• Journal of architectural history
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• v.4 no.1
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• pp.43-70
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• 1995

This paper aims to clarify the historical background and the architectural purpose of the buildings in NakSunJae area to the original state. Through the investigation, the clarified facts are as follows. 1. The relation with the buildings for the Crown Prince in the ChangDok Palace By constructing buildings in the NakSunJae area, the spatial conception of the Royal Palace was changed, that is, buildings for the Crown Prince in the ChangDok Palace disappeared and they became to belong to the ChangGyeong Palace. Moreover, by constructing the NakSunJae and its attached buildings, the area for the Crown Prince shifted to use as a private area for the king. 2. The date and the purpose of the construction The NakSunJae area is consisted of three compounds of building: NakSunJae, SukBokHun and SooKangJae. The NakSunJae was constructed for the king HunChong's private occupancy in 1847 and the SukBokHun for a residence of a royal concubine Kim, in 1847. The SooKangJae was originally built in 1785 in the SooKang Palace where the ex-king took up as his residence after abdicate the throne. Later on, it was repaired as the residence of the Queen SoonWon, king HunChong's grandmother, in commemoration for the 60th anniversary of her birth in 1848. 3. Architectural features of the NakSunJae area at the time of construction First, as the NakSunJae area is surrounded by quite high hills in northeast and by low hills in southwest, it is naturally distinguished from its surroundings and gives a cosy feeling. Second, the NakSunJae area shows very untrammeled style of arrangement in general, because it was constructed as a private occupancy for the king. other buildings are arranged in the latticing orderly, nonetheless, they are free by themselves from a strict form and make themselves an area full of variety. Third, the buildings in the NakSunJae area have a characteristic of naivety of common people's houses, because they were not an official but private place for the king, his concubine and his grandmother. Forth, the ornaments in the NakSunJae area are variously, elegantly and harmoniously patterned with the meaning of good luck. Fifth, back garden in the NakSunJae area was made by taking advantage of sloping hills. The back garden is beautifully configurated by arranging various constituent elements of pavilions, tiered flower beds, chimneys, decorated walls, small doors between walls, stoneworks and trees.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.24-47
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• 2013

This study focused on the constructional concepts, landscape design techniques and changes made of the Sandan(山壇) area in the rear garden of Changdeokgung Palace based on the spatial organization of the zone. The results of this study are as below. Constructional layers that have been maintained throughout the centuries from King Injo(仁祖), King Sukjong(肅宗), King Sunjo(純祖), the Japanese colonial period to the present, were found in the Sandan area. The Sandan area, which was developed with the establishment of Chuiseungjeong(取勝亭) during the ruling of King Injo(仁祖), was created as a resting place for the King, and its usage continued until King Sukjong(肅宗) built Nakminjeong(樂民亭). However, the whole area was reorganized to host ritual ceremonies, where ancestral rites were performed for the mountain gods, after Sandan and Baekunsa(白雲社) were built during King Gojong's reign, before the drawing of 'Painting of Eastern Palaces(東闕圖).' The architectural component used then appears to have been designed to serve ancestral ritual formalities for the god of land, or to satisfy the religious desires of the royal family not fulfilled by Confucian courtesy. These are characteristics that define the Sandan area. Meanwhile, the analysis of the ground plan of the Changdeokgung Palace revealed that the Sandan had been maintained until the Japanese colonial era, but was removed sometime after liberation. The area underwent extensive reform in the early 1970s, when the whole area was developed into a tourist destination called Bingcheon(氷泉). Then, a new road that runs through Bingcheon was laid, and the present condition reflects the construction result of the time. An interview with a person who had taken part in the repair work in the 1970s confirmed that the construction work at the time had the goal of establishing two drainage systems for drinking water and copied the Okryuchon(玉流川) well.

• 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 the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.1-13
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• 2016

The Back garden in Wanggung-ri Site, Iksan clearly presents an aspect of the landscape gardening techniques of the Baekje, which are significantly unique in the landscape gardening history of East Asia as the structure connected to the main garden through a complex waterway system on a hill. The rear garden has a complex waterway system comprising a large inverted U-shape waterway and its branch waterways, sinuous waterway and water catchment system to enhance the landscape effect with a minimum amount of water on a hill, reducing damage by floods in the case of heavy rain and securing the amount of water required by the main space in the palace. A landscape element using various kinds and sizes of oddly shaped rocks decorated the water catchment area inside or around the large inverted U-shape waterway. On the top of the hill, the center in the Back garden, a building site in the size of 4 Kans each on the front and side was made on a square base surrounded by a round base stone. The building was identified on a space partially surrounded by the rectangular stonework on the left and right slope of the hill. While the functions and roles of the rectangular stonework are not accurately identified due to the poor conditions of the present site, the stonework may be related to the building inside it. The back garden in Wanggung-ri Site, Iksan has a winding pond-shaped waterway to pull or push water into or out of the garden in a rectangular pond shape, which was a conventional landscape gardening technique during the Baekje period. Since the main garden and the back garden in Wanggung-ri Site, Iksan form a systematic connection system, this paper tried to newly establish the main garden inside Iksan Wanggungseong as the 'royal garden'.

