• Journal of the Korean Wood Science and Technology
• /
• v.46 no.3
• /
• pp.278-284
• /
• 2018

This study is for species identification for each structure member such as Pillar, Bo, Changbang, Dori, Jangyeo, Judu, Donjaju, Chunyeo, Guitle, and Jongdae, of Pungnammun Gate (Treasure 308). Jeonju is the birthplace of Joseon Dynasty and Pungnammun Gate was the southern gate of old Jeonjueupseong which was walled town. Provincial Governor of Koryeo Dynasty, Yu Gyeong Choi built Jeonjubuseong and four gates at all cardinal points in 1388. And the gate was burnt down by Jeongyujaeran (war with Japan in 1597). It was rebuilt by King Yeongjo (Joseon Dynasty) in 1734 and renamed 'Pungnammun' after 34 years. It was designated for Treasure 308 for its unique style of architecture and historic values in 1963. In this study, all of wooden structure members were Pinus spp.. This result was matched for the result of major species for wooden building of late Joseon Dynasty. It can be used to complete database for architecture of Castle's Gate and help for restoration of cultural heritage in the future.

• Journal of architectural history
• /
• v.23 no.3
• /
• pp.7-19
• /
• 2014

The temple Hoeamsa(檜巖寺) was repaired by Naong(懶翁), and with this the power of the temple became far greater to be the greatest Buddhist temple during late Goryeo and early Joseon. Naong's reconstruction of Hoeamsa was originated from Jigong(指空)'s teaching 'Samsan Yangsu(三山兩水).' But it is not clear whether Samsan Yangsu really meant Hoeamsa. By the way, after 14 years, Naong suddenly remembered this word and began to repair Hoeamsa in a large scale. From this, we can guess that Naong tried to give the contemporary Buddhism some change through the repair of Hoeamsa. But, as King Gongmin(恭愍王) the greatest supporter of Naong was suddenly assassinated, the political situation changed a lot and Naong also died unexpectedly. Naong's death brought out the critical sense to Hoeamsa and, in the process to resolve the crisis, the repair of Hoeamsa began to be justified through diverse religious factors. As these were expanded and developed on and one, Hoeamsa came to be honored as the most divine temple in Korea during the early Joseon dynasty. Furthermore, into the cause structure for the Naong's repair of Hoeamsa, the influence of Jajang was added through Odaesan Buddhism. As we can well understand, late Silla situation of Jajang and the late Goryeo of Naong were very similar and the both Buddhist leaders should have derived out some religious solution for them. In other words, both of them had a similar recognition in finding the religious solution for the contemporary crises. It becomes a way to understand the Hoeamsa repairing structure taken by Naong and his disciples. Therefore, by comparing the similar religious solution structures given by Jajang and Naong and by clearer understanding on Samsan Yangsu spirit, we can see the repair of Hoeamsa and the related aspects more accurately.

• Journal of architectural history
• /
• v.23 no.4
• /
• pp.35-46
• /
• 2014

The temple Hoeamsa(檜巖寺) was repaired by Naong(懶翁), and with this the power of the temple became far greater to be the greatest Buddhist temple during late Goryeo and early Joseon. Naong's reconstruction of Hoeamsa was originated from Jigong(指空)'s teaching 'Samsan Yangsu(三山兩水)'. But it is not clear whether Samsan Yangsu really meant Hoeamsa. By the way, after 14 years, Naong suddenly remembered this word and began to repair Hoeamsa in a large scale. From this, we can guess that Naong tried to give the contemporary Buddhism some change through the repair of Hoeamsa. But, as King Gongmin(恭愍王) the greatest supporter of Naong was suddenly assassinated, the political situation changed a lot and Naong also died unexpectedly. Naong's death brought out the critical sense to Hoeamsa and, in the process to resolve the crisis, the repair of Hoeamsa began to be justified through diverse religious factors. As these were expanded and developed on and one, Hoeamsa came to be honored as the most divine temple in Korea during the early Joseon dynasty. Furthermore, into the cause structure for the Naong's repair of Hoeamsa, the influence of Jajang was added through Odaesan Buddhism. As we can well understand, late Silla situation of Jajang and the late Goryeo of Naong were very similar and the both Buddhist leaders should have derived out some religious solution for them. In other words, both of them had a similar recognition in finding the religious solution for the contemporary crises. It becomes a way to understand the Hoeamsa repairing structure taken by Naong and his disciples. Therefore, by comparing the similar religious solution structures given by Jajang and Naong and by clearer understanding on Samsan Yangsu spirit, we can see the repair of Hoeamsa and the related aspects more accurately.

