• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.40-52
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• 2016

Buyongjeong, a pavilion in the Rear Garden of Changdeok Palace, was appointed as Treasure No. 1763 on March 2, 2012, by the South Korea government since it shows significant symmetry and proportion on its unique planar shape, spatial configuration, building decoration, and so forth. However, the designation of Treasure selection was mainly evaluated by concrete science, in that the selection has not clearly articulated how and why Buoungjeong was constructed as a present unique form. Therefore, this study aims to clarify the identity of Buyongjeong at the time of construction by considering its historical, ideological, philosophical background and building intention. Summary are as follows: First, Construction backgrounds and characters of Buyongjeong: Right after the enthronement, King Jeongjo had founded Kyujanggak(奎章閣), and sponsored civil ministers who were elected by the national examination, as a part of political reform. In addition, he established his own political system by respecting "Kaksin(閣臣)", Kyujanggak's officials as much as "Kain(家人)", internal family members. King Jeongjo's aggressive political reform finally enabled King's lieges to visit King's Rear Garden. In the reign of King Jeongjo's 16th year(1792), Naekaksangjohoe(內閣賞釣會) based on "Kaksin" was officially launched and the Rear Garden visitation became a regular meeting. The Rear Garden visitation consisted of "Sanghwajoeoyeon(賞花釣魚宴)" - enjoying flowers and fishing, and activities of "Nanjeongsugye". Afterward, it eventually became a huge national event since high rank government officials participated the event. King Jeongjo shared the cultural activities with government officials together to Buyongjeong as a place to fulfill his royal politics. Second, The geographical location and spatial characteristics of Buyongjeong: On the enthronement of King Jeongjo(1776), he renovated Taeksujae. Above all, aligning and linking Gaeyuwa - Taeksujae - a cicular island - Eosumun - Kyujangkak along with the construction axis is an evidence for King Jeongjo to determine how the current Kyujangkak zone was prepared and designed to fulfill King Jeonjo's political ideals. In 17th year(1793) of the reign of King Jeongjo, Taeksujae, originally a square shaped pavilion, was modified and expanded with ranks to provide a place to get along with the King and officials. The northern part of Buyongjeong, placed on pond, was designed for the King's place and constructed one rank higher than others. Discernment on windows and doors were made with "Ajasal" - a special pattern for the King. The western and eastern parts were for government officials. The center part was prepared for a place where government officials were granted an audience with the King, who was located in the nortern part of Buyongjeong. Government officials from the western and eastern parts of Buyongjeong, could enter the central part of the Buyongjeong from the southern part by detouring the corner of Buyongjeong. After all, Buyongjeong is a specially designed garden building, which was constructed to be a royal palace utilizing its minimal space. Third, Cultural Values of Buyongjeong: The Buyongjeong area exhibits a trait that it had been continuously developed and it had reflected complex King's private garden cultures from King Sejo, Injo, Hyunjong, Sukjong, Jeongjo and so forth. In particular, King Jeongjo had succeded physical, social and imaginary environments established by former kings and invited their government officials for his royal politics. As a central place for his royal politics, King Jeongjo completed Buyongjeong. Therefore, the value of Buyongjeong, as a garden building reflecting permanency of the Joseon Dynasty, can be highly evaluated. In addition, as it reflects Confucianism in the pavilion - represented by distinguishing hierarchical ranks, it is a unique example to exhibit its distinctiveness in a royal garden.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.1
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• pp.92-108
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• 2000

The rear garden of the Ch'angdok Palace is considered to be representative of gardens of the 15th century to the end of Choson Dynasty in the early 20th century and is very well preserved. Therefore with its long history, it's been represented in various way. This study tried to interprete the rear garden of the Ch'angdok Palace in terms of 'text through king Jungjo's "Sangrimshipkyog". Jungjo's "Sangrimshipkyng" that describes scenery related to ten place of the rear garden of the Ch'angdok Palace was written when he was a crown prince. And the scenery of ten places can't be separated from their physical looks and those ten places were quite different from now. For that reason, to begin with, this study recomposed those ten places through maps and drawings that revived the current looks and rear garden. And what poems tried to tell and what meanings whey had in the literacy of that age that allowed "poem enchained ten scapes" were studied in the context of co-relationship with space. As a text it is very ancient and questions arise on how to correctly interpret the information it holds. But this interpretation is only one side of the various aspects that the rear garden of the Ch'angdok Palace has compared to its long history. In light of the present age an interpretation can have richer and more varied meanings, creating many new viewpoints. creating many new viewpoints.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.8
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• pp.95-104
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• 2018

