• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.130-145
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• 2019

The palaces in South Korea are largely divided into primary palaces (法宮) and secondary palaces (離宮). In the early Joseon period, the primary palace was Gyeongbokgung Palace, and the secondary palace was Changdeokgung Palace. Additionally, there is the concept of imperial palaces (正宮). Gyeongbokgung Palace was the primary palace and the imperial palace. The topography of Gyeongbokgung is based on Mt. Baegak, which is the symbol of royal authority. The location of the palaces was chosen to highlight the king's dignity and authority. The three gates and three courts (三門三朝) were positioned on a straight line based on one axis along the ridge of Mt. Baegak to establish the legitimacy, hierarchy, and unity of the kingship. The secondary palace was built according to the demands of the king and the royal family or the political situation. It was created as a royal living space; thus, creating independent and diverse spaces along multiple axes. The primary palace was chosen to be built on the terrain of Yang, and the secondary palace was chosen to be built on the terrain of Yin; the criteria for laying buildings in the palace areas had to be different. The most important point in the formation of Joseon palaces was that the secret vital energy for the king (王氣) originated from the sacred mountain. Important elements of the palace were the secret vital energy chain of feng shui (風水氣脈) and the forbidden stream (禁川). The secret vital energy chain of feng shui was the gateway to the secret vital energy for the king, and the forbidden stream was a method of preventing the king from leaving the palace grounds. Gyeongbokgung Palace, which is on typical feng shui terrain, faithfully reflects the principles of feng shui. On the other hand, the secondary palace was built on incomplete and irregular feng shui terrain. Feng shui was part of the nature and the geography of the ruling classes in the Joseon Dynasty. By examining their geography, I believe that the perfection of traditional culture inheritance and restoration can be improved.

• Journal of architectural history
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• v.29 no.6
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• pp.79-88
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• 2020

During the Joseon Dynasty, the rituals that were celebrated in the palaces were mainly held inside the palace and in the courtyard of the palace. Mats were spread on the floor of the place where the ritual was held. The mats spread in the Joseon Dynasty rituals divided the space in various ways, and in particular, they were spread in a certain form in the spaces of royal wedding, customs, and court banquet. Mats were the primary physical element that divided the royal ritual space of the Joseon Dynasty, and functioned to elevate the general space to the ritual space. In the ritual space, mats were spread inside the palace, and divided the courtyard of the palace into left and right in a symmetrical form to distinguish the hierarchy of the participants. Mats with special and white patterns were spread in the external ceremonial space and mats with flower and colorful patterns were spread in the internal ceremonial space. This was the subdivision of the Confucianism's male-female division through the mat. The pattern of the mat that divided the space of the royal family elders also meant longevity to reflect the filial thoughts of the Confucianism through the mat. Mats were a physical element for subdividing the royal family and the participants in the hierarchy of the space where the ritual is held, and it also performed a subdividing function between the royal participants. In other words, in the Joseon Dynasty ritual space, mats were temporarily spread while the ritual is being celebrated and functioned to elevate the space to a ritual space. It is confirmed that the fact that the mats were temporarily spread to divide the space into the hierarchies according to the status and were subdivided into colors and patterns to perform the function to reflect the subdivision of the royal family according to Confucianism and the statue of filial piety in the ritual.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.1-13
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• 2022

