• Journal of Ginseng Culture
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• v.1
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• pp.78-92
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• 2019

Among the Southeast Asian countries, Vietnam had the most cultural exchange with Korea. Through Confusion and Chinese character, which were the common measure for two countries, Korea and Vietnam could communicate and share a sentiment with each other. Two countries showed an enormous interest in each other, and hence they could keep good relationship without official diplomatic relations. During the early 19th century, Korean Ginseng had gained tremendous popularity in Vietnam. Vietnamese believed the stamina of Minh Mang, who had 142 sons and daughters, originated from ginseng. Minh Mang bestowed ginseng on old courtiers for their contribution, which made them more loyal to the king. This tradition was inherited to the future generations, and soldiers who fought with Thai, Cambodia and France also received ginseng for their contribution. In other words, ginseng was the very important key for enforcement of patriotism. Due to the tradition, Korean ginseng has been considered as the premium ginseng in Vietnam. It is presumed that ginseng flew into Vietnam through 4 routes; 1) as an imperial gift from Chinese emperor, 2) by the Vietnamese ambassadors who went to Beijing for a tribute, 3) through private trade and 4) from Ryukyu or Japan, which were the hub of international trade. From 15th to 18th century, ambassadors from Chosun and Vietnam actively interacted in Beijing. Through their interchange, Vietnamese royal family could learn about the value of ginseng. The fact that there were many Shilhak scholars among the ambassadors from Joseon, such as Seo Geojeong and Seo Hosu who had profound knowledge of ginseng proves the theory. It is also possible that reputation of ginseng was already established in Vietnam during Silla period. Ko Byung, an bureaucrat from Tang Dynasty who ruled Vietnam for 10 years in middle 9th century and a friend of Choi Chiwon, might have delivered the knowledge of ginseng to the upper class in Vietnam. This hypothesis, however, should be proven by literatures. Hence, further research about the trace of Korean ginseng in Vietnamese history and literary works still remains to be done.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.1-17
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• 2018

This study was conducted to interpret the landscape of Songge Byeoleop(Korean villa) garden at Jogyedong, Bukhansan near Seoul which was built in the mid 17C. to restore through the literature reviews and field surveys. The results were as follows; Songge Byeoleop garden was a royal villa, constructed at King Injo24(1646) of Joseon dynasty by prince Inpyeong(麟坪大君), Lee, Yo(李?, 1622~1658), the third son of King Injo who was a brother of King Hyojong. It was a royal villa, Seokyang-lu under Mt. Taracsan of Gyendeokbang, about 7km away in the straight line from main building. It was considered that the building system was a very gorgeous with timber coloring because of owner's special situation who was called the great prince. The place of Songge Byeoleop identity and key landscape of the place were consisted with Gucheon waterfall and the sound of the water with multi-layered waterfall which might be comparable to the waterfall of Yeosan in China. After the destruction of the building, the place was used for the royal tomb quarry, but there was a mark stone for forbidden quarry. The Inner part of Songge Beoleop, centered with Jogedongcheon, Chogye-dong, composted beautifully with the natural sceneries of Gucheon waterfall, Handam and Changbeok, and artificial structures, such as Bihong-bridge, Boheogak, Yeonghyudang and Gyedang. In addition, the existing Chinese characters, 'Songge Beoleop' and 'Gucheoneunpog' carved in the rocks are literary languages and place markings symbolizing with the contrast of the different forests and territories. They gave the names of scenery to the rock and gave meaning to them. Particularly, Gucheon waterfall which served as a visual terminal point, is a cascade type with multi-staged waterfall. and the lower part shows the topographical characteristics of the Horse Bowl-shaped jointed with port-holes. On the other hand, the outer part is divided into the spaces for the main entrance gate, a hanging bridge character, a bridge connecting the inside and the outside, and Yeonghyudang part for the purpose of living. Also in the Boheogak area, dual view frame structures are made to allow the view of the four sides including the width and the perimeter of the villa. In addition, at the view point in Bihong-bridge, the Gucheon water fall divides between the sacred and profane, and crosses the Bihong-bridge and climbs to the subterranean level.

