• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.36-48
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• 2015

This study aims to contemplated the enjoying culture of Gyeonghwasejok's garden in late Joseon dynasty. It was track down the behavior from cultural perspective by using recorded in literature. The results were as follows. First, Gyeonghwasejok was the main principal of the garden at Hanyang in Joseon Dynasty. There are established residence in the downtown and make a garden. Garden organizer recognized to fine conditions of residences even crowded downtown. As a result people tried to include habitation and garden culture for preserve their cultural benefit. Secondly, Seongsisanrim culture has appeared of common in site selection of garden for occupies the scenic beauty. Garden was surrounded by scenic beauty. Garden organizer was formed archival culture for owning the beautiful landscape through creation of guguk(九曲), designation of space and lettering on rocks. Thirdly, Formation of the collection culture was placed of various ornaments inside garden. A behaviour of landscape view and ornaments appreciation led to the archival culture such as Won-rim-gi(園林記) and essay(小品文). Moreover, hold a friendship meeting for sharing garden culture. Fourthly, Attention of flowering plants was extended to development of gardening hobby such as fashion of pot-planting, planted to exotic tree. It was know that the plants are recognized as favorite elements by target of appreciation according to introduction of plants inside garden. In addition, facility of horticulture and kitchen garden were placed inside garden. Fifth, Influx of chinese garden culture influenced construction of garden space in late Joseon dynasty. Garden organizer recognizes garden as a ideal space by garden aesthetics that Hojungcheonji(壺中天地). And the imitation of Chinese garden culture such as collecting of Chinese's ornaments has become a high-level culture.

• Journal of architectural history
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• v.3 no.1
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• pp.57-82
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• 1994

This paper is the result of the researches and the field surveys of the villages and the dwellings of Korean immigrants in Yien-Pien area, north-eastern China. This study aims to persue both of the origin and the process of development of their settlements and dwelling types from late 19C to the present. Their processes are too complex to analysis by single view-point. I have eyes to interprete them from three pionts; 1)correspondences between the dwelling types and the econo-political history of their region, 2)cultural assimilation with the native dwelling types, and 3)the direction of their modernization with the economical development of modern China. Three village types have been pioneered; 1)the villages of indivisual immigration, 2)the villages of planned group immigration, and 3)the villages of socilistic reform villages of 1) were composed of organic village patterns and various shaped dwelling lots on the sloped site; villages both of 2) and 3), gird patterns and uniformed lots on open fields. Historically, villages of 1) were pioneered before 1931; villages of 2), 1936-1945; villages of 3), from 1945. Each of dwelling types had strong relations with the village types to which it belonged. Before 1931, dwellings were built up based on so called "Ham-buk dwelling type" which was dominent in north-eastern Korea. In the era of gruop-immigration, various dwelling types were flew into Yen-Pien from southern Korea. In modern China, their southern types were changed into Yen-Pien type as similar as Ham-book type. After 1945, with the Great leap Forward and the Cultural Revolution, as communization of indivisual properties and reorganization of rural communities, each of dwellings became smaller and simpler in aspects of scales as well as functions. There are two types in Yen-Pien dwellings, those are 'single-file' and 'double-file' type. Three sub-types of latter arc 'six-bays', 'eight-bays', and rarely 'ten-bays'. The most common element of all types is Chong-ju-k'an; which is large room with heated floor, openig to kitchen. Now, modern dwellings of Korean immigrants are changing their spatial compositions, materials, and structures. With cultural assimilation as well as modernization, especially in urban areas, they are compelled to accept the elements of Chinese dwellings. But the spatial element of "Chong-ju-k'an", which is the core element of Yen-Pien dwelling type, never fade away nor is changed.

• (The) Research of the performance art and culture
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• no.38
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• pp.297-347
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• 2019

Jie Jie Hao Yin 『절절호음(節節好音)』 is a script collection produced during the Qianlong's ruling Period which had one of the most flourished period of Qing Dynasty's Palace Drama. This script collection is consisted of 86 scripts of 6 Festival Court Plays: New year's day (元旦), Lantern festival(上元), Yanjiu festival(燕九), Snow appreciation(賞雪), Day of Kitchen god worshipping(祀竈), New year's eve(除夕). These scripts are effective records to study the New Year's Eve Drama of Qianlong Period. Jie Jie Hao Yin carry out the performances not only through Kunqiang (崑腔), and Yiyang Tune (弋腔), but also through various types of entertaining performances such as dance, masque play, puppet show, and story telling. Most of the songs were sung by various gods praising the era of peace as the holiday approaches. In the contents of revealing the luck to be brought by the holidays, it sought for the colorful transformations of stages through adding humoristique short stories or various feast genres in between the performance. It also tries to seek for diversities of stages through active application of acrobatics. It also portrays folk customs from BaiYunGuan's temple fair, Yanjiu Festival in YanBin, the Lantern Fair of Lantern Festival, and various activities of wet markets from New Year's Eve from diverse points of views. Especially through various shows and Chinese folk-art forms, the popular folk activities and entertainments near Beijing in the beginning era of Qing Dynasty can be observed. Jie Jie Hao Yin is a very important resource to look at the popular art activities of Beijing during Qianlong Period, and how the Palace culture accepted the folk cultures and applied to its own advancements.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.243-266
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• 2004

This paper is based on fieldwork conducted from July 6, 2003 to July 24 of 2003 among the Tungusgroups Hezhe, Daur, Oloqun, Owenke, and Mongolian in the areas of Heilongjiang and Inner Mongolia Provinces. Recognizing the need for more in-depth study among these groups, the present research shows that the Tungus people are archeologically, historically, and linguistically different from Korean Han ethnic group and challenges the link between Korean and Tungus groups since the Bronze Age. The comparison between the "House Spirit" belief of the Tungus people and Koreans reveals certain commonalities in the "Maru," "Kitchen," and "Samshin Spirit" practices. There are two possible reasons for such commonalities. Historically, the Korean Han ethnic group and the Tungus people were geographically intimate, and contact or transmission between the two groups occurred naturally. Also, immigration of refugees from the fallen Koguryo and Puyo to the Tungus region added another dimension of cultural contact. In contrast to the common features shared between the two groups, there also exists differences between the two groups House Spirit blief. The Korean Han group's "House Spirit" belief is based on the agricultural practices that separates the inside sacred and outside secular world of the houses, whereas the Tungus ethnic group's "House Spirit" belief is based on mobile herding life style with a less distinction between in and outside of house. Additionally, each Korean "House Spirit" has its own distinctive personality, and each spirit is placed and worshipped according to its function. In the Tungus group, all the "House Spirits" are located and worshipped in "malu," and some of the spirits are non-conventional house spirits. Moreover, Korean "House Spirits" form a kinship structure, placing Songju, the highest spirit, at the center. In the Tungus practice, such structure is not found. The tight cohesive family formation among the house spirits in the Korean "House Spirit" belief is also the most distinctive feature in its comparison with Chinese belief. In China, the highest spirit is Jiang Taigong or Qiwu, and the house spirits do not have kinship relations. Korean's Outhouse Spirit and Chowangshin are related to the Han Chinese's counterpart on certain levels? however, their basic structures are different. It is clear that the correlation of "Malu" "Chowangshin" and "Samshin" between Korea and Tungus indicate important role of Tungus cultural elements within Korea's "House Spirit" belief.