• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.35-44
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• 2016

This study targets flower-viewing sites appearing in "Kyungdojapji" and talks about the seasonal customs and tourist attractions of the later Chosun; Pilundae, Bukdun, Outside of Dongdaemun, Cheonyunjeong and near Seodaemun etc. Through related poetry, paintings and maps, it looks into what scenic elements each attraction was made of and how the elements were felt by visitors. It sub-divided and analyzed scenic features into objective objects, subjective emotions and experienced behaviors. As a result, representative objective objects were flowers and there were also scenes where people enjoyed poem-writing meetings along with drinking-related physical elements such as liquor, liquor glasses, liquor bottles etc. Through drawing out scenes, where users gave meaning to objective objects, it tried to interpret what space meant to them, through which the meaning of flower-viewing attractions is first and foremost a space to enjoy artistic taste. Each space is used as the center of cultural creation such as literary people gathering, viewing flowers, drinking and having poetry-writing meetings. Second, as shown in scenes viewers depicted in each space, visitors were confirmed to enjoy scenes through multi-sensory appreciation. By this, flower-viewing attractions were confirmed to be not just flower-viewing but also venues of sensory experience. This study, which drew out the scenic features of traditional flower-viewing attractions, is expected to be basic material in tracing the flower-viewing enjoyed by our ancestors as a pastime and its spatial meaning and in planning Korea-unique flower-viewing attractions.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

• (The)Study of the Eastern Classic
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• no.59
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• pp.121-156
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• 2015

Memorials in Joseon Dynasty created a arena where the intellectual and political power met. This thesis traces the process of a certain political faction's rebuilding of the political structure of the elite groups by leading the intellectual controversies through memorials, especially those about the evaluations of Pak Setang(朴世堂) and I Gyeongseok(李景奭). This is what happened: Song Siyeol(宋時烈) submitted a memorial which disputed I Gyeongseok's petition, which provoked complete controversies around the memorials between Noron(老論) and Soron(少論). This led to the academic censorship against Sabyeonrok written by Pak Setang. The analysis of act of writing and submission of memorials by Noron and the role of the Kim Family of An-dong(安東 金門) specifically is the main topic here. The members of Soron ceaselessly criticized Song Siyeol, while the Kim Family strongly defended him. The trigger of the strife was a letter written by Kim Chang-Heup(金昌翕), a member of the Kim Family and the Kims played a significant role in the background during the process of political fights using memorials. The series of memorials criticized or supported certain political figure or his writings, but the opinions of Noron and Soron were directly opposite to each other. Even though the expressed difference was the result of the existing political factions, however, it also caused the new power structure of elite groups. The expressions and logics used in the arguments also have its significance. The Noron's memorials evaluated the contemporary people and their writings based on Chu-Hsi and Song Siyeol, who was regarded as a identical figure of Chu-Hsi. The arguments and writing strategies in this regard gained political strength enough to reorganize the intellectual society by changing alignment of political parties, and this led to the rebuilding of academic environment afterward.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.6
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• pp.97-109
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• 2008

This study first attempted to catch the transformational affairs and motives of the representative pavilion, Hanbyeok in Honam after its construction. Especially, it re-illuminated the morphologic, significant and functional change process of a pavilion after the early Joseon Dynasty by taking the local scenery, Hanbyeokdang as a sample, and considering the space and scenic characteristics, and diachronically understood its creation process and rebuilt its inherent positional meaning to reach the following conclusion. 1. Weoldanglu, at its early foundation, seems to have stressed the function of a private banquet and lecture hall to train younger students, and served as a reception space. Then the reception function gradually increased, and up to before 1530, it seems to have been called Weoldanglu(月塘樓) or Weoldangwon(月塘院). 2. In 1619, Governor Yoo Saek changed the pavilion name to Hanbyeokdang through the subject of a poem. 200 years after Weoldang's death, it became a public space called Hanbyeokdang, an amusement place in which scholars cultivated great morale, and participated in the sending-off and welcoming of predecessors and successors. This seems to have taken a foothold as a public event or entertainment space for the local administration, Jeonjuboo(全州府) through the remodeling process sponsored by the public. 3. Scenic language such as its indicating name, expression type and surrounding view through old map and so on, the shape of Hanbyeokdang evolved and changed to diverse types after the foundation of Weoldanglu, at the heart of which Hanbyeokdang with its two legs standing at a rock was located. 4. During the late 18th century, Hanbyeokdang seems to have been a wing corridor connected closely to the left corridor of the Jeonju stream bed, whose pattern is presumed to have existed even during the early 19308. Such changes in scenic language make us assume that diverse auxiliary space, a wing corridor, was erected for use as a public banquet and amusement spot of Jeonjuboo Castle, the inherent function of Hanbyeokdang after the mid 18th century. 5. Penetration of Hanbyeokgool and the erection of Hanbyeokgyo caused the change of the ancient shape of Hanbyeokdang. Specifically, a great Hanbyeokgyo passing by the pavilion changed the relative scale, so the pavilion image of pursuing unity with nature has lost the old inherent refinement and visual character.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.271-278
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• 2019