• Journal of architectural history
• /
• v.32 no.5
• /
• pp.81-94
• /
• 2023

Haeju was home to the Hwanghae-do Provincial Office and a hub for supporting the northwestern regions of Korea. Local commerce expanded in Haeju during the late Joseon period based on its abundant resources and regional products, leading it to evolve into a large city. King Seonjo temporarily resided in Haeju while seeking refuge from the Japanese Invasions of Korea, and Yi Yi (sobriquet: Yulgok) secluded himself in Seokdam in Haeju in his later years. King Seonjo's residence in Haeju and Yi Yi's retirement there boosted interest in the city among the literati and influenced its places of scenic beauty. The development of its local history and literary achievements were documented in a wide variety of historical records and visual materials. Eight scenic views in Haeju became famous through a poem written by Seong Su-ik in the late sixteenth century. Around the mid-eighteenth century, eight new scenic views became popular. Local officials and travelers from other regions produced a vast body of prose and poetry focusing on the landscape and society of Haeju, playing a crucial role in raising awareness of its scenic attractions. Most surviving visual materials related to Haeju were created in and after the nineteenth century. Many of them illustrate both landscapes and the everyday lives of people. Among them, paintings of scenic spots created by Jeong Seon (sobriquet: Gyeomjae), who never actually visited Haeju in person, raises some of the issues posed by relying on indirect materials. In contrast, Eight Scenic Views of Haeju, which is presumed to have been produced by a local painter, appears to have accurately highlighted the characteristics of each scenic spot. Moreover, Haejudo, a folding screen presenting a panoramic view of Haeju, incorporates content from paintings depicting eight scenic views, in this case Eight Scenic views of Haeju. This practice can be observed in visual materials of other provincial cities.

• Korean Journal of Heritage: History & Science
• /
• v.41 no.2
• /
• pp.5-25
• /
• 2008

Seoul's community beliefs originated from the ritual performed by the shrines affiliated to each government office in the Joseon Dynasty. Lower branches of government officials were assigned to perform these rituals. Generally, these shrines were called Bugundang(府君堂). Records show that Bugundang(府君堂) was generally one to three units and enshrined the portrait of Bugun(府君), the worshipped, inside. According to historical records, the worshipped were mostly General Choi Young(崔瑩將軍) or Madame Song(宋氏夫人). In fact, however, each Bugundang(府君堂) worshipped different persons. Some of the worshipped were historical characters from the Goryeo Dynasty or the founding period of Joseon Dynasty, Guan Yu(關羽) and Zhuge Liang(諸葛孔明) that became gods after the Japanese Invasion of 1952, Wanggun(王建), Dangun(檀君), General Nam Yi(南怡將軍), Kim Yoo Shin(金庾信), Lim Gyeong Up (林慶業), King Gongmin(恭愍王), King Taejo(Lee Sung Gye, 太祖 李成桂), Joban(趙?) who is one of the supporters of the foundation of Joseon Dynasty, Sir Hong(洪氏大監) and his women who appear in the legend of Nanhansanseong(南漢山城) area, and many other historical figures. It is difficult to compare the rituals of these shrines from community Gut(Shaman ritual) performances of Seoul. According to historical records, Gut and ceremony coexisted in rituals. As time passed, these rituals spread as the community Beliefs of commoners and have been transmitted in the context of Seoul's cultural change. This study examined the existence of affiliated shrines of local government offices in the Joseon Dynasty and discussed the cases of Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟), Bangsan-dong Seongje Shrine(方山洞 聖帝廟), and Seobinggo Bugundang(西氷庫 府君堂) to trace the succession of rituals at these shrines as folk customs of commoners. Bangsan-dong Seongje Shrine(方山洞 聖帝廟) spread to the public as Gwanwoo(關羽), who was considered the god of soldiers, transformed into the god of merchants along with historical transition. It clearly shows the process as to how merchants from a certain region developed a community religion. Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟) is Bugundang(府君堂) of the soldiers of Nampyoug(南營). As the ritual was succeeded by a ritual group called Yeoungsinsa(永信社), composed of nearby residents, it was naturally spread and succeeded by the residents in local community. Seobinggo Bugundang(西氷庫 府君堂) was related to the changes in the historical background of ice gathering in the late Joseon Dynasty.