• 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.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.65-89
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• 2004

Up to now, the studies for a pond of ancient palace of Korea are mainly achieved in a landscape architectural field. In fact, we can't grasp the general aspects but we are only heard about the fragmentary ruins and remains by the people who are in charge of an archaeological excavation. In this thesis, therefore, I attempt to grasp the relational categories of the ponds of an ancient palace of Korea, and find out the ideological backgrounds of the ponds of a palace construction through classify them excavated so far. The ancient ponds of Korea are divided to the class of square ponds(I) and curved ponds(II) according a shapes of planes. The class of square ponds(I) are subdivided to the form IA of the class of square ponds and form IB of the class of square ponds by whether it has an island, artificial hill and ornamental stone or not. And the class of the curved ponds(II) are divided to the form IIC that is only composed of curves in shore and the form IID that is composed of curves and straight lines. According the size, it is divided to a small size that is below the maximal diameter, 20m, and a large size that is more than 45m, after all, the ponds of the ancient palaces are devided to IAa, IAb, IBa, II Ca, IICb, IIDa. The square ponds and the curved ponds are co-exist from the initial stage when a pond of a place was found in our country and are succeeded or changed after Silla unified the three Kingdoms. In other words, we can infer a continuity from the earlier stage from the fact that there is a flat figure ground mainly constituted by the ponds of a palace mixed up of a straight line and a curved line in United Silla Kingdom while it succeeds the ponds of a palace that has a square form of Goguryo in Balhai. Different from the successional relation of the flat figure grounds, in an aspect of the elements of the construction, the site of the arbor at the top of the island and the bridge facilities in a field of a palace those are not exist in three Kingdoms period are appeared in United Silla Kingdom. The point that this aspect is simultaneously appeared in a neighboring country, or Japan, allows us to infer that there may be some motivations cause the changes in a construction of the ponds of a palace of Korea, China and Japan from the latter half of the 7th century to the first half of the 8th century. The ideological backgrounds of the ponds of a palace construction are divided roughly into Taoism and Buddhism. We can recognize that the ponds of a palace made up of the islands, the artificial hills and the garden rocks reflect Taiosm, considering the records of the ponds a palace of Korea and China are all use the term, Taoism, or the concrete statement represents that the islands, the artificial hills and the garden rocks are used in the description of the ponds of a palace of Korea. Both two are, therefore, obviously differentiated from the ponds of a palace that doesn't include them. We can conclude that the ponds of a palace that doesn't include them are colored by Buddhism since they are overtly distinguished from the class of curved ponds that reflect Taoism at the same period and they are identical with the site of an ancient temples in an aspect of their type and construction.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.149-159
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• 2018

The study is aimed at establishing basic data to identify the original forms of the garden in Unbo's House. Through interviews and related data comparison analysis the ideas and major events of the person involved in establishing a garden in Unbo's House. Also, derived the direct and indirect effects of these people on gardening. The results are as follows: First, Those directly related to garden in Unbo's House are representative figures of cultural heritage and traditional art in Korea. Based on their expertise and abundant experience in traditional spaces, they contributed greatly to the creation of Unbo's House as a traditional space. Unbo Kim, Gi-Chang who directly influenced Unbo's House gardening, which affected the site selection, location, and the installation of major garden plant plants and traditional landscaping facilities. Hyegok Choi, Soon-Woo recommended Wabon Kim, Dong-Hyun at the request of Kim Ki-Chang and was involved in the overall plan. Housing design, space design and design of major facilities such as pond were confirmed Wabon Kim Dong-Hyun. Second, Kim, Gi-Chang's wife Jeong, Rae-Hyun, who motived to construct a garden. Nosan Lee, Eun-Sang and Korean artist Lee, Seok-Ho were created a signboard and board of the Pillar to encourage simple life in paintings. The themes of the article motived image as creative. In addition, Kim, Hyeong-Sik and Kim, Wan who son of Unbo, has been with Unbo for a long time, watching and influencing garden changes in Unbo's House. Third, The main factors that influenced the garden by character are as follows. Unbo Kim, Ki-Chang had a thorough record-setting spirit and his longing for his mother and wife affected the selection of the site and setting the direction of the garden. His art world with the symbolic emphasis of traditional landscapes, including traditional facilities, and especially plant materials. Choi, Sun-Woo reflected his traditional consciousness and experience in the construction of Unbo's House. Kim, Dong-Hyun applied the basic framework of a traditional building based on Yeonkyongdang hall in Changdeokgung palace. He also reflected on the traditional landscaping design the facilities of ponds acquired through excavation of Donggung Palace and Wolji Pond, Gyeongju. Nosan Lee, Eun-Sang and Lee, Seok-Ho completed their unique place in Unbo's House. Kim, Hyung-Sik was involved in the process of changing, while Kim Wan ran the Unbo's House which he inherited from Kim, Ki-Chang.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.1-13
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• 2010