Sochi Heo Ryeon (1808 ~ 1893), who was born in Jindo in the late Joseon Dynasty, is a master of three classes, caligography, painting.It is a representative painter who is called the founder of the Honam Paintings. He learned Confucianism, Buddhism, Taoism from choui and learned the basics of painting.He became a student of Kim Chung Hee as an introduction of choui. Since then, I have correctly understood the painting aesthetic that realizes the painting by the paintings and paintings of chusa. And he succeeded it in the art world of Honam. His life and artistic features are the wandering that lasted over 70, many work activities, and details the records habit of details of "Sochisillok". Sochi's paintings aimed at Namjong painting, expressing the simple and clear beauty of the free brush and the landscape painting of ye-hwang style. In addition, the peony was painted with bizarre rocks, expressing the lively beauty by changing the brush to be called 'Heo-peony'. And it fulfilled the desire for riches and honors and the taste of Sunbee at the same time, and it became a representative material of 'Unlimsanbang' after being passed on to the house. His naturalized style of painting and painting aesthetic have been influential to the art world in modern Korea until now, forming a painter 's vein for 200 years over 5 generations.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.31-40
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• 2015

This study aims to comprehend that Seokpajeong garden for aspect of space change. Spatial characteristics according to the transfer of ownership are classified as period. And investigate the aspect of space change in Seokpajeong garden based on literature and painting, newspaper, photo. The results were as follows. First, Investigate the construction and change of Seokpajeong garden. Accordingly, spatial characteristics of Seokpajeong garden are classified into three period. 1st period is Kim-Heung Keun owned Samgyedong-jungsa garden. 2nd period is Daewongun hold Seokpajeong garden. 3rd period is damaged original form of Seokpajeong garden from Korean War to current time inclusive. Secondly, Kim-Heung Keun owned Samgyedong-jungsa garden has characteristics of water system centric space and many buildings. In addition accept foreign culture like chinese pavilion and Byeoldang Villa. and plant unique flower and leaf in garden. Thirdly, According to Seokpajeong garden folding screen, Daewongun owned Seokpajeong garden accept organization of space in Samgyedong garden. But different locations of Sarangchae in folding screen means possibility of move building to current position. So, additional historical research is required with representation of chinese pavilion location. Fourthly, Seokpajeong garden was damaged from original form to frequent changes of ownership. Transform of geographical features and water system as well as Anchae and Sarangchae, back side of a outbuilding are only the remained among many buildings. Also, Seokpajeong garden is more fell to the subsidiary facility of Seoul Museum than Wonrim. Therefore restoration and recovery of original form are urgent.

• Journal of the Korean Geographical Society
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• v.38 no.5
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• pp.686-700
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• 2003

In Korea, aside from their official administrative names, aliases of each province or some regions are widely used not only today but also during the Joseon period when the provincial system as local administrative system was firmly implemented. Of aliases, the most representative were Giho, Gwandong, Hoseo, Haeseo, Honam, Yaeongnam, Gwanseo, and Gwanbuk representing the eight provinces (precisely, Gyeonggi and seven provinces) of Chosun Dynasty, as well as Yeongdong and Yeongseo that represent the east and the west of Gangwon-do. These aliases are mostly based on topographical features and physiographical elements, and compared to the official names of eight provinces which depended solely on city names. Of aliases, some appeared in literature during 13-l4th centuries, and all provincial aliases seem to have been widely used after the late 15th century. Aliases continued to be used for 500 to over 700 years. Aliases of eight provinces, geographically, played not lesser role than their official names. Aliases of the eight provinces and regions during the Chosun Dynasty that have been handed down are considered as holding their places' cultural and historical backgrounds, and have become important enough to be accepted as a unit of geographical regional division. The origin and meaning of aliases of each province have been partially disclosed to the geographical circle and the general public. However, the details should be reviewed. First of all, Gwan in Gwanbuk, Gwanseo and Gwandong, as well as Yeong in Yeongnam, Yeongdong and Yeongseo, are each considered as meaning Sobaek Mountain Range and Taebaek Mountain Range with many borderline areas (borders) and military strategic hubs. Also, Ho in Honam, Hoseo, and Giho, are considered as based on the Geum River and Eurimji, and Haeseo are considered as meaning the west of the Gyeonggi Bay, and having relevancy with the first letters of Haeju and Seoha (Pungcheon).

