• Journal of the Korean Geographical Society
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• v.51 no.6
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• pp.739-759
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• 2016

C. Gottsche(1855-1909), the Deutsch geologist, was invited by $M{\ddot{o}}llendorff$ who was the viceminister of foreign affairs in Korea, and travelled through the inland of Korean peninsula in 1884. He covered 2,550km in 138 days. After that journey, he wrote three academic papers about the geography and geology of Korea with the data of that field trip. Those paper bear considerable significance in that they included the first approaches to Korean geography and geology by a field-scientist with a modern academic training. Unlike other two papers focusing on the geology or the minerals, "The Geography of Korea(${\ddot{U}}ber$ Land und Leute in Korea(1886))" has its own value as a historical document, because it shows how the contempory Korea actually appeared to the eye of a $19^{th}$ western field-scientist. As this has not been introduced in Korean acdemic journals yet, this study might contribute to the understanding of how westerners regarded Korea in the end of 19th century.

• 공원문화
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• s.34
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• pp.24-27
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• 1986

이 원고는 지난 8월초 일본국립공원과 일본국립공원협회등을 시찰한바있던 본회 이우세이사가 평소 보고싶었던 뇌호내해해상국립공원을 돌아보고 듣고느낀가운데 특히 12차례, 최고 5백명에 이르는 조선통신사의 왕래 모습을 그린 역사기행문이다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.78-88
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• 2015

In the 1920s, the period of cultural governance ruled by Japan, the diverse media were founded and various events were conducted to boost circulation. Under the Japanese colonial period in 1920s, a number of media - newspapers and magazines - were published and often they carried out entertaining events in order to obtain more subscribers. A hobby magazine, Samchunri, for instace, set up a media event to selecting Korea's eight beautiful scenary (Bandopalgyong) for the first edition in 1929. The paper aims to analyse and understand the perception of landscape in 1929 through the media event carried out by Samchunri. In particular, the selection was made by well-known writers within Japanese colonial period 1910 - 1945). The selection process and views from the writers on landscape were analysed; firstly, the selection of Bandopalgyong was carried out by questionnaires to writers in 1929 where Korea is under Japanese colonial rules. The conditions of the selection were unknown; however, the purpose was enlightening the people specially the youngs and introduction of beautiful places in Korea. As a result, views and opinions on Bandopalgyong by the writers were progressed. Secondly, within the Bandopalgyong, the natural landscape areas include Gumgansan(金剛山), Daedonggang(大洞江), Buyeo(扶餘), Gyongju(慶州), Myongsasipri (明沙十里), Haundae(海雲臺), Baekdusan(白頭山), and Choksukru(矗石樓). Those chosen places were not cohesive nor did not have any consistant reasons to be chosen in terms of size and location; however, some writers claimed that there were other places to match the chosen ones and therefore, the selection process was highly dependent on access (i.e. transport). Thirdly, the travelogue on Baekdusan and Nackwhaam(洛花岩) illustrated interesting views on landscape in particular. Baekdusan landscape were described in overlaping with long history and national soul. In the Nackwhaam travelogue, it described 'Buyeo (夫餘) was an ancient capital of Backjae Dynasty and empty place' as well as denying Chosun Dynasty. It was assumed that the two places weren't visited but rewritten with existing literatures. Fourthly, edited by Kim Dong Whan, a travelogue style book, 'Bandosanha' was published in 1941. It did repeat the selection of Bandopalgyong, but this time, it was classified the eight beautiful landscape into two categories; historic/cultural places and natural landscape. This paper was able to analyse and understand the perception of landscape in 1929 through the travelogue of Samchunri. It is an empirical study on the process and perception on Korea landscape under Japanese colonical period by views of the selected writers.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.2
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• pp.96-107
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• 2016