This paper examined the history and development of Gyeongbokgung Palace's back garden based on historical materials and drawings such as Joseon Ilgi(Diaries of Joseon Dynasty), Joseon Wangjo Sillok(the Annals of the Joseon Dynasty), Doseongdaejido(the Great Map of Seoul), Bukgwoldohyeong(Drawing Plan of the Northern Palace), the Bukgung Palace Restoration Plan, Restoration Planning of Gyeongbokgung Palace and the following results were derived. First, it was confirmed that the Back Garden of Gyeongbokgung Palace was famous for its great location since the Goryeo Dynasty, and that it was named Namkyeong at that time and was a place where a shrine was built, and that castles and palaces were already built during the Goryeo Dynasty under the influence of Fengshui-Docham(風水圖讖) and Zhouli·Kaogongji(周禮考工記). Although the back garden of Gyeongbokgung Palace in the early Joseon Dynasty stayed out of the limelight as a back garden for the palace, it has a place value as a living space for the head of the state from King Gojong to the present. Second, in order to clearly identify the boundaries of back garden, through literature such as map of Doseongdo (Map of the Capital), La Coree, Gyeongmudae Area, Japanese Geography Custom Compendium, Korean Photo Album, JoseonGeonchukdoJip(The Illustration Book of Joseon Construction), Urban Planning Survey of Gyeongseong, it was confirmed that the current Blue House area outside Sinmumun Gate was built outside the precincts of Gyeongbokgung Palace. It was found that the area devastated through the Japanese Invasion of Korea in 1592, was used as a space where public corporations were combined through the process of reconstruction during the King Gojong period. In Japanese colonial era, the place value as a back garden of the primary palace was damaged, as the palace buildings of the back garden was relocated or destroyed, but after liberation, it was used as the presidential residence and restored the place value of the ruler. Third, in the back garden of Gyeongbokgung Palace, spatial changes proceeded through the Japanese Invasion and Japanese colonial era. The place with the greatest geographical change was Gyeongnongjae area, where the residence of the Japanese Government-General of Korea was built, and there were frequent changes in the use of the land. On the other hand, the current Gyeongmudae area, the forests next to the small garden, and the forests of Baekak were preserved in the form of traditional forests. To clarify this, 1:1200 floor plan of inner Gyeongmudae residence and satellite images were overlapped based on Sinmumun Gate, and as a result, it was confirmed that the water path originating from Baekak still exists today and the forest area did not change. Fourth, in the areas where the traditional forest landscape was inherited, the functional changes in the topography were little, and major old-age colonies are maintained. The old trees identified in this area were indicator tree species with historical value. Representatively, Pinus densiflora for. multicaulis Uyeki, located in Nokjiwon Garden, is presumed to have been preserved as one of Pinus densiflora for. multicaulis Uyeki planted next to Yongmundang, and has a historicality that has been used as a photo zone at dinners for heads of state and important guests. Lastly, in order to continuously preserve and manage the value of Gyeongbokgung Palace in Blue House, it is urgent to clarify the space value through excavation of historical materials in Japanese colonial era and establish a hierarchy of garden archaeology by era. In addition, the basis for preserving the historical landscape from the Joseon Dynasty to the modern era from Gyeongbokgung Palace should not damage the area of the old giant trees, which has been perpetuated since the past, and a follow-up study is needed to investigate all the forests in Blue House.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.74-91
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• 2012

This study puts its focus on Honjeon space which relatively small number of precedent studies chose as a subject of a study. The objective is to analyze Honjeon space's spatial relationship and palaces that consist Honjeon through analysis of spatial configuration and elements that affected construction of Honjeon space. The Royal Funeral, among other ceremonies of Joseon Dysnasty, carries religious characteristic along with functional and structural characteristics. By analyzing "National Five Rites", "Uigwe for the State Funeral 魂殿都監儀軌", and "Annals of Joseon Dynasty", the study organized elementary details about Honjeon space and surrounding spaces to determine the symbolism of Honjeon space's location at each palace and compared them to see if any systematical features existed between Honjeon spaces of each palace. Through this study, it was apparent the king mainly used Jaseongdang Hall of Gyeongbokgung in the early period of Joseon Dynasty and he mainly used Sunjeongjun of Changdeokgung while the queen used Munjeongjun of Changgyeonggung as the time reached the later period of Joseon Dynasty. Also in determination of Honjeon space, the study found that there were records of avoiding Pyeonjeon space in need for political space. The study also determined that places other than Pyeonjeon space was intended to be used for Honjeon space through the analysis which indicates that spaces that were initially used as Pyeonjun in the early Joseon Dynasty and simultaneously as Honjeon space were moved due to changes made in terms of theirs usages. Through the study, it could be also known that primary spaces of Honjeon was composed accordingly to "National Five Rites" and constant pattern of spaces existed among buildings near Honjeon which were arranged according to each palace's characteristic.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.75-87
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• 2017

This study is the research about Okcheonjeong(玉泉亭) located in the backyard of Namhansanseong(南漢山城)'s temporary palace(行宮). Okcheonjeong was not only built by a government inside Namhansanseong but it was also representative garden which is shown the culture of the nobility. It became famous garden ruins recently because it has remained many carved stones. However, there has been no study about Okcheonjeong yet. We studied Okcheonjeong to establish basic knowledge by literature analysis and field investigation. We tried to discover garden style by deciphering carved stones, and estimate Okcheonjeong's location by documentary research. Sim, Sang-Gyu became Gwangjuyusu(廣州留守) in 1816, and he built Okcheonjeong on the backyard of Namhansanseong's temporary palace in 1817. It was located in the foot of a mountain beside a stream. It consisted of Pungaepok(楓靄瀑: waterfall), Chusudam(秋水潭: a little pond), and Okcheon(玉泉: a stone wall). The stone for sign stands in front of the entrance of Pungaepok to show Okcheonjeong, and there is Yeongyeondae(泠然臺) above the waterfall. We thought that Okcheonjeong was typical Imcheon-garden(林泉庭苑). Okcheonjeong is located in the foot of a mountain following Gamigyeong(歌薇逕) 60 meters so it was able to see the whole temporary palace from the Okcheonjeong. It was the garden pavilion of temporary palace, but it was used in semi public garden(半公的庭苑). Okcheonjeong is the only graden ruins which was located in Namhansanseong, so we have to preserve as cultural heritage. We expect to make use of primary datas to restore Namhansanseong soundly which was world heritage.