• Korean Journal of Heritage: History & Science
• /
• v.51 no.4
• /
• pp.192-207
• /
• 2018

The Hyangwonjeong and Chwihyanggyo located in the back garden of Gyeongbokgung Palace have mainly been investigated by referring to historical records about the reign of King Gojong and various drawings thought to have been made in the late Joseon period. Because the current Chwihyanggyo was rebuilt temporarily after being burned to the ground during the Korean War, its form and the location of its reconstruction are not grounded on any accurate historical investigation. Although there are some photos of the Chwihyanggyo that were taken between the end of the Joseon period and the Japanese colonial era, there is no information about the photographer or when they were taken, and it is hard to see which photos show the original Chwihyanggyo Bridge with them. The Cultural Heritage Administration, which is currently promoting the restoration of the Chwihyanggyo, has recognized this problem and initiated research on the matter. In 2017, an excavation survey successfully identified the original location of the Chwihyanggyo, as well as that of Hyangwonji Gado (假島), and the shape of the first foundation stone in the pier. With these findings it was possible to infer the ways in which the Chwihyanggyo has changed over the years. Moreover, by measuring the AMS (Accelerator Mass Spectrometer) of the samples collected in the mounding layer of the Gado where the Hyangwonjeong is located, it was discovered that the Hyangwonjeong was constructed sometime after the Imjin waeran (Japanese Invasion of Korea in 1592), which means that the theory that 'the late Joseon Hyangwonjeong was not the former early Josenn Chwirojeong' is groundless. Judging by the materials found to date, we can reasonably assume that the Chwihyanggyo and Hyangwonjeong must have been built around the same time that Geoncheonggung Palace was founded in the late Joseon period.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.2
• /
• pp.199-206
• /
• 2021

The three generations of Haenam Yoon, who have been handed down to Gongjae Yoon DuSeo (1668~1715), Yoon DeokHee (1685~1776) and Yoon Yong (1708~1740), were based in Haenam. They had an artistic soul on the stage of Hanyang and succeeded in the art of the family, building a reputation as a family of Seonbi painters representing the late Joseon Dynasty. Born as the eldest son of Gongjae and lived at the age of 82, Rakseo learned a variety of studies, calligraphy and painting from his father and Lee Seo. While learning the paintings of the early and mid Joseon period, and accepting the Namjong painting method, he pursued the realism and three-dimensional sense of the subject by adding a Western-style shading method. In particular, he showed outstanding talent in horse paintings and pottery figures, expressing his original 'Beauty that realistically portrays real scenery'. Cheonggo, who was born as the second son of Rakseo and died at the age of 32, was good at Namjong landscape painting using various tree drawing methods. He painted the original Siuido by changing the topical poems, as well as detailed observations and explorations to accurately describe the facts of the object. In addition, 'Beauty showing affection through realistic scenery' was expressed by newly changing and reinterpreting the tendency of home appliances painting to express the spirit as a form beyond the realistic landscape. Rakseo and Cheonggo father and son made a 'NogUdang' painting style, drastically changing the paintings of the late Joseon Dynasty, and had a great influence on the history of Korean painting.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.1
• /
• pp.1-13
• /
• 2011

Cheongpyeongsa Temple was originally built in the early years of Goryeo Dynasty, but its current structural framework was made by the Lord Jinrakgong Lee Ja Hyeon(1061-1125) of the middle Goryeo period based on the Zen thought after he began living in the Cheongpyeong mountain around the temple in 1089. The purpose of this study is to conceptualize, based on old documents, historical changes of the appearance and survival of man-made structures with in the Zen garden formed and developed after Lee Ja Hyeon laid the foundation for Munsuwon Zen garden. Among the eight, outside-the-temple hermitages built at the time of Lee Ja Hyeon's Munsuwon Zen garden, only three hermitages, which are Sik-am, Gyeonseong-am, Yangshin-am had been remaining thanks to restoration and repair until late Joseon Dynasty and preserved as symbolic hermitages. Also, the Yeongji Pond built at the time of Lee Ja Hyeon still remains as precious landscape relics which is meaningful as a genuine Goryeo-period pond. The nine pine trees said to be planted by Lee Ja Hyeon remained until middle 1800s through their descendant trees. When the Buddhist monk Bowoo Daesa(1509-1565)changed the name to Cheongpyeongsa Temple in middle Joseon based on the Munsuwon Zen garden built by Lee Ja Hyeon and greatly expanded it, he newly built and expanded all buildings inside the temple except for Neunginjeon(main temple building), resulting in the present temple structure. In addition, by greatly enhancing the level of scenery by reconstructing Yeongji Pond outside the temple area and transplanting garden plants from the royal court, he made Cheongpyeongsa Temple the most prosperous Zen garden in its history. But after the mid-1800s, which is late Joseon period, Cheongpyeongsa Temple failed to thrive further and began to decline, and so currently most buildings of the Zen garden have disappeared except for some parts of the temple and other facilities are neglected.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.1
• /
• pp.85-110
• /
• 2022