• (The)Study of the Eastern Classic
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• no.71
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• pp.9-39
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• 2018

We considered the historical significance and the individual aspects of heroes that are reflected in the historical differences between men and women expressed in the old tales. To achieve this purpose, the paper selects , , , , and as text. Their characters were then catalogued into cultural heroes-Choi ChI-won, popular heroes-Jeon Woo-chI, family heroes-Chung So-jeo, pro-Japanese enlightenment hero-Ilneyomhong and Lee Hyung-kyung. He also tried to achieve his goal by describing the historical significance of the hero's type. China and Joseon were at odds with each other, so their relationship was uncomfortable. It is at the forefront of that concerns this issue. As he was a great writer of Silla, he was able to play a leading role with Chinese writers. We needed Choi ChI-won, a cultural hero, to express our pride that Joseon has a superior culture than China. Joseon was a Confucian society with a strong anti-semitic system. Accordingly, the people were persecuted by the aristocrats for all their centers, and this required a folk hero. He is the leader of the war. Jeon Woo-chI is a real folk hero who solves the people's grudge and wishes through doctoring. As women go back to the late Joseon Dynasty, they change the way women treat men after experiencing war. For this reason, there are novels about female heroes such as <江都夢遊錄>, <朴氏傳>, and <李學士傳>. I think the writer given hope to women who are upset by incompetent men even in their work at the time. Jeongsojeo is a leading hero in the family who is more active than the female lead who is faithful to old wives, but is responsible for helping her husband. Joseon goes through the 淸日 and 露日 wars and is at the center of Japan's prosperity. Japan is the Japan-Korea Treaty of 1905 after the Japanese Resident-General of Korea after heavy emphasis put on with the politics. At this time, he published pro-Japanese newspapers and published pro-Japanese novels to highlight pro-Japanese collaborators. It is Ilneyomhong and Yeoyongwoong.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.1
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• pp.10-19
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• 2021

This study investigated the actual state and transformation of the major garden ornaments in Changdeokgung Palace(昌德宮) in the modern and contemporary period, focusing on Nakseonjae(樂善齋), Juhamnu(宙合樓), Jondeokjeong(尊德亭), and Daebodanji (大報壇址). This study can be used as useful data for establishing the restoration and maintenance plan of the garden ornaments in Changdeokgung Palace, and the main results of the study can be summarized as follows. First, according to a photo taken by the Czech Vráz, in 1901, a total of six garden ornaments, including a stone pond and odd-shaped stones, were located in the backyard of Nakseonjae. Since liberation, arbitrary relocation of garden ornaments has frequently occurred, and in the process, two odd-shaped stones, originally located on the first floor of the terraced flower bed, have been transferred to the backyard of Gyeonghungak(景薰閣). Second, unlike the late Joseon Dynasty when 「Donggwoldo(東闕圖)」 was produced, odd-shaped stones were arranged symmetrically in the backyard of Juhamnu in the early 1900s. It was a traditional style garden ornament with similar appearance, size, and design. However, all the odd-shaped stones in the backyard of Juhaumnu were relocated to other places in the 1970s and 1980s. One is located at the rear of Aeryeonjeong(愛蓮亭) through the entrance of Bingcheon(氷泉) and the vicinity of Geumcheongyo(錦川橋), and the other remains in front of the Yeongyeongdang Jangnakmun(演慶堂 長樂門). Third, among the garden ornaments located in the area of Jondeokjeong in the past, one odd-shaped stone is now relocated around the stone bridge near the pavilion and the Yeonghwadang(暎花堂) with its components separated. The bondstone near Yeonghwadang was relocated in 1990 for the purpose of installing an imitation of Angbuilgu(仰釜日晷). Another odd-shaped stone has been relocated to the front door of the Secret Garden(後苑), and now it is difficult to grasp the location. Fourth, the two bondstones remaining in the Daebodanji were actually building materials that were used as the foundation stone for the entrance pillars of the Yi Royal Office Building(李王職廳舍) during the Japanese colonial period. After liberation, the Yi Royal Office Building was reorganized into Imperial Estate Administration Office(皇室財産事務總局), and when the office building was burned down in 1960, the stone statues and foundation stones placed on the stylobate were relocated to the Daebodanji. The bondstone at Daebodanji is a representative example of construction materiasl being mistaken for gaeden ornaments.

