• Journal of architectural history
• /
• v.29 no.1
• /
• pp.51-64
• /
• 2020

Southern Royal Villa served as an accommodation for the prince in early Joseon Dynasty, and as an official residence and banquet room for Chinese diplomats in the later period. It was facing south and was located at the southern part of the old town of Seoul and to the north of the Southern Gate. The place was divided into four parts: the outmost, the middle, the inner-middle and the inner part beginning from the south and with important buildings placed in the inner part. The residence for the first and the second highest diplomats was situated at the northernmost location. The residence for the highest diplomat was a two-story building. On the west side of the residence was the large scale Western Banquet Room. It consisted of a single wide hall suited for a grand ceremony, and had the greatest formality and solemnity. On the southwestern side of the diplomatic residence was a building which was called Momchae before the early 17th century and Namru(南樓) after the 19th century. Namru in the inner-middle part is the half-sized remnant of Momchae, which used to be the largest building in the Southern Royal Villa. The title 'Momchae (meaning Main Buildling)' signifies that the building represented the entire Villa when it was built as an accommodation for princes. The layout of the Villa in early Joseon Dynasty, which was centered around Momchae, is highly likely to have been a common structure of royal villa for princes during the period.

• Korean Journal of Heritage: History & Science
• /
• v.50 no.4
• /
• pp.64-81
• /
• 2017

Among the royal ceremonies of the Joseon Dynasty era, the articles used in the Jinjak ceremony are symbolic icons of their value during the era. It is very important to identify the purpose of the articles whose usage is ambiguous, by referring to various historical records. Moreover, it should be possible to classify the characteristics and the special context of the article during this process. To accomplish this purpose, I examined the articles related to and used in the processes of Jinjak ceremonies of Outer Jinchan of Myeongjeongjeon and Inner Jinchan of Jagyeongjeon, which are part of the Gichuk Jinchan Ceremony performed in February of the 29th year of King Sunjo. Especially, the definition of Jinjak will not just be limited to the action of offering liquor, but will include the whole series of procedures in offering the liquor. This is because the specific action of offering the liquor expresses cultural concepts and values that have meaning within the historical situation and context in the specific action of offering the liquor. There are three characteristics of the articles related to the Jinjak process of Outer Jinchan and Inner Jinchan of Gichuk Jinchan Ceremony. First, the articles of Jinjak are ranked strictly exactly according to the social status rankings. Second, the Jinjak articles are arranged for their symbolic meanings rather than their purpose. Third, the articles of Jinjak are symbolic icons expressing the values inherent in the process of offering liquor. Recently, there are events reviving the royal court banquet and the increase of interest in the royal culture. It such a situation, the systematic examination of articles of royal court banquets will be a process needed to restore the royal ceremony correctly in the future, and will be the foundation for studying the royal culture of the Joseon dynasty era.

• Sijohaknonchong
• /
• v.26
• /
• pp.223-242
• /
• 2007

This thesis is to review 'Manhoengcheongnyu,' $\ulcorner$Cheongguyeongeon$\lrcorner$ in which sexual organs have appeared. The result of the review shows that a male narrator wants a large organ and a female narrator, a small one. Although there seems to be a difference between the male and the female with the framework of the size of the organs, they have the similar standpoint, Yeohapbujeol(如合符節), that they give and take the sexual feelings to satisfy their mates each other. As a consequence. $\ulcorner$eokgogeomgokuikeungurenarotgeugeotjochagilgoneopda$\sim$(#1993, *569)$\lrcorner$, refers to the other's satisfaction about the sizes of their own organs rather than the idea that the female sexual life is unilaterally oppressed by the male one. Sijo(時調) touches on organs which are 'bawdy and trifling,' and includes obscene comments. Eumdampaeseol(淫談悖說). Mentioning Eumdampaeseol(淫談悖說), the participants in a banquet of the singing space can be a part of its atmosphere, and by being protected by it, they can recite the sexual organs openly or they can grasp the inner meaning of the verse-joke in a refined and humorous fashion-which expresses organs indirectly. Thus, $\ulcorner$aheunahopgommeogeun老丈濁酒geolleo醉kemeokgo$\sim$(#1854, *534)$\lrcorner$, is not related with 'remorse about old age', but is merely a kind of Sijo(時調) about a sexual organ.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.3
• /
• pp.38-49
• /
• 2015