This study is an attempt to trace the origins of Korean botanical gardens prior to the construction of the botanical garden in Changgyeonggung Palace. We trace the time period during which Korean intellectuals first understood and appropriated botanical gardens based on accounts found in travel journals. These were written by members of delegations sent to Japan, Russia, and Great Britain and by students who had studied abroad, such as Tchi-Ho Yun and Kil-Chun Yu, during the open port period from 1876 to 1910. This study shows that the term "botanical garden" did not appear in any of the travel journals and the delegations did not show much interest in them until the 1880s. Japan had planned to introduce the different types of botanical gardens to the delegations from the Joseon Dynasty, but the delegations left no official records or related accounts regarding their visits. In contrast, members of delegations who were sent to Russia, Europe, and America after the 1890s began to pay attention to botanical gardens. They considered botanical gardens as a representative and essential part of Western culture and attempted to introduce them in Korea as essential tools for academic development as well as for enlightenment. Although many Korean intellectuals' opinions about the necessity of a botanical garden did not actually lead to its construction during the open port period, such a movement was significant in that it strengthened the botanical garden's image as a symbol of civilization. Apart from tracing the origins of the botanical gardens in Korea, this study serves as fundamental research material for understanding the establishment of the Changgyeongwon Botanical Garden in 1909.

• (The)Study of the Eastern Classic
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• no.37
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• pp.189-216
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• 2009

The poem Song of Eight Drunken Celestials by Du Fu(杜甫) of the Tang Dynasty was one of the most favored theme by many painters through the Song, the Yuan, the Ming and the Qing Dynasty, as well as in Korea Chosun Dynasty and in Japan. This paper focuses on the paintings depicting Song of Eight Drunken Celestials by Wu Qiu(尤求) of the Ming Dynasty, Kim Hongdo (金弘道) of the Chosun Dynasty and Kaiho Yusho(海北友松) of Japan Momoyama Period, makes a comparative study of them. And also focuses on two preface and a postscript to the painting Eight Drunken Celestials by Yi Dukmu(李德懋), Park Jega(朴齊家) and Yi Bongwhuan(李鳳煥) of the Chosun Dynasty, makes a comparative study of them. This study helps us understand the repetition and the differences between the poem as an Ur-text and the paintings and the prose about the painting as the parody texts.

• The Journal of the Korea Contents Association
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• v.19 no.4
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• pp.490-501
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• 2019

This study is aimed at researching Gyobang Dance performed by gisaeng of Gyobang in the banquet of Tonshinsa in Yeongnam Jwa-do Province. For this study, Hae-haeng-chong-che, a collection of 28 travel essays written by Joseon Tonshinsa after visiting Japan, and a collection of literary works were analyzed. Joseon Tonshinsa used Yeongnam Jwa-do Province as a route to Japan in obedience to a royal command, and Yeongnam U-do Province as a way back to Hanyang after completing their missions. The country gave a huge banquet to relieve Tonshinsa's anxiety about the voyage and to pray for a safe trip. The banquets were concentrated in Yeongnam Jwa-do Province, the way down to Busan departing from Hanyang. Looking into Tonshinsa's records, it can be seen that Tonshinsa banquets took place in Andong, Yeongcheon, Gyeongju, Milyang, and Busan. Gyobang Dance performed at Tonshinsa banquets includes Geommu, Hwangchangmu, Cheoyongmu, Cheondo, Mudong, Ipchum, and Jungchum. Through Tonshinsa envoy, 'Jeseon Tonshinsa-gil' was formed in Yeongnam Jwa-do Province, and through Tonshinsa banquets, the artistry of Gyobang Dance was compiled. Nevertheless, present Yeongnam Jwa-do Province has remarkably less Gyobang Dance passed down in comparison to Yeongnam U-do Province. For this reason, there is a need to look into Gyobang Dance of Yeongnam Jwa-do Province. The purpose of this study is to closely examine the cultural and artistic characteristics of Gyobang Dance performed at Tonshinsa banquets in Yeongnam Jwa-do Province formed through Joseon Tonshinsa-gil.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Journal of Korean Library and Information Science Society
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• v.34 no.3
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• pp.277-295
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• 2003