• Journal of Cadastre & Land InformatiX
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• v.54 no.1
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• pp.63-74
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• 2024

The fundamental basis for revitalizing cultural resources and developing content is national heritage(cultural property). In national heritage, cultural heritage is a tangible cultural heritage that represents the uniqueness of history and tradition, identity, and changes in life. In the case of museums, the collections (a museum-owned cultural heritage) represent the unique characteristics of the institution. In South Korea, it is recommended that museum collections be registered and used in the Cultural Heritage Standard Management System so that cultural heritage can be managed and utilized in connection with academics, industry, and administration. However, due to a lack of awareness of modern and contemporary heritage, the thematic classification chronology of the system was set mainly before the Joseon Dynasty, and a cultural heritage classification system suitable for national land information has not been established. Therefore, this study aims to propose a classification system for cadastral cultural heritage, based on the modern era when cadastral terminology was first used, using the cultural heritage owned by the LX Museum. Cadastral cultural heritage is characterized by the fact that although it is a field of specialized technology, the surveying or the production of it is not done by specific individuals only, and that while the production is professional, there are many educational aspects in its use. Therefore, unlike other specialized museum collections that are classified based on the functional aspects of their production methods, intended use, and creators, the classification method for cadastral cultural artifacts should be based on the characteristics of the cadastral tools and the outputs. This classification follows a three-tier stages with reference to the items in the Cultural Heritage Standard Management System. This classification aims at the effective use of knowledge by categorizing concepts and systematizing the subjects of data into a series of orders. A safe conservation and management environment for cadastral cultural heritage can be established, and academic and socio-cultural interpretation of the collection is possible by this classfication. Moreover, It is also expected to serve the basis for the national land information as well as searching for the national land information research, planning a exhibition, and the field of education in museum.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.24-36
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• 2014

The result of the research conducted for the purpose of investigating the semantic value and the layout of the Cheongryu Gugok of Dorimsa Valley, which exhibits a high level of completeness and scenic preservation value among the three gugoks distributed in the area around Mt. Dongak of Gogseong is as follows.4) The area around Cheongryu Gugok shows a case where the gugok culture, which has been enjoyed as a model of the Neo-Confucianism culture and bedrock scenery, such as waterfall, riverside, pond, and flatland, following the beautiful valley, has been actually substituted, and is an outstanding scenery site as stated in a local map of Gokseong-hyeon in 1872 as "Samnam Jeil Amban Gyeryu Cheongryu-dong(三南第一巖盤溪流 淸流洞: Cheongryu-dong, the best rock mooring in the Samnam area)." Cheongryu Gugok, which is differentiated through the seasonal scenery and epigrams established on both land route and waterway, was probably established by the lead of Sun-tae Jeong(丁舜泰, ?~1916) and Byeong-sun Cho(曺秉順, 1876~1921) before 1916 during the Japanese colonization period. However, based on the fact that a number of Janggugiso of ancient sages, such as political activists, Buddhist leaders, and Neo-Confucian scholars, have been established, it is presumed to have been utilized as a hermit site and scenery site visited by masters from long ago. Cheongryu Gugok, which is formed on the rock floor of the bed rock of Dorimsa Valley, is formed in a total length of 1.2km and average gok(曲) length of 149m on a mountain type stream, which appears to be shorter compared to other gugoks in Korea. The rock writings of the three gugoks in Mt. Dongak, such as Cheongryu Gugok, which was the only one verified in the Jeonnam area, total 165 in number, which is determined to be the assembly place for the highest number of rock writings in the nation. In particular, a result of analyzing the rock writings in Cheongryu Gugok totaling 112 places showed 49pieces(43.8%) with the meaning of 'moral training' in epigram, 21pieces (18.8%) of human life, 16pieces(14.2%) of seasonal scenery, and 12pieces(10.6%) of Janggugiso such as Jangguchur, and the ratio occupied by poem verses appeared to be six cases(3.6%). Sweyeonmun(鎖烟門), which was the first gok of land route, and Jesiinganbyeolyucheon(除是人間別有天) which was the ninth gok of the waterway, corresponds to the Hongdanyeonse(虹斷烟鎖) of the first gok and Jesiinganbyeolyucheon of the ninth gok established in Jaecheon, Chungbuk by Se-hwa Park(朴世和, 1834~1910), which is inferred to be the name of Gugok having the same origin. In addition, the Daeeunbyeong(大隱屛) of the sixth gok. of land route corresponds to the Chu Hsi's Wuyi-Gugok of the seventh gok, which is acknowledged as the basis for Gugok Wollim, and the rock writings and stonework of 'Amseojae(巖棲齋)' and 'Pogyeongjae(抱經齋)' between the seventh gok and eighth gok is a trace comparable with Wuyi Jeongsa(武夷精舍) placed below Wuyi Gugok Eunbyeon-bong, which is understood to be the activity base of Cheongryu-dong of the Giho Sarim(畿湖士林). The rock writings in the Mt. Dongak area, including famous sayings by masters such as Sunsaeuhje(鮮史御帝, Emperor Gojong), Bogahyowoo(保家孝友, Emperor Gojong), Manchunmungywol(萬川明月, King Joengjo), Biryeobudong(非禮不動, Chongzhen Emperor of the Ming Dynasty)', Samusa(思無邪, Euijong of the Ming Dynasty), Baksechungpwoong(百世淸風, Chu Hsi), and Chungryususuk-Dongakpungkyung(淸流水石 動樂風景, Heungseon Daewongun) can be said to be a repository of semantic symbolic cultural scenery, instead of only expressing Confucian aesthetics. In addition, Cheongryu Gugok is noticeable with its feature as a cluster of cultural scenery of the three religions of Confucian-Buddhism-Taoism, where the Confucianism value system, Buddhist concept, and Taoist concept co-exists for mind training and cultivation. Cheongryu Gugok has a semantic feature and spatial character as a basis for history and cultural struggle for the Anti-Japan spirit that has been conceived during the process of establishing and utilizing the spirit of the learning, loyalty for the Emperor and expulsion of barbarians, and inspiration of Anti-Japan force, by inheriting the sense of Dotong(道統) of Neo-Confucianism by the Confucian scholar class at the end of the Joseon era that is represented by Ik-hyun Choi(崔益鉉, 1833~1906), Woo Jeon(田愚, 1841~1922), Woo-man Gi(奇宇萬, 1846~1916), Byung-sun Song(宋秉璿, 1836~1905), and Hyeon Hwang(黃玹, 1855~1910).