This study aims to contemplated spatial recognition in Soswaewon Garden through garden visitors poetry. It was content analysis in poetry and extract frequency from words based on relationship of author. The results were as follows. First, relationship of authors who wrote Soswaewon Garden poetry was formed in companionship. In the Yang, San-Bo(梁山甫), poetry was written by Song, Soon(宋純), Kim, Un-Geo(金彦据) and Kim, In-Hu(金麟厚) as the central figure. Especially Kim, In-Hu was playing an important role in Soswaewon Garden poetry. He was wrote many of poetry and keep friends with Yang, Ja-Jeong(梁子渟) too. In the Yang, Ja-Jung, relationship of previous generation was sustained. In addition, Ko, Gyeong-Myeong(高敬命) and Kim, Seong-Won and Jeong, Chul(鄭澈) is more closely related than others. Because blood relationship by marriage. In the Yang, Jin-Tae(梁晋泰), He formed a relationship with a celebrity and attend to international activity. Since then Yang, Jin-Tae periord, Yang, Gyeong-Ji(梁敬之) and Yang, Chae-Ji(梁采之) formed relationship of previous generation was sustained. And surrounding people was written poetry as hold a banquet. Second, plant and ornament is a popular object for writing poetry. Bamboo grove and Fine tree with a high frequency of plant element in poetry. Bamboo grove is a typical species of trees in Soswaewon Garden. It was enclosed the Soswaewon Garden. Fine tree was often used target of poetry as a single tree. Meanwhile, ornament of the wall has been used most frequently. Descendants wrote a poem to see it because Kim, In-Hu's poetry was left. This phenomenon is involves respect for the ancient sages with high frequency. In addition, behavior of viewing the landscape was mainly appeared. Third, spatial recognition of Soswaewon Garden can be divided into landscape cognition, behavior cognition and emotional cognition. In a aspect of landscape cognition, early Soswaewon Garden was recognized as a pavilion. That was used garden name to 'Soswaewon Garden' since Yang, Ja-Jung's period. That is to say, Soswaewon Garden expanded from pavilion area surrounded by trees into the whole appearance is equipped garden area. Behavior cognition was consisting drink and enjoys a landscape. In the Yang, San-Bo, authors enjoyed drinking and viewing a landscape besides walking, writing poetry, viewing the moon. But after Yang, San-Bo's period other than drinking and enjoy a landscape has appeared a low frequency. These results were changed from internal place to blood relationship into external place to companionship. In the Yang, San-Bo's emotional cognition was sorrow and yearning about leave to Soswaewon Garden with an idly atmosphere. Pleasant emotion was sustained all generation. And emotion of respect for the ancient sages was appeared since Yang, Cheon-un.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.3
• /
• pp.74-100
• /
• 2022

The purpose of this study was to investigate the characteristics of Chinese seowons and to obtain data based on the characteristics of waterscapes unique to Korean seowons. The conclusion of this study from the results of investigation and analysis of the location, water system, and design characteristics of 10 representative traditional seowons in China including Yuelu Seowon(嶽麓書院) conducted based on literature research and field observation is as follows. The water system of Chinese seowons is dualized into an inner and an outer water system, and in general, two and a maximum of three water bodies are superimposed on the outside. The locations of seowons are classified into five types: Four double-sided round water type sites, three converted face water type sites, one three-sided round water type site, a four-sided round water type, and a waterproofing type(依山傍水型). Therefore, compared to the typical Korean seowon facing water in the front and a mountain in the back(背山面水型), the Chinese seowons showed a highly hydrophilic property. The water shapes of the external water system were meandering(46.0%), mooring(36.0%), and broad and irregular(9.0%). In addition, water conception(水態) were streams(31.8%), rivers(27.3%), springs(13.6%), falls(9.1%), lakes(4.5%) and ponds(4.5%), in that order. As for waterscapes of the water system inside the seowon, there were seven in Akrok Seowon and four in Mansong Seowon, indicating a comparatively higher number of waterscapes. Since the 27 detailed waterscapes in 10 seowons that were the subject of the study were classified into six types including ponds and half-moon ponds, they appeared to be more diverse than the Korean seowon. It is noteworthy that in the interior waterscape of the traditional Chinese seowon, the ritualistic order, where at least one half-moon pond or square pond(方池) was arranged, is well displayed. In particular, the half-moon pond(伴池), which is difficult to find in Korean seowon, was found to be a representative waterscape element, accounting for 42.8%. If the square pond of Nanxi Seowon based on Zhu Xi's poem 「Gwanseoyugam(觀書有感)」 is also treated as a square-shaped half-moon pond, the proportion of half-moon ponds in the waterscape will be as high as 50%. The pond shapes consisted of 28% square, 24% each for free curve and round shape, 20% for semi-moon shape, and 3.8% for mountain stream type. This seems to differ greatly from the square-shaped Korean seowon. On the other hand, there were a total of 10 types of structures related to the waterscape inside the Chinese seowon: 11(26.8%) pavilion and bridge sites, five gate room sites(牌坊: 16.5%), four gate and tower sites(樓, 1.4%), two Jae sites(齋, 6.2%), and one site each(3.1%) of Heon(軒), Sa(祠), Dae(臺), and Gak(閣). In particular, the pavilions inside seowon were classified into three types: landscape pavilion(景觀亭 27.2%), tombstone pavilion(碑亭, 18.2%), and banquet pavilion(宴集亭, 54.5%). In general, it was confirmed that the half-moon pond with a pedestal bridge, and the pavilion were the major components with a high degree of connection that dominate the waterscape inside the Chinese seowon.