This research was conducted to understand the characteristics and traits of Baekje's palace backyard by studying and analyzing the usage, shape, size, material, and place of origin of the odd-shaped stones found at the remains of Baekje's palace in Waggung-ri, Iksan. The results of the research are as following. The odd-shaped stones found at the Baekje palace backyard were used for two purposes. Some of the stones were used as heaping stones(疊石) for the stone waterfall in the backyard while others were used as ornamental stones(置石) to exhibit the uniqueness and beauty of the stone themselves. The stones used for the waterfall had various shapes and materials and were arranged to symbolize the beauty of natural scenery. On the other hand, the ornamental stones were used to exhibit their beauty of forms. Among the twenty six ornamental stones, four were large, four were mid-sized, and eighteen were small. The twenty four heaping stones used for the waterfall were all categorized as small. All of the stones were not too big, easily coming into sight of human beings. The heaping stones were mostly limestones, and some of them were metamorphic rocks such as marble, quartz, green rock, slaty rock, and phyllite. Almost all of the odd-shaped stones used for Baekje's palace backyard have beautiful patterns and specific forms that resemble natural scenes or animals such as a turtle, terrapin, pig, bear, or elephant. Some of the ornamental stones apparently went through carving to emphasize the unique shapes. Considering the usage and characteristic of the odd-shaped stones, one of the most characteristic feature of the Wanggung-ri palace backyard can be said to be 'the garden of odd-shaped stones'. Meanwhile, according to references, interviews, questionings, and on-the-spot surveys on the people who quarried the stones, the stones found at the remains of the Wanggung-ri palace came mostly from Mt. Cheonho in Hosan-ri, Yeosan-myeon, Iksna, and Mt. Shidae in Dosoon-ri, Wanggung-myeon.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.94-102
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• 2023

The Florence Charter, established in 1981 by the ICOMOS-IFLA International Commission on Historic Gardens, considered the historic garden as a plant-dominated architectural composition, a perpetual balance between the artist and the artisan's desire to remain unaltered in perpetuity. Trees, the main component of the garden, require continuous management as they repeat their creation and calling according to the cycle of the seasons and accordingly, it is suggested that management to maintain the appearance of trees in Korean palaces was an indispensable element. Although it is an important matter to historically verify the tree management techniques of the palaces of the past, research has been difficult due to the absence of historical records and the disconnection of life due to the Japanese colonial period. In addition, according to the view that trees were not generally managed in the palace, research on palace tree management techniques has not been conducted so far. Therefore, this study aimed to examine whether or not the tree management of the palaces was performed in the past through expert interviews based on photographs taken in modern times. With the identification of tree species and pruning through in-depth interviews with experts using photographs taken in the modern period, the results are as follows. First, it was found that the shapes of trees and leaves could be identified through photographs and by observing the phenomena caused by planting and pruning, it was possible to estimate whether or not the tree management was implemented in the modern palace. Second, as a result of in-depth interviews with 8 experts in 4 fields, it was possible to determine the tree species and pruning status, purpose, and method. There was no significant difference in opinions between groups, and the evidence was clearly presented. Third, the type of management of trees in the palace was mainly found to be determination of the types of tree, removal of hazardous factors of trees, and management of lower vegetation and through the photographs of Jondeokjeong and Gwanwanjeong, it was confirmed that the trees were managed even before the Japanese colonial era, considering the time of filming. Based on the photographs taken, it was possible to estimate whether the trees were managed before the Japanese colonial period through expert interviews. However, it could not be clarified due to lack of historical materials as to whether it was carried out on its own according to the circumstances of the times or by the Japanese Empire. Still, in this study, evidence was obtained to refute the view that trees of the palace were not managed in the past through the collected data. Expert opinions supporting this view were collected to make the conclusion. In addition, based on the general theory of pruning, an empirical review of expert opinions was conducted to secure the reliability of the research results.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.1-12
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• 2017

The purpose of this study is to interpret the landscape of Soyojeong, Taegeojeong, Chungeuijeong and Chwihanjeong in the Ongnyucheon region of the Changdeokgung Palace by analyzing the landscape elements using the pavilion's hanging couplets. Next, the landscape elements would be classified and interpreted by the Tang dynasty poet named Wang Changnyeong(王昌齡, 698-757) who put forward the range of aesthetics. According to the three kinds of classified boundaries, the results were as follows. First, the characteristics of the 'Wujing(物境)' described at spring dawn or in the moonlit night when the rain stopped, dew condensed, blooming flowers were in the quiet garden, fishes were drawn from the pond, and golden ogres sung in a dense pine forest. Second, the characteristics of 'Qingjing(情境)' described the emperor who held a grand ceremony: he sat in the jade throne, red curtains and gorgeous fans are propped up etc. All of these were used to praise the reign of a stable and peaceful nation. Third, the characteristics of 'Yijing(意境)' mainly described the Ongnyucheon region's scenery as an immortal world where people can experience and reach a high spiritual realm such as the 'integrated as one(物我一體)'.