• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.42-59
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• 2014

Han Pilgyo (1807~1878) was a scholar-official in the later period of the Joseon Dynasty. The research results on spatial structure and landscape techniques of the central government office reviewed through the Sukcheonjeado(宿踐諸衙圖) album collection edited by Han Pilgyo are as follows. First, Sukcheonjeado(宿踐諸衙圖) using Sabangjeondomyobeob(四方顚倒描法, a Korean traditional drawing type) is uniquely proven historical data which helps to understand the spatial structure of the center and local government offices and the characteristics of cultural landscape. Secondly, the central government office located in Yookcho(六曹) Street which is the outside Gwanghwamun(光化門) of the Main Palace(Gyeongbokgung, 景福宮) of the Joseon Dynasty has a center facility(Dangsangdaecheong, 堂上大廳) and attached buildings which are distributed from high to low or from left to right, according to its order of presidency in square-shaped portion of land. The main building was located facing south and by considering the administrative convenience, the environmental effect and the practice of Confucian norms this structure reflects a hierarchical landuse system. Thirdly, the main buildings such as Dangsangdaecheong and Hyangcheong(鄕廳), which are the working place for government officials had large square front yards for constructing a practical patio garden. The back garden was tended to reflect the meaning landscape, with such as pond and pavilion. A particular point was the repeated crossing of active space and passive space(movement and stillness, building and yard, yard and garden), which implements the Yin-Yang principle. Fourth, the characteristics that can be extracted from the central government office landscapes are (1) expandability of outdoor space, connects of front gardens, emphasizes the characteristic of serviceable gardens and back gardens, which in turn emphasizes scenic sides, (2) introduction of water features(square-shaped ponds) that can be used as fire-water and considers environmental-amenity and landscape characteristics, (3) introduction of pavilions for relaxation, mental and physical discipline, and the development of back gardens, (4) significance of Jeongsimsoo(庭心樹) in such things as selection of concise landscape plants like lotus, willow, pine, zelkova and so on, and limited plant introduction, (5) environmental design techniques which set importance on not only aesthetics and ideality but also practical value. Thus, these aspects of the government office landscape can be said to be the universality and particularity of Korean traditional landscape technique and can be extracted similarly in the palaces, temples, lecture halls, and houses of the upper class of the Joseon Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.101-110
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• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.49-57
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• 2020

Traditional landscape is a cultural asset left by Seonhyeon to modern society, and it can not only understand the landscape culture of ancient tradition but also provides / provided a new creative material for modern landscape designs / designed. However, it is well known that Korea and China have a relationship between the development and exchange of landscaping in a global background, the succession of traditional landscape architecture culture in a global background covers many dimensions, including protection, development and innovation, and that "traditional and modern" and "regionally and internationality" should be harmonized with each other. This study uses traditional Korean and Chinese landscaping buildings as research subjects to extract and organize related data through various channels, including basic literature research that understands the history and culture of the two countries. I interpreted the cultural backgrounds of the two countries by dividing them into religious ideas, traditional culture, and natural views, and highlighted the history of development and the relationship between the two countries. Based on this, it analyzed the differences created by traditional landscaping between Korea and China, and also specifically analyzed the "creation of righteous army" and "the law of righteous army." In particular, this study sought to inherit and innovate traditional landscape culture for the internationalization of "One Belt, One Road" based on the characteristics of Korea and China's landscape through a comparative analysis of the construction elements and methods of Yihwawon of the Ming and Qing periods and Gyeongbokgung Palace of the Joseon Dynasty on the theoretical background of landscaping and the significance of landscaping. The direction for the development and exchange with landscaping between the two countries was presented in line with the development trend of Korea-China landscaping in the global environment. In the future, the development of landscaping between the two countries is expected to be key to international cooperation in traditional culture, creative combination of local characteristics, creation of a harmonious landscape architecture environment, and co-prosperity of various cultures.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.281-304
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• 2022