This thesis aims to determine the size of the rear garden and its architectural dimension at Gyeongbok Palace constructed during King Gojong's reign by analyzing Bukgyeol dohyeong(Site plan of Gyeongbok Palace) and Bukgyeol huwon dohyeong(Site plan of Rear Garden of Gyeongbok Palace) applied of scale unit and made from 1905 untill 1909. The results of this study were as follows; With respect to its site, the maximum horizontal length is estimated to be around 448m, the maximum vertical length is around 544m, and the entire area is around $203,905m^2$. Concerning the architecture, the total number of the buildings made up of one or more gan(間) is 32 and the total number of its gan is 292.5, etc.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.87-97
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• 2013

This study was carried out to find the prototype of the rear garden in Changdeok Palace during King Jungjo's reign through Gang Sehwang's "Record of Strolling with King in the Forbidden Garden", and the site of this study included the whole areas of Ongnyucheon(玉流川), Mansongjeong(萬松亭), Mangchunjeong(望春亭), Jondeokjeong(尊德亭), Pyemwoosa and Taichungmun(太淸門). The characteristics of the area of Ongnyucheon described in Record of Strolling with King in the Forbidden Garden was the shape of Wiyiam expressed three-dimensional mountain such as the fence surrounding Soyojeong(逍遙亭) and the painting techniques of Fu Pi' ts'un and pond in front of Taegeukjeong(太極亭). The pond in front of Taegeukjeong(which was described by Gang Sewhang) is also identified in Donggwoldo(東闕圖) and this study judged that the pond was removed during the maintenance process of Ongnyucheon, where was scheduled as the place of entertainment when Chinggyong-Yesik(稱慶禮式: Royal court rites) was held to celebrate the 40th anniversary of King Gojong's reign. The characteristics of the whole area of Mangchunjeong where was the attraction point for flower viewing in the forbidden garden was surrounded by the sculptured fence, and Mangchunjeong which was hexagonal structure was located in the inside of the structure on both sides of the main building. The cornerstone was carved with white jade. Also a corridor assumed as Chunhyanggak(天香閣) was adjacent to Mangchunjeong. Gang Sehwang confirmed the space organization appeared in Donggwoldo by describing the attached building of Pyemwoosa, Taichungmun, and surrounding fence in detail.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.60-79
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• 2001

We can infer from collections of prose in Cho-sun period that the main period is from King Se-jong's reign to King Yoeng-jo's or between the 15th and the 17th century. The ideological background and the dignity of the rock garden is derived from Taoist hermitism and Nitze and Jeng-je's quietism. The representation of the rock garden as tri-god mountain comprising Bong-lai, Bang-jang and Young-ju is based on the tradition of making the tripartite rock garden in a pond practiced in the three north-eastern countries, Korea, China and Japan. And it's the representation of quietistic world of eternal life that had been sought by the taoism. Making a pond in which they plant lotus and made rock garden. they enjoyed watching immaculately pure lotus flower bloom even in the mud. It is compared to the confucians' seeking for virtue even in the profane or defiled world. Another motive of intellectuals to make rock gardens is their love of nature and its landscapes and their preference of recluse and temperate life to attaching to high public office, which was the tendency of the learned, established by the influence of taoist and quietist tradition. The essays portray the fountain water, ponds, waterfalls. the hilltops, the mountain pass over the ridge. winded lanes, valleys, caverns, and other architectural elements. The technic of building rock gardens includes those of harmonizing each elements of landscapes in the water, that of irrigation, building formation, and those of piling up the mountains and hills. With some comments on planting trees, grass and flowers. The original location of rock garden, esp. in case of taoist Chae-su's rock garden with waterfalls, is Ian-ri, Ian-myon in the city Sang-ju. Since no relics of rock gardens are to be found in any examples of Korea's traditional gardening, the study of rock gardening by analyzing the prose collections of Cho-sun period can be significant for the study of designing water space that has been considered the center of a garden space.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.39-49
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• 2018

