Changgyeongwon Ya-Aeng as Modern Urban Culture - An Interpretation based on Benjamin's Phantasmagoria -

근대 도시 문화로서 창경원 야앵 - 벤야민의 '판타스마고리아'를 중심으로 -

  • Kwon, Young-Ran (Dept. of Landscape Architecture, Graduate School, Seoul National University) ;
  • Pae, Jeong-Hann (Dept. of Landscape Architecture and Rural Systems Engineering, Seoul National University)
  • 권영란 (서울대학교 대학원 생태조경학과) ;
  • 배정한 (서울대학교 조경.지역시스템공학부)
  • Received : 2017.11.13
  • Accepted : 2018.01.11
  • Published : 2018.02.28


This study sought to interpret the Ya-Aeng (夜櫻) from the viewpoint of urban society, focusing on the occurrence of the Ya-Aeng at Changgyeongwon (昌慶苑) in the modern city of Kyungsung. When the Ya-Aeng started in the 1920s, the social aspects of Kyungsung were in a transitional period from the traditional to the modern. The social modernization of Kyungsung has had a dramatic impact on the Ya-Aeng as a part of the city culture. Using the concept of 'phantasmagoria', which was widespread in Kyungsung society and the Ya-Aeng, this study has established three implications of the Ya-Aeng. First, Kyungsung's phantasmagoria appeared in the form of crowds, spectacles, and experiences. This study suggests that such interpretation also applies to the Ya-Aeng. This means that the capitalism-controlled modern society on one hand and the Ya-Aeng on the other had the same mechanism. Therefore, the Ya-Aeng, as modern city culture, becomes a miniature version of Kyungsung and a modern commodity world in itself. Second, the fact that phantasmagoria is a major element of the landscape of the Ya-Aeng means that there is a special way of seeing. For modern subjects, the phantasmagoria of the Ya-Aeng has acted as a learning mechanism for a modern way of seeing. Third and finally, the phantasmagoria of the Ya-Aeng was an illusion to encourage the continued consumption of this culture and at the same time, forget about the capitalism-controlled urban culture. At this time, capitalism was dominated by the influence of Japanese imperialism. The significance of this study lies in that it expands the idea of the Ya-Aeng from the events inside Changgyeongwon into the urban culture, which is a projection of modern urban society. In addition, where the Ya-Aeng in the past had been regarded as a decadent and poor-quality spring celebration in comparison to the traditional spring celebration, this study proposes a new point of view for the Ya-Aeng in an urban social context.


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