Heungdeokjeon was the first pavilion built on the site of Sueocheong during the expansion of Gyeongungung. In this study, we tried to clarify the specific construction process of Heungdeokjeon, which was used for various purposes such as the copy location for Portraits of ancestors, temporary enshrinement site, and the funeral building for the rest of the body, which is Binjeon. In addition, we tried to confirm the historical value based on the characteristics derived by the history of the building and the rituals performed. Heungdeokjeon began to be built in the second half of 1899, and is estimated to have been completed between mid-February and mid-March 1900. It was a ritual facility equipped with waiting rooms for the emperor and royal ladies as an annex. The relocation work was planned in April 1901 and began in earnest after June, and it was closely linked to the construction of attached buildings of Seonwonjeon. In addition, comparing the records on the construction and relocation cost of Heungdeokjeon with those related to the reconstruction of Seonwonjeon, it was confirmed that annex buildings of Heungdeokjeon were relocated and used as annex buildings of Seonwonjeon. The characteristics identified in the process of Heungdeokjeon used as a place to copy portraits are as follows. First, it was used as a place to copy portraits twice in a short period of time. Second, it was the place where the first unprecedented works were carried out in relation to the copying of portraits. Third, the pavilion, which was specially built for imperial rituals, was used as a place to copy portraits. Since then, it has been used as a funeral building for the rest of the body, and features different from those of the previous period are identified. It was the building dedicated to rituals for use as Binjeon, and was also a multipurpose building for copying portraits. In other words, Heungdeokjeon, along with Gyeongbokgung Taewonjeon, is the building that shows the changes in the operation of Binjeon in the late Joseon Dynasty. Characteristics are also confirmed in portrait-related rituals performed at Heungdeokjeon. The first is that Jakheonlye was practiced frequently in a short period of time. The second is that the ancestral rites of Sokjeolje and Bunhyang in Sakmangil, which are mainly held in the provincial Jinjeon, were identified. This is a very rare case in Jinjeon of the palace. The last is that Jeonbae, jeonal, and Bongsim were implemented mutiple times. In conclusion, Heungdeokjeon can be said to be a very symbolic building that shows the intention of Gojong, who valued imperial rituals, and the characteristics of the reconstruction process of Gyeongungung.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.22-49
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• 2021

Bowonsa Temple (普願寺) is located to the north of Gayasan Mountain in Unsan-myeon, Seosan-si, Chungcheongnam-do Province. The cultural properties it enshrines were produced during the late Unified Silla and early Goryeo periods, and include an Iron Seated Buddha. The Japanese Government-General of Korea Museum planned a survey on historical remains in Chungcheongnam-do Province during the early Japanese colonial era, and a field survey was conducted at the Bowonsa Temple site in 1916 (Taishō 5). During this survey, the sculpture of the Iron Seated Buddha (knee: width 212 cm x thickness 167 cm) was found enshrined in a hut. The sculpture was moved to Gyeongbokgung Palace in the following year. However, it is clear that the colossal Iron Seated Buddha was being housed at the Bowonsa Temple site at the start of the Japanese colonial era. This Iron Seated Buddha is presumed to have been produced in 955 by State Preceptor Beopin Tanmun (法印國師 坦文, 900-975). Tanmun was born into an influential family that produced many high officials. He became a leading figure in the Hwaeom (Flower Garland) school of Buddhism under the patronage of King Taejo. He also led Buddhist events at the Goryeo royal court during the reigns of King Hyejong (惠宗, r. 943-945) and King Jeongjong (定宗, r. 945-949). With the emergence of Gyunyeo (均如, 923-973), who was sponsored by Queen Daemok (大穆王后, dates unknown) of the Hwangbo clan (皇甫氏), Tanmun was transferred to Bowonsa Temple far from Kaesong. However, even while there Tanmun strengthened his ties with his supporters under the patronage of the Chungju Yu clan. He appears to have produced this colossal sculpture of Iron Seated Buddha as a prayer for longevity and a happy life for King Gwangjong (光宗, r. 949-975). The inscription on the Stele of State Preceptor Beopin at Bowonsa Temple Site that reads "[I] created a Buddha triad in gold" also suggests the Iron Seated Buddha was produced at Bowonsa Temple. This Iron Seated Buddha is thought to have been enshrined originally in a hall at Building Site No. 3 within the Bowonsa Temple precinct. Since excavations at the temple site have revealed that the temple's main hall was erected in the Joseon period, the Iron Seated Buddha might have been enshrined in a different hall at the time of its creation. It is likely that the sculpture was placed in a hall at Building Site No. 3 since Goryeo-era roof tiles and porcelain have been frequently excavated there and the remains of a square Buddhist altar have survived at the site. At the time of its creation, the Iron Seated Buddha was likely enshrined in a Goryeo-era hall at Building Site No. 3 but was transferred to the main hall during a rebuilding project undertaken at Bowonsa Temple in the Joseon period.