"Annals of The Joseon Dynasty" is a book recording the Joseon Dynasty's historical facts in an annalistic format. The King's amusement activities through "Annals of The Joseon Dynasty" which were established by the Ye-ak(禮樂) system were analyzed. The results are as follows. The king's amusement activities that were performed during the Joseon Dynasty period could be classified as state banquets, military banquets, and banquets for play. The analysis of the king's amusement activity was divided into five stages. The characteristic of [1 period : King Taejo~Sejo(Yejong)] was dominated the military banquets of the Goryeo Dynasty. Neo-Confucianism is the establishment of political and social turning of the ballast, considerations of military culture, culture, and Hoeryeyeon Jinpungjeong, a cloud of dust and elders banquets such as Giroyeon and Yangnoyeon on the nature of the party. A lasting ordinance was institutionalized[2 period : King Seongjong~Jungjong]. In the chopper and jeongyujaeran, Hong Kyung Rae led a royal amusement activities are stagnant, often produce isolated storage compute in the gloomy situation[3 period : King Injong~Hyeonjong]. Revival period is pride of the amusement activity through the culture of Joseon Dynasty royal culture [4 period : King Sukjong~Jeongjo]. The throne, crashed due to political power is an ebb of royal amusement activities, while also rapidly waning[5 period : King Seonjo~Seonjong]. During the early Joseon Dynasty, hunting took place around the forest area northeast of Hanyang and during King Seongjong's period, it took place closer to the capital city, while in Lord Yeonsan's period, it was expanded to a 39 kilometer radius area from the palace, and banquets such as various forms of entertainment of Cheoyongmu, and Flower-viewing. The Joseon kings who enjoyed hunting were King Sejong, Sejo, Seongjong, Yeonsan, and Jungjong. Most of hunting objects were tigers, bears, deer and roe deer, leopards, boars, their animals and falconry took, and the purpose of the hunting was to perform ancestral rites to the royal ancestry or the royal tombs. Lord Yeonsan's hunting activities had negative effects after King Jungjong the king's hunting activity decreased sharply. However, there were also positive aspects of Lord Yeonsan's Prohibition of cutting woods ect. In conclusion, the expansion of the King's garden(庭:courtyard${\rightarrow}$園:privacy garden${\rightarrow}$苑:king's garden${\rightarrow}$苑?:national hunting park) is evident which starts from formal and informal activities that took place in Oejo, Chijo, and Yeonjo, which went further to the separate and secret gardens, and then even further, thus setting the amusement activity area as a 39 kilometer radius range from Hanyang.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.1-19
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• 2013