• Journal of Conservation Science
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• v.32 no.4
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• pp.449-457
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• 2016

A stoneware bottle was recovered from the Incheon Yeongheungdo Shipwreck in 2013. Primary observations showed that this object had a sealed opening and was covered with a foreign material. After it was cleaned via mechanical and chemical methods, wave patterns were observed on the outer surface of the bottle and a yellowish-brown transparent material was found within. In this paper, the process of conserving the stoneware bottle and the analysis conducted on the unknown material found within is explained. The conservation process included steps such as cleaning, desalination and restoration. After of the missing area located at the rim, the original shape of the bottle was made clear. In addition, the unknown inner material was analyzed using FT-IR and GC-MS. Results showed that the material is similar to golden lacquer. It is speculated that the Yeongheungdo Ship had wrecked during the Unified Silla period while carrying a bottle loaded with golden lacquer.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.118-135
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• 2022

The primary purpose of this study is to estimate the structure of Byeongpungsadaseok (屛風莎臺石) and Nanganseok (欄干石) in Geonwonneung (建元陵) and Heonneung (獻陵), which were built in the early of 15th century, based on the Annals of King Sejong. In addition, the ultimate purpose of this study is to reveal structural changes and their significance by comparing the differences with the contents of the dismantlement survey. Geonwonneung, Jereung(齊陵), and Heonneung were repaired at the same time in 1442, and the structural changes were the similar. The purpose of the repair in 1442 was to prevent water from flowing into the underground palace with smooth drainage. As a result of estimating the structure of Geonwonneung and Heonneung according to the records of the Annals of King Sejong, it was created in a very similar form to the Hyeonneung and Jeongneung of Goryeo. And it was clearly recognized that the Royal Tomb of Goryeo was followed. However, as the structure was improved in 1442, the unique characteristics of the Royal Tomb of the Joseon Dynasty were formed. First is the appearance of the Bokbuhyeong lime (覆釜形石灰, which is a convex roof on the Byeongpungsadaseok that serves to prevent rainwater from penetrating into the burial mound. It also plays a role in connecting and fixing the Manseok (滿石) and the Inseok (引石), which are the upper structures of the Sadaseok (莎臺石). Second, the Bakseok (薄石) between the nanganseok and the sadaseok has been transformed into the Sangseok (裳石) with a slope. This plays a role in protecting the inner stone chamber by expanding the length of the bakseok, which forms an overall slope, like the eaves of the roof. After both of these features were first attempted in 1442, they were applied to all Royal Tombs of the Joseon Dynasty and became unique features of these Royal Tombs.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.46-59
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• 2023

Various Baekje ground-level building sites have been identified, in Pungnaptoseong Fortress, including Mirae Village's site E-1. However, building site E-1 is the only one with excavated roof tiles that are directly connected to the building site. As for building sites E-2, D-1, and D-2, which are comparable to site E-1, it is very possible that they had tiles on the roof based on their jeoksim (blocking facilities for roof slopes) and building structures. Also, although they are semi-underground pit structures, pit building sites A-30 and modern apartment site A-5, as well as the No.44 remains of Gyeongdang District, which is closer to a ground-level type, the buildings with tiles may have been constructed in the form of partial tile roofs rather than full-face tile roofs. Therefore, there may be several reasons behind the use of tiles on roofs in the early days, but the primary background of the building's authoritative function would have been considered first. Considering that China and Japan started using tiles on nationally important buildings such as palaces, temples, and ritual buildings, it may be presumed that Baekje began using tiles from the time it centralized power. It is believed that Baekje's early roof tile buildings evolved from rudimentary residential architecture to advanced public architecture, taking into consideration fire prevention and structural stability in large buildings. It is difficult to find similar cases in Korea with structural features such as the elevated foundations or underground stone foundations that can be found in Mirae Village building site E-1. Rather, similar architectural techniques can be found in China and Japan. In China, similar construction techniques were discovered in buildings of worship that were primarily built in the palace surroundings, such as Jangan Castle. Based on this, it appears that roof tile building sites, such as site E-1, that have been discovered have a strong correlation with the characteristics of buildings of worship, and ground type buildings, such as sites D-1 and D-2, are important facilities that are related to important public facilities such as state-run warehouses. This provides many implications regarding the early Baekje city structure.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.