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.150-169
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• 2020

Surveys of Buddhist ruins at Namsan in Gyeongju began in earnest during the Japanese colonial era, undertaken by Japanese scholars. These surveys of Buddhist remains in Namsan made during the colonial period should be seen as previous research which cannot be ignored in any in-depth study of Buddhist ruins in Gyeongju. Full-scale surveys of Buddhist ruins at Namsan began in the 1920s. Previous surveys conducted around the time of the Japanese annexation of Korea in 1910 are generally viewed as only representing preliminary investigations and, thus, have not received much attention. However, these early surveys are significant in that they led to the Buddhist ruins on Namsan becoming widely known in the 1910s and served as the foundations for later studies. The removal of the Seated Medicine Buddha from Samneung Valley in Gyeongju in 1915 and its subsequent exhibition at the Joseon Local Products Expo, which marked the fifth anniversary of the Japanese administration of Korea, was especially important in garnering attention for Namsan's wealth of Buddhist artifacts, as the statue was placed in the main hall of the art museum and attracted a great deal of interest from visitors. It is typically thought that this Seated Medicine Buddha was exhibited in 1915 because it was the most beautiful and well-preserved statue from Namsan. However, the removal of this statue was closely related to the proposed move of the Seokguram statue to Seoul around the time of Korea's annexation. The plan to move Seokguram to Seoul was primarily devised by Terauchi Masatake, and the plan, based on Ilseontongjo-ron ('日鮮同祖論'), a historical theory that prehistoric Korean and Japanese people were of the same blood, and Joseon Jeongcheasoeng-ron ('朝鮮停滯性論'), a historical theory arguing that development had stagnated in Korea, was intended to be a visual demonstration of a new era for Korea. This new era was to proceed under the rule of the Japanese Empire through the dissolution of Gyeongbokgung, the symbol of the Joseon Dynasty, which would be replaced with past glories as symbolized by the statue of Buddha. However, as the plan floundered, the replacement for Seokguram in Seoul ended up being none other than the Seated Medicine Buddha of Samneung Valley. Surveys of the Seated Medicine Buddha began in 1911, administered by Sekino Tadashi, but he likely learned of the statue's location from Moroga Hideo or Kodaira Ryozo, Japanese residents of Gyeongju. It is also probable that these Japanese residents received a request from the Japanese Government General of Korea to find a Buddha statue that was worthy of being displayed at exhibitions. In this way, we can say that the transfer of the Seated Medicine Buddha to Seoul was the result of close cooperation between the Government General, Sekino Tadashi, and Japanese residents of Gyeongju. This also had the effect of removing the magical veil which had shrouded the Buddhist ruins of Namsan. In other words, while the early surveys of Buddhist ruins on Namsan are significant, it is difficult to argue that the surveys were undertaken for purely academic purposes, as they were deeply related to the imperial ambitions of Governor-General Terauchi which encompassed the plans to move Seokguram to Seoul and the successful hosting of the 1915 Expo. It should also be pointed out that the failure of the plan to move Seokguram to Seoul and the preservation of the Seated Stone Buddha of Mireuggok at Namsan was in no small part due to resistance from Korean residents in Gyeongju. Although it is not described in detail in the paper, research is needed which shows that the Korean residents of Gyeongju were not simple bystanders, but agents of history.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.140-147
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• 2015