This study tries to review 'Sakuteiki(作庭記)', the Book of Garden Making, compiled at the end of the 11th Century during the Heian Period of Japan, from the East-Asian perspective. 'Sakuteiki' is a Garden Theory Book, the oldest in the world as well as in Asia, and it contains the traditional knowledge of Japanese ancient garden culture, which originated from the continent(Korea and China). Traditional knowledge related to East-Asian garden culture reviewed in this paper is "Fungsu Theory"(風水, Asian traditional ecology: Fengshui in Chinese; Fusui in Japanese), stemmed from the culture to seek sound and blessed places to live in. Viewed from modern landscape architecture, the Fungsu Theory corresponds to ecology(science). The Fungsu Theory was established around the Han Dynasty of China together with the Yinyangwuxing(陰陽五行) Theory and widely used for making human residences including gardens. It was transmitted to Japan via Korea as well as through direct transaction between Japan and China. This study reinterprets garden design principles represented in Sakuteiki, which were selected in 5 key words according to the Fungsu Theory. The 5 key words for the Fungsu Theory are "the place in harmony of four guardian gods(四神相應地)", "planting trees in the four cardinal directions", "flow of Chi(氣)", "curved line and asymmetry", and "mountain is the king, water is the people". Garden design principles of "the place in harmony of four guardian gods(四神相應地)" and "planting trees in the four cardinal directions" are corresponding to "Myeongdang-ron(明堂論, Theory of propitious site)". The place in harmony of four guardian gods mentioned in Sakuteiki is a landform surrounded by the flow of water to the east, the great path to the west, the pond to the south, and the hill to the north. And the Theory originated from Zhaijing(宅經, Classic of dwelling Sites) of China. According to this principle, the city was planned and as a miniature model, the residence of the aristocrat during the Heian period was made. At the residence the location of the garden surrounded by the four gods(the flow of water, the great path, the pond, and the hill) is the Myeongdang(明堂, the propitious site: Mingtang in Chinese; Meido in Japanese). Sakuteiki explains how to substitute for the four gods by planting trees in the four cardinal directions when they were not given by nature. This way of planting originated from Zhaijing(宅經) and also goes back to Qiminyaoshu (齊民要術), compiled in the 6th Century of China. In this way of planting, the number of trees suggested in Sakuteiki is related to Hetu(河圖) and Luoshu(洛書), which are iconography of Yi(易), the philosophy of change, in ancient China. Such way of planting corresponds to that of Yongdoseo(龍圖墅, the villa based on the principle of Hetu) presented in Sanrimgyeongje (山林經濟), an encyclopedia on agriculture and living in the 17th Century of Korea. And garden design principles of "the flow of Chi(氣)", "curved line and asymmetry" is connected to "Saenggi Theory(生氣論, Theory of vitality)". Sakuteiki explains the right flow of Chi(氣) through the proper flow and the reverse flow of the garden stream and also suggests the curved line of the garden stream, asymmetric arrangement of bridges and stones in the garden, and indented shape of pond edges, which are ways of accumulating Chi(氣) and therefore lead to "Saenggi Theory" of the Fungsu Theory. The last design principle, "mountain is the king, water is the people", is related to "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory. Sakuteiki explains the meaning of garden through a metaphor, which views mountain as king, water as the people, and stones as king's retainers. It compares the situation in which the king governs the people with the help of his retainers to the ecological phenomena in which mountain(earth) controls water with the help of stones. This principle befits "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory which explains landform on the analogy of social systems, people, animals and things. As above, major garden design principles represented in Sakuteiki can be interpreted in the context of the Fungsu Theory, the traditional knowledge system in East Asia. Therefore, we can find the significance of Sakuteiki in that the wisdom of ancient garden culture in East-Asia was integrated in it, although it described the knowhow of a specific garden style in a specific period of Japan.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.62-77
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• 2012

This study aimed to investigate the Confucian-oriented agriculture phase of the Joseon Dynasty, which was reflected at the palaces, by analyzing constructional aspects and spatial characteristics of farmlands at the palace rear gardens. The objective sites were the rear gardens of Gyeongbok Palace, Changkyung Palace, and the outside of Sinmoomoon(神武門) This study was based on literature reviews. The farmlands at the palace rear garden were constructed to self-estimate the year's harvest condition within the palaces. It was a part of the agriculture encouragement policy on governing the group of Joseon like publishing the Nongsajiksul(農事直說) and establishing the Chingyeongnye(親耕禮: king's own cultivation ceremony) and Kikokje(祈穀祭: the rite of praying for grain). In addition, farmlands of the rear garden were operated from the beginning of the state almost until the Japanese colonial era. The results were summarized as follows: First, Gyeongbok Palace rear garden's farmland which begin at the reign of Sejong(世宗) existed at the present Hyangwonji(香遠池) area. It was constructed in order to check the advanced agricultural technologies. The rear garden's farmland in Changkyung Palace, which was executed during the reign of Seongjong(成宗), was constructed right after the initial Chingyeongnye of the Joseon Dynasty. Therefore, it might be understood as the context of the king's own cultivation of the Jeokjeonchinkyung(籍田親耕). Injo(仁祖) dug for farmland in the ground of the Gyemgdeok Palace(慶德宮) though there was some stay palace, when his stay dragged out for too long. This bespeaks that those farmlands at the palace rear gardens were of great importance in the Joseon political history. The farmland near Gyeongnongjae(耕農齋), which was made during the reign of Gojong(高宗), inherited predecessor's walks of the promoting agriculture and exhibited spatial compositions such as the rear garden's farmland at Changkyung Palace. Secondly, irrigation, its water systems, the name of observatory to study farming[觀耕臺] and location requirements for farmland had something in common. It was assumed as universal forms of physiocracy-space in the Joseon Dynasty. In this study, by considering aspects of operating about vegetable garden managed by eunuchs and of the orchard in palace to cultivate fruits for national ceremonies, it could be assumed that landscape architecture of royal palace in the Joseon Dynasty did not only focus on solemnity, orderliness and fanciness but also on the practical and productive which was helpful in life. In addition, the diverse activities of productive landscape architecture led by the royal family in palaces, and the initiatively tested advanced agricultural technologies by the king were considered as an aspect of the Korean traditional specific royal palace landscape architecture. That is considered sole landscape not only to love of the people but also the 'agriculture-first' principle which were absent from other nations.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.1-17
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• 2016