The purpose of this paper is to identify woodblocks which were engraved in the providences in the mid Chosun dynasty, especially ones engraved under the auspices of Yu Heui-chun(柳希春), but not listed in $\boxDr$Kosachwalyo 攷事撮要$\boxUl$. This could be done by the analyzing $\boxDr$The Diary of Miam 眉巖日記$\boxUl$ written by Yu Heui-chun. It is a book which recorded daily life of eminent scholar and official covering political, social and cultural aspects, books and family matters. There were two categories of books published under the auspices of Yu Heui-chun. One is the books written by his grandfather in law, Choi Bu(崔溥), which were $\boxDr$Keumnamjip 錦南集$\boxUl$ collective works of Choi Bu, and $\boxDr$Pyohaerog 漂海錄$\boxUl$, essays on travelling across China. The other is the books for children, $\boxDr$Sinjeung Yuhap 新增類合$\boxUl$ for teaching characters and $\boxDr$Sog Mong-gu 續蒙求$\boxUl$ for moral education. These woodblocks have to enlisted in the woodblock catalogs. The analysis shows that most of these woodblocks by Yu Heui-chun were not recorded in either of two $\boxDr$Kosachwalyo 攷事撮要$\boxUl$ editions published in 1575 and 1585. In this respect, $\boxDr$The Diary of Miam$\boxUl$ proved itself to be of great significance in terms of bibliography studies.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.73-90
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• 2011

The purpose of this research was to find out the characteristics of secluded cultural landscapes that were retained by Eyogye Cho Lyeo(漁溪 趙旅) as a recluse or a schola at the early time of Chosun dynasty through his poems, residential site and his successors' landscapes. The study sites were selected such as Wonbukgae(院北齋), Chamijeong(採薇亭), Gomaam (叩馬巖) and his graveyard. In order to do that, Wonbukgae, Chamijeong, Gomaam and his cemetery were selected as studying sites. Also researching methods were used by grasping the landscape elements through reading ancient books such as "Eyogyezip(漁溪集)", field-researching, analyzing characters of his secluded landscapes and interpreting his poem's meaning. This research found that: 1) After Danjong(端宗)'s dethronement, he returned to his home town and never come out to the world again. He wanted to keep fidelity to his king forever. 2) He was affected for his seclusion from many people who were Ryu Gyebun(柳桂芬), Bae Junghu(裵仲厚) as his classmates at Sunggyungwan(成均館). Also Won ho(元昊) and Kim Sisyub(金時習) as members of Sangyuksin(生六臣) affected him for sake of their seclusion. 3) The meaning of his seclusion expressed the notation of seclusion as a fisherman from his pen name as 'Yeogye'. Also this kind culture has very particular behavior such as concentration phenomenon of action, absolute eccentricity of seclusion, tourism of nature and deep knoledge of feng shui, strong persistence of seclusion and confucian practical attitude of filial behavior. 4) The secluded cultural landscape is divided to four regions. They have two types of landscape such as secluded cultural landscape of his lifetime and landscape transmission of his posterity and scholars. 5) The interpretation of his poems and their aesthetic analysis found two characters. His poems were expressed by landscape substance like plants, natural and man-made elements. Their theme was confucian, peaceful and faithful seclusion.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.748-756
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• 2021

In this study, as the first attempt to develop an experiential game tourism program using Korean classical literature, the primary research was conducted on Kim Soo-Jang and his anthology "Hae Dong Ga Yo". To this end, a theoretical review of the value of hands-on games and Korean classical literature as tourism content was conducted first. Afterwards, the consumers for the program were set up into three categories: family unit, MZ generation including lovers, and foreigners. A survey was conducted to confirm the program preference of each group. According to the analysis framework, the main value of each historical and cultural resource in "Hae Dong Ga Yo" and seven sijo pieces created by Kim Soo-Jang was discovered and, based on the survey, the preferences of the consumer related to the target were analyzed. Accordingly, the narrative structures were organized differently for each group. An adventure plot was designed for the family unit, a love plot for MZ generation and lovers, and a mixture of adventure and love for foreigners. Utilizing stories from Kim Soo-Jang and his works, which are rarely used despite their value, this study attempted to develop them into hands-on game tourism programs to create new outlets in terms of both Korean classical literature and the tourism area. In the future, if various Joseon literati are discovered and their storytelling is continued, we can expect the vitalization of the travel product line with the concept of classical literature travel.