The garden culture of Korea and Japan have been commonly influenced by Wonrim culture of China. Nevertheless, each culture has been settled down through the development of the two separate garden cultures, The purpose of this study is to grasp the formation background and main agent of development through theoretical consideration of gardens in Japanese Imperial Garden Katsura Imperial Villa, which is the origin of the representative garden making style-Circuit Style Garden, to look into the characteristic of spatial organization elements by conducting on-site survey and interview with a garden manager, and to obtain elementary views on Katsura Imperial Villa which is an important case of Japanese garden culture. As a result; first, Katsura Imperial Villa is the first jicheol juyu(round tour of ponds and springs) circuit style garden created by Toshihito Emperor and his son Toshitada Emperor, who were well-versed in Waka through the dynasty literature based on the story of Genji throughout about two generations lasting about 30 years; space composition of this garden is divided into land, island and water space, being composed of a total of 36 space components. Second, Katsura Imperial Villa was created with the primary goal of making a round tour around the garden land by arranging tea pavilions, such as Shokintei, Shokatei and Shoiken, etc., which introduced the then game culture into the garden. Third, the personnel in Katsura Imperial Villa intended to enjoy the scenic characteristics of the area where Katsura Imperial Villa was located from the interior of the garden by making Gepparo which was a tea pavilion for enjoying the rising moon on the hill even a litter faster and longer by piling up earth and setting up stone walls north of Koshoin which was a structure located west of the garden land.

• Journal of the Korean Society of Costume
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• v.16
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• pp.221-229
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• 1991

