• (The)Study of the Eastern Classic
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• no.41
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• pp.7-35
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• 2010

Jang Hyungang(張顯光, 1554~1570) was one of the very famous Neo-Confucianists of T'oegye School in the Chosun dynasty. Jang, nevertheless, refused to accept Toegye's theory and had developed his own theory called li-qi-gyeong-wi-seol(理氣經緯說). So the theory was very unique in the history of Korean Neo-Confucianism. He matained that Tao(道), meaning the universal process which all beings including the human must follow, is accomplished by the unity of li(理, principle) and qi(ch'i, 氣, material force). He compared li and qi to warp(經) and woof(緯). According to his explanation, Tao is fulfilled by combining li and qi, as a textile is woven the combination of warps and woofs. He could, for I know, succeed to emphasize the unity of li and qii through this theory. Lots of Scholars in the Chosun dynasty criticized Jang's theory of li and qi for regarding li and qi as one, and thought that the theory originated from Luo Ch'inshun(羅欽順, 1465~1547), a famous Neo-Confucianist of in Early Ming China. Luo Ch'inshun maintained li-qi metaphysical monism that li and qi is united entity. In this respect, it seems that Jang's theory is similar to Luo's. However, I think that there are very important differences between the two. It is true that the main characteristics of Jang's theory is the unified relations between li and qi in this world. In the system of his philosophy, nevertheless, the topological position of li and qi are different in grade each other. Jang insisted that li is a supreme being to be materialized and realized through the movement of qi'in the process of universal development. Qi is accordingly only a kind of matter which completes li. In this sense, Jang's theory can be regarded as li metaphysical monism that li is the only substance. It means that Jang Hyeongwang's theory is a great contrast to Luo Ch'inshun's li-qi metaphysical monism.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.49-56
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• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.122-142
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• 2009

This study explored all domestic and international theories for maintenance and health enhancement of an old and big tree, and carried out the anatomical survey of the operation part of the tree toward he current status of domestic surgery and the perception survey of an expert group, and drew out following conclusion through the process of suggesting its reform plan. First, as a result of analyzing the correlation of the 67 subject trees with their ages, growth status. surroundings, it revealed that they were closely related to positional characteristic, damage size, whereas were little related to materials by fillers. Second, the size of the affected part was the most frequent at the bough sheared part under $0.09m^2$, and the hollow size by position(part) was the biggest at 'root + stem' starting from the behind of the main root and stem As a result of analyzing the correlation, the same result was elicited at the group with low correlation. Third, the problem was serious in charging the fillers (especially urethane) in the big hollow or exposed root produced at the behind of the root and stem part, or surface-processing it. The benefit by charging the hollow part was analyzed as not so much. Fourth, the surface-processing of fillers currently used (artificial bark) is mainly 'epoxy+woven fabric+cork', but it is not flexible, so it has brought forth problems of frequent cracks and cracked surface at the joint part with the treetextured part. Fifth, the correlation with the external status of the operated part was very high with the closeness, surface condition, formation of adhesive tissue and internal survey result. Sixth, the most influential thing on flushing by the wrong management of an old and big tree was banking, and a wrong pruning was the source of the ground part damage. In pruning a small bough can easily recover itself from its damage as its formation of adhesive tissue when it is cut by a standard method. Seventh, the parameters affecting the times of related business handling of an old and big tree are 'the need of the conscious reform of the manager and related business'. Eighth, a reform plan in an institutional aspect can include the arrangement of the law and organization of the old and big tree management and preservation at an institutional aspect. This study for preparing a reform plan through the status survey of the designated old and big tree, has a limit inducing a reform plan based on the status survey through individual research, and a weak point suggesting grounds by any statistical data. This can be complemented by subsequent studies.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.43-59
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• 2008

Sap(?, a funeral fan) is a funeral ceremonial object used in association with a Confucian ceremonial custom, which was crafted by making a wooden frame, attaching a white cloth or a thick paper onto it, drawing pictures on it, and making a holder for a handle. According to Liji(Records of Rites), Sap was used since the Zhou Dynasty, and these Chinese Sap examples are no big different than the Korean Sap examples, which were described in Joseon Wangjo Sillok(Annals of the Joseon Dynasty), Gukjo Oryeui(the Five Rites of the State), and Sarye Pyeollam(Handbook on Four Rituals). This study explored Sap excavated in lime-filled tombs and lime-layered tombs of aristocrats dating back to Joseon, as well as their historical records to examine Sap's characteristics according to their examples, manufacturing methods, and use time. The number and designs of Sap varied according to the deceased' social status aristocrats used mainly one pair of 亞-shaped Bulsap, and a pair of Hwasap with a cloud design depicted on it. A Sap was wrapped twice with Chojuji paper or Jeojuji paper, and for the third time with Yeonchangji paper. Then, it was covered with a white ramie, a hemp, a cotton, a silk satin, etc. Bobul(an axe shape and 亞-shape design) was drawn on both sides of Sap, and a rising current of cloud was drawn at the peripheral area mainly with red or scarlet pigments. Sap, which were excavated from aristocrats'lime-filled and lime-layered tombs, are the type of Sap which were separated from its handle. These excavated Sap are those whose long handles were burnt during the death carriage procession, leaving Sap, which later were erected on both sides of the coffin. The manufacturing process of excavated relics can be inferred by examining them. The excavated relics are classified into those with three points and those with two points according to the number of point. Of the three-point type(Type I), there is the kind of relic that was woven into something like a basket by using a whole wood plate or cutting bamboo into flat shapes. The three-point Sap was concentrated comparatively in the early half of Joseon, and was manufactured with various methods compared with its rather unified overall shape. In the meantime, the two-point Sap was manufactured with a relatively formatted method; its body was manufactured in the form of a rectangle or a reverse trapezoid, and then its upper parts with two points hanging from them were connected, and the top surface was made into a curve(Type II) or a straight line(Type III) differentiating it from the three-point type. This manufacturing method, compared with that of the three-point type, is simple, but is not greatly different from the three-point type manufacturing method. In particular, the method of crafting the top surface into a straight line has been used until today. Of the examined 30 Sap examples, those whose production years were made known from the buried persons'death years inscribed on the tomb stones, were reexamined, indicating that type I was concentrated in the first half of the $16^{th}$ century. Type II spanned from the second half of the $16^{th}$ century to the second half of the $17^{th}$ century, and type III spanned from the first half of the $17^{th}$ century to the first half of the $18^{th}$ century. The shape of Sap is deemed to have changed from type I to type II and again from type II to type III In the $17^{th}$ century, which was a time of change, types II and III coexisted. Of the three types of Sap, types II and III re similar because they have two points; thus a noteworthy transit time is thought to have been the middle of the $16^{th}$ century. Type I compared with types II and III is thought to have required more efforts and skills in the production process, and as time passed, the shape and manufacturing methods of Sap are presumed to have been further simplified according to the principle of economy. The simplification of funeral ceremonies is presumed to have been furthered after Imjinwaeran(Japanese invasion of Joseon, 1592~1598), given that as shown in the Annals of King Seonjo, state funerals were suspended several times. In the case of Sap, simplification began from the second half of the $16^{th}$ century, and even in the $18^{th}$ century, rather than separately crafting Sap, Sap was directly drawn on the coffin cover and the coffin. However, in this simplification of form, regulations on the use of Sap specified in Liji were observed, and thus the ceremony was rationally simplified.