysis of spatial control and depth by analyzing the function of the partition with a mathematical model in addition to the analysis and study of the function and role of panjang. In addition, it is valuable in that it has prepared a framework for analysis tools that can be applied to traditional residential complexes similar to palaces by applying space syntax to <Donggungdo> to create convex spaces according to unit space division and connection types of palace architecture and landscape elements.

• Korean Security Journal
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• no.14
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• pp.413-429
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• 2007

The Guard over the royal household in the "Goryeo" era was the same as if was over the President or Ruler of a nation today. In those days, a king represented a nation and any threat to the safety of a king could bring the destruction of a nation and the dispersion of the people. by reviewing the change of the 2-Gun 6-Wi system of the era, it can be, summed up as follow, Ther will be suggestions. The Guard might focus on a king's personal safety in the wake of the system of the Silla and Taebong dynasties until the establishment of the Goryeo Dynasty's unique political system. "Goryeo" rebuilt the royal palace in Gyeonyeong-gun to take the shape of unified country after its accomplishment of unification of the late three countries, Then it was afraid of the rebellion and uprising of local powerful clans, The country put them under control and organized the local army with them in the era of Kings, Seongjong, through the kings, Seongjong and Gwangjong. The army system of "Goryeo" consisted of 2-Gun and 6-Wi, and 2-Gun placed above the 6-Wi played the role of the Royal guards, and among the organizations a certain army under the specific name of "Gyeonyong-gun" guarded the kings in the nearest position. An aristocratic culture enjoyed its golden age in the period of stability of the aristocracy of "Goryeo", but afterward in the confusion of the aristocratic disruption and incompatible confrontation the country lost its control, and faced military rebellions by treating civil officials well and ill-treating military officials The safety of kings become unstable with the grasping political power by the military officials, and "Dobang" was established in the era of Choi's family to grasp political power. In the era of Choi Woo, he gathered his men and organized his familys army with them and managed the personnel administration with the civil officials of "Jeongbang and Seobang under his command. Such a fact shows the similarity to today's task of guarding. Considering the facts that "Sambyeolcho, the military ground of the military-men-rule, was at the center of the struggling against Mongolia and that even after the fall of the military regime, they rebelled and fought against Mongolia to the end, we came to know that the nationalism in the era of the military era was great. In the transition of external situations from "Myeong" to "Won"(Chinese dynasties), the conflict between the old "Won"-friendly power and the new "Myeong"-friendly power caused the weakness of the power to guard the royal household, and "Goryeo" at last gave way to the newly rising "Joseon" led by Lee, Seong Gye who won the people's confidence.

• (The)Study of the Eastern Classic
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• no.49
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• pp.357-392
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• 2012

An author is bound to reflect his or her own thinking and inclination in his or her works. The previous studies on Changam(蒼巖), however, mostly discussed the aesthetics in the forms of his introductions and works, hardly addressing his thinking reflected in his works. Recognizing that he had the "reactionism tendency" unlike the Bukhak-School(北學派), which was the cultural mainstream of the days, this study examined the specific patterns of the reactionism calligraphy style in his learning and calligraphy processes and works. He loved to write xing-cao-shu(行草書) with a focus on the materials written in one's own calligraphy, but he also emphasized that one should obtain the force of his or her calligraphy style by mastering kai shu before calligraphy xing cao shu. He thus left a lot of works in the xiao kai(小楷) of the Wang Xzhi(王羲之) calligraphy style throughout his life, which is attributed to the influences of the calligraphers of dong-guk-jin-che(東國眞體) in the latter half of Joseon(朝鮮) and those of Lee Gwang-sa(李匡師), his master in spirit. He is distinguished from the other calligraphers of the times in that he made lifelong efforts to compensate for the lacking stroke of the pen in the model calligraphy of Wang Xzhi. In the calligraphy theory, he put importance on the traditional method of Han-Wei(漢魏) and took Cai Yong(蔡邕) and Zhong Yao(鍾繇) as the fundamentals. For da kai(大楷), he constantly practiced the with the stroke of the pen by added to it, the letters of Wei(魏) Wudi(武帝), by Yan Zhenqing(顔眞卿), and letters of Kim Saeng(金生). His late works using the intended conception of and , in particular, present his unique calligraphy style that added the crooked forms of to the shapes of characters of that were in the kai-shu(楷書) style. It is a limitation that a considerable number of calligraphy materials Changam studied or consulted were either reprint copy or block book rather than original rubbing edition due to time and space restrictions. However, it is also true that those restrictions made an important contribution to his creation of his unique calligraphy style with deep local colors at the result of his constant efforts.