This thesis aims at reviewing the wearing aspect and formation of Chosun ceremonial dresses for meal and finding out the thought reflected by them from the standpoint that dresses themselves should be taken as one of the phenomena in culture. That is men's ceremonial costumes and confucian costumes of the royal family and the gentry family in Chosun is reviewed focused on the formation and the wearing aspect of Po, Which is a kind of them. And in the context of the phase of the times. I also considered the thoughts reflected on the clothes such as confucianism, Ying & Yang Theory, and the symbol and the thoughts of patterns in relation to the clothes. Confucian influence was the main force for the Chosun prohibitions for clothes. The major reasons for the prohibitions for clothes were as follows. First, they reflected confucian Chung myoung chooui(the principle that everything should be where it belongs). That is the prohibitions for clothes were used in the means to maintain feudalistic social order. influenced by social rank system. Second, they reflected confucian ethics in the means to recover social disciplines with the maintenance of traditional customs. This shows well in the restriction of luxurious items in dressing included the prohibitions for clothes. Third, they reflected Chosun's toadysm toward China. With the influx of Chinese style of dressing then government even changed the style of uniforms for public officials into that of Chinese resulting in dual styles of dressing. Ying & Yan Theory greatly affected the colors of Korean clothes and reflected toadysm toward China. too. The theory was embodied by prohibition of such colors for clothes as white, gray, and jade green. I reviewed the twelve patterns on Myunpok, Ten-Longivity patterns and Four-Gracious plants patterns in order to analyze the symbolism and thoughts of patterns for clothes. Nansam, Dopo, and Shimui worn by confucian scholars ensures that those clothes bears confucianism and philosopical factors. As shimui was worn by many people it appears in Chosun scholars' studies and a Chinese book called "Yeki". I reviewed the origin, procession, and ornaments of four ceremonial clothes and tried to find out the confucianism in them. First, In Kwanrei (the coming-of-age ceremony) remained ancestor worship and respect for manners. The clothes for this ceremony granted the rights and responsibilities of and adult to the wearer. The royal Kwanreipok had different dresses for each rank. As Samgapok, the crown prince wore Iksunkwan and Konryongpo for the first ritual, Wonryukwan and Kangsapo for the second, and Myunrukwan and Konpok for the third. The rank of the King's grandson was lower than the crown prince's. This example shows that Chosun people respected manners and thought the basic confucianism "God and people are equal." at the Royal court. Second, as Honreipok(wedding gown), the crown prince wore Myunrukwan and Konpok for Daereipok, Wonyukwan and Kangsapo for Napjing and Tongwoo, and Iksunkwan and Konryongpo for Chekbinui. But common people were allowed to wear an official outfit only for wedding in the means of congratulation on the most important day of their life. Wedding gowns which reflected Ying and Yang Theory emphasized the thought that union of a man and a wife is the most important event in life. Third, Sangrei(funeral) was the last ritual of a human being to send off the deceased. The mourning dresses expressed lamentation of the people left behind. Five-Dress-System for each the relative degree of familarity showed the solemnity and formality, which represented the formality of confucianism and ancestor worship. I reviewed the mourning dresses by dividing them into royal, Yangban's, and commons. They were featured by the fact that there was only one style for every walk of life. It is construed that anyone in mourning can wear the same clothes since he feels the same way regardless of his social rank. Fourth, Chereipok(sacrificial rite dresses) had different styles for each social rank. The King wore Myunpok(Kuryumyun and Kujangpok) were recorded to be worn first in the fourth year of King Taecho's ruling. The crown prince wore Palryumyun and Chiljangpok for sacrificial rite dress which was finally settled when King Sejong was in power. Common people wore Dopo, Shimui for the rite dress in the beginning of the Chosun Era and wore Dopo after Japanese invasion of Korea in 1592. In conclusion, confucianism played the main role in ceremonial dress system of Chosun and that was because it emphasized the ethics of action in life, which was different from other religions. It is true that cause-oriented thoughts and Chung myoung chooui in confucianism drove all ceremonies to extreme manners, discriminating the people who belonged to the lower social rank, and resulting in extremly luxurious life style. However, they also created a unique trend and clothes culture in the Chosun Era. I wish that this thesis provieds important information and direction for furthur studies in the future.

• 대한공업교육학회지
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• v.38 no.1
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• pp.259-274
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• 2013

Culture is already deeply imbued in our lives. The furniture has become a way of life and the human became part of the culture. In this study, the aim is to explore the traditional furniture that is projected through the culture as a lifestyle. Therefore, the purpose of this study is to explore the cultural implication in Korean traditional wooden furniture. Specific research questions in this study are as follows; 1) How to reflected house structure culture at traditional woodcraft furniture? 2) How to reflected interior space culture at traditional woodcraft furniture? 3) How to projected life form style culture at traditional woodcraft furniture? 4) How to harmonize between modern life culture and traditional woodcraft furniture? In order to achieve the purpose of this study, the literature of review was used masters of Korea's traditional woodcraft furniture. To collect information of Korean traditional furniture, the furniture was selected representative pieces of Korean Joseon Dynasty and interviewed an important intangible cultural asset somokjang. Based on the explore of Korean traditional furniture, the conclusions of this study are as follows; first, in the viewpoint of house framework culture, most of traditional furniture was made u sing a narrow interior space and was to be placed in close contact with the walls, and was developed as a type of molding on the front of the furniture to pursue beauty. Second, in the viewpoint of ondol culture, traditional furniture was closed to the wall by using low height furniture and furniture legs the structure punghyeol was used to reflect the phenomena of convective heat and humidity. Third, in the viewpoint of life form culture, traditional furniture was made that sat-down at eye level configuration is proportional to its size and height and appropriately been made. And patterns reflect the wishes of most things in nature and to be blessed with longevity origin were used in the decoration of wooden furniture. Finally, in the viewpoint of modern life culture, traditional furniture is simple but not dirty, and splendid but not luxurious. So although traditional wooden furniture are in any room or place, never discouraged by the dignity.