The main aim of this study is to provide an overview of the characteristics the Oungak (五雲閣) area on the north of rear garden of Gyeongbokgung Palace which was constructed during the time of king Kojong. This study also consider the aspect of functional elements of Ocryucheon (玉流川) located in Changdeokgung Palace and how the Oungak area was used as a substitute for the Ocryucheon. The Oungak area is the private space of the king. It was built in a natural setting which used existing environment including spring water and the rock carved with inscriptions 'Cheonha-Jaeil-Bokji (天下第一福地). King Kojong tried to replace Ocryucheon with Oungak area which had played a important role of relaxation and leisure for royal family at the Ocryucheon to reconstructed Gyeongbokgung Palace. Despite being away from each other, Oungak area seems quite similar to Ocryucheon area. Oungak area and Ocryucheon have a common conditions of a location and structure of the building. Both constructed on the northernmost part of rear garden, composition of buildings and the design of waterway estimated to function as Curve-Stream Banquet. Oungak area was consisted of Ocryeonjeong (玉蓮亭) Pavilion, Oungak Building, Byeokhwasil (碧華室) Building and Cheonha-Jaeil-Bokji-Cheon (天下第一福地泉) Spring and Streams. Except Byeokhwasil Building, spatial compositions of Oungak area showed pattern that were similar to Ocryucheon area. The area was developed, moreover, to unconventional space that depended on the conditions of topography, slope, water system. First, The Ocryeonjeong Pavilion constructed to view the landscape of Seoul to Namsan Mountain. Second, the peculiar form of Cheonha-Jaeil-Bokji-Cheon Streams is estimated the shape imitated from Curve-Stream Banquet on Ocryuchon. Third, Oungak Building was constructed like a habitable house with Nongsanjeong Building in Ocryucheon. The Oungak area was constructed to improve Gyeongbokgung Palace, Consequently, the Oungak area specially characteristic of Joseon palaces's rear garden.

• Journal of architectural history
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• v.13 no.1 s.37
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• pp.53-69
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• 2004

Located in a rear garden of Changdeok Palace, Yeonkyeong-Dang is valued as the most characteristic building of the houses of aristocrats of the later Joseon Dynasty. The time of the construction has been much debated, however, it is perceived through this research that the construction was completed in September 1827(the 27nd year of king Sunjo's reign). The shape of the buildings during this period resembles a letter ㄷ as shown in the picture of Dong-Kweol. We previously described that the purpose of Yeonkyeong-Dang was to carry the portrait of king Yikjong while keeping the shape of building when it was first established until the 8th year of king Heonjong (1842). In 1865 (the 2nd year of king Gojong's reign), it was reconstructed with very different outlook which has remained the present shape. The characteristic features of the residences of aristocrats were reflected in newly reconstructed Yeonkyeong-Dang. The structure was largely divided into two quarters that occupied by male and female residents respectively. The two quarters were bordered by fences and added with a study and a pavilion. The reconstruction was conducted by king Gojong's father, Daewon- Goon and its purpose was to prepare a separate house for the king and queen before the kings wedding that was about to come. During the 19th century, building an imitation of houses of aristocrats became quite a trend in the palace. Built in 1847, Nakseon-Jae was precedented and followed by Yeonkyeong-Dang. Also later Geoncheong Palace was built in Kyeongbok Palace in 1873. All of the three buildings imitated houses of aristocrats. Divided residences of male and female sections and splendid decorations were common features. Nakseon-Jae was the smallest in the structure of spaces, ornamentation of details and its sizes, Yeonkyeong-Dang was the second and Geoncheong Palace was the most distinguished building. The constructions of these three buildings created an innovative architectural wave in the 19th century palace. Yeonkyeong-Dang was the building that mediated the new flow of architectural structure in the 19th century palace.