• Journal of Korean Society of Archives and Records Management
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• v.4 no.2
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• pp.92-117
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• 2004

Korea has the glorious documentary cultural heritage including Annals of the Joseon Dynasty, Memory of the World, from old times. But We had been felt into serious situation, it is very difficult to find some records of late years, through rapid changes of society in modern history. Fortunately, in 1999, "law of archives management in public sector" was enacted but It is some difficult to apply to field. Accordingly, We studied archives laws and record management systems, education systems in Japan and China, neighborhood countries and compared them with Korea's. Life cycle of Gathering, Managing, Using records & archives is reflected in China's archives law, "Dangan" and It is useful to referred to Korea. On the other hand, Japan and Korea's archives law focus on administering and capturing records and archives. In case of Management agency of archives, China has a linear managing system from state to regional agency and Japan and Korea have different system in State and Region. We recommend following items ; reform archives law, status of government archives, professional education and arrangement etc.

• Journal of Conservation Science
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• v.33 no.5
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• pp.355-362
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• 2017

The Nongso tomb of Sunchang was built in a relatively deep place; hence there was little damage from grave robbers. The tomb was completely filled with a large amount of charcoal, and therefore the wooden coffin was excavated in relatively good condition. On the basis of the structure of the tombs, excavated artifacts, and radiocarbon dating results, the tomb is estimated to be from between the late Goryeo and the early Joseon period. The wooden coffin excavated is double-layered structures consisting of an outer coffin and an inner coffin. The outside of the wooden coffin is thickly lacquered and decorated with yellow letters and white motifs. An analysis of the pigments' components revealed that the major component of the letters was gold (Au) and the major component of the motifs was silver (Ag). The coffin lacquer had three layers: a pigment layer, a yellowish-brown layer, and a black layer. The wooden bases of the coffins were painted with a black substance, such as soot, as mineral elements were not detected in the black layer. The yellowish-brown layer is presumed to be refined lacquer. From the analysis of the structure of the layers and pigments, we can estimate the method was adopted for making lacquer for wooden coffin. It is assumed that the method used gold leaf and gold powder. The form of the pigment and the internal structure are likely to be gold leaf, but the shape of the surface letters appears to have been formed using gold powder. This study will serve as important information for understanding lacquer making techniques at the time of the tombs' construction by confirming the making method through reproduction experiments using gold leaf and gold powder.

• Economic and Environmental Geology
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• v.49 no.6
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• pp.433-444
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• 2016

The U-Pb ages of detrital zircons from the Baengnyeong Group were determined by LA-MC-ICPMS, yielding condensed age population in the range from 1100 Ma to 1800 Ma corresponding to the Mesoproterozoic to late Paleoproterozoic. However, detrital zircons of ca.1800-2000 Ma or ca. 2500 Ma ages, which appear frequently in the lower Paleozoic Joseon Supergroup and the upper Paleozoic Pyeongan Supergroup are lacking in the Baengnyeong Group. Such characteristics are identical to those of the Neoproterozoic Sangwon System of North Korea, suggesting that the Baengnyeong Group might be the southwestern extension of the Sangwon System. The zircon age distribution patterns from the Impi Formation in the Gunsan area closely resemble those of the Baengnyeong Group, implying possible correlation of the Impi Formation to the Sangwon System. Therefore, the Mesoproterozoic detrital zircons reported from the Hwangangni Formation of the Okcheon Metamorphic Belt and the Myobong, Sambangsan and Sesong Formations of the Taebaeksan Basin might be derived from the provenances within the Korean peninsula.