This study investigates the production and use, development of Buncheongsagisang-gamunryongmunho, focusing on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty. The Buncheong Jar with dragon and cloud patterns(龍樽) which is the size of a large bottle as high as 50cm is a form of stability to have gorgeous decorativeness with the inlaid and stamped pattern. The Buncheongsagisanggamunryongmunho is the Buncheong Jar with dragon and cloud patterns(龍樽) used for Flower Vessels(花樽) at Royal Ritual in King Sejong(世宗) era. In the 1420s and 1430s, made in Premium ceramic factory of Sangju-mok, it is Blue and white porcelain in reference to dragon and cloud patterns in the Yuan and Ming Dynasties in aspects of shapes and patterns, to the inlaid Celadon in the period of Late Goryeo Dynasty in aspects of patterns, and to Joseon porcelain in aspects of shapes and decoration techniques. The Joseon Royal family found out the appropriateness of the founding of the dynasty and the base for the system of civilization from Ming dynasty, to follow Ming dynasty by choosing white porcelains as the King's vessel. Jars passed down from Emperor Ming served as a standard for Royal Ritual Jars, to use Blue and White Porcelain Jar with dragon and cloud patterns as Flower Vessels(花樽) and Liquor Vessels(酒樽) for ages. Consequently, the Buncheong Jar with dragon and cloud patterns(龍樽) as Royal Ritual Jar had been used till 1430's when Blue and white porcelain Jar with dragon and cloud patterns(靑花雲龍白磁酒海) was passed down from Emperor Ming, Xuande Emperor(宣德帝), only to lose its Meaning and Use as the Royal Jar with dragon and cloud patterns(龍樽) during the early Joseon Period gradually.

• (The)Study of the Eastern Classic
• /
• no.73
• /
• pp.65-89
• /
• 2018

This paper was triggered by the idea that the culture of ancestral rites and the patrilocality, which entail the excessive sacrifice on the part of the wife, that eventually led to the coinage of the expression, "housewives' holiday stress," is perhaps not the age-old traditions it claim to be, but rather a recent phenomenon. The purpose of this paper is to reveal that the loss of housewife's authority is the product of "becoming yangban (aristocrats)," which was a culture that was in fashion in the late Joseon dynasty. Until the late Joseon dynasty, women, in particular, the married women maintained an autonomous life which allowed them the authority to an extent, based on their properties that they brought from and the ties that they maintained with their original family and. However, such authority of the housewives disappeared since the invasion of Joseon by Japan and Qing in the year of Imjin (1592) and Byeongja (1636), respectively, as the daughters were excluded from receiving inheritance in a desperate attempt to maintain the impoverished family after the wars. However, patriarchy based on neo-Confucian custom and convention of patriarchal clan system could not spread to the entire population immediately after the wars, as it was impossible to include everyone in the aristocratic class (yangban). It was due to the increase of aristocrats within the continued social changes that occurred after the wars that the neo-Confucian patriarchy became the norm and ethical standard in Joseon society. Also, the theory of propriety in neo-Confucianism that everyone from the emperor down to commoners must abide by the patriarchal clan system was realized through Zhuzi jiali, i.e. Master Zhu's Family Rituals, which institutionalized the system of family rites by setting up ancestral shrines in every household. For the aristocrats who lost their financial footing, the only basis they could rely on to prove their aristocratic lineage is the strict compliance with the rituals. Also, for the once commoners who turned into aristocrats one day had to emphasize the formal propriety in order to distinguish themselves from the commoners. Hence, the culture of "becoming yangban" in the nineteenth-century Joseon was what solidified the patriarchal rituals, decorum, and clan system. As a result, women have become subordinated to the husband's families, which forced the women, i.e. the housewives to serve them and sacrifice themselves for them. At times, women self-imposed such restraints on them as they led themselves into believing that it was necessary to maintain the family for their sons.