• Journal of architectural history
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• v.30 no.6
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• pp.45-58
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• 2021

This study aims to examine the changes in Pyongyang-bu during the late Joseon period and Pyeong-an Gamyeong through gazetteer, pictiroal maps and various literature. The results are as follows. To begin with, unlike other gamyeong, Pyongyang-bu had an exclusive government office facility from the beginning and had a different status because of the route for envoys from Ming. Therefore historical sites related to Gija were important. Second, the importance of Pyongyang city-wall increased even more through the Japanese Hideyoshi invasions in 1592 and the Manchu Invasion in 1636. However, since the post-war restoration was insufficient they focused on defense reducing the size of Pyongyang city wall. Third, as society stabilized, Pyongyangbu's finances were greatly secured. King Sukjong systematically reorganized Pyongyang city wall and facility of Pyongy-an gamyeong. The nothern wall in located high place, Gamyeong and storage in middle height and military force and guesthouse in the center of Pyongyang-bu. I-a and warehouse facilities in the far south were placed around the Daedonggwan. The urban structure that runs from Daedonggwan to Daedongmun was the same as other city. Another pertinent point is Pyeong-an gamyeong had more military facilities and rear garden and pavilion than before. In clunclusion, Pyeong-an gamyeong did not pass through three gates, but only through two gates. And it was characterized by more various space and having more pavilions than other gamyeong.

• Journal of East-Asian Urban History
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• v.2 no.2
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• pp.235-271
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• 2020

Tainan was the capital of Taiwan and was the largest commercial city in Taiwan with a significant number of ports. However, after the end of the Qing era, the functions of the capital and major ports were shifted to Taipei and Kaohsiung, thus leading Tainan to lose its position. This article focuses on festivals in the city. The Qing dynasty administrative agency set up a local government that grouped multiple villages based on the religious beliefs which were closely related to the concept of the urban space as the primary temple. Mazu is an object of worship that attracted the attention of city residents from the Taisho era to the colonial era. At the Mazu temple in Tainan, which has acquired a new mystery, a Mazu festival was conducted with Mazu patrols. This festival was conducted from 1915 to 1937, when it was canceled due to the temple reorganization movement. At the festival, multiple participating groups used to compete to earn the luxury of running the pavilions. The procession ran through the north side of the city on the first day and the south side of the city on the second day. During this festival, in addition to going around the villages of the old city, a touring route was planned for the procession to pass through major landmarks related to the colonial administration and the Ginza-dori Shopping Street, which was newly created during the Taisho era. Therefore, this procession was unique because it ensured that people could explore the old and new streets that were transformed through urban remodeling during the colonial period. Moreover, passing through the licensed quarters called Shin-machi, which was relocated through urban remodeling by the administrative agency, allowed people to visualize the urban structure of colonial Taiwan. Tainan city was renewed through remodeling during the colonial period, thus leading to the formation of a new commercial area. The spirit of the people in Tainan city can be gauged based on the fact that the festival was financially and religiously supported by the merchants who promoted it. The restoration of Mazu during the colonial period indicates the restoration of urban commerce in Tainan, which had fallen from its position as the primary port city in Taiwan since the end of the Qing period. Therefore, it can be considered to represent the restoration of the city.

• Journal of architectural history
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• v.31 no.6
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• pp.17-32
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• 2022

Ijidang(二止堂) is a private village school (seodang, 書堂) established in Okcheon, north Chungcheong province where Jungbong Jo, Heon(重峯 趙憲, 1544-1592 AD) had trained for his sound mind and body(yusangcheo, 遊賞處). Jo, Heon was a notable Neo-Confucian scholar of the Kiho School and also a righteous general leading soldiers in Joseon Dynasty. According to Ijidanggi(二止堂記), Ijidang was constructed to honor Jo, Heon and to train local talents in 1647 with the support of Song, Si-yeol(宋時烈, 1607-1689 AD),a representative scholar belong to Kiho School and other local Confucian scholars. Ijidang currently consists of Main Body(本體) in the middle along with the East(Dong-lu 東樓) and the West Pavilions(Seo-lu 西樓) attached to each side. The Main Body and the Dong-lu firstly constructed were to give lectures and to rest within. Ijidang has undergone several changes in its form so far. The surrounding nearby Ijidang shows characteristics of the Confucian architecture for training(J eong-sa, 精舍) and the building itself was to be built in a scenic place apart from the secular world in which scholars stayed, cultivated their body and mind or taught disciples within. The lecture space of Ijidang is positioned next to the main hall(Dae-cheong 大廳) unlike other typical forms of a three-bay building(samganjije 三間之制) at that period. West lu, a two-story building added afterwards in the early 18th century representing characteristics of the Gate Pavilion(Mullu, 門樓) of Neo-Confucian Academies(Seo-won, 書院) in Joseon Dynasty was typically located where the entrance and the ground floor of the main building are visible simultaneously.

• Journal of architectural history
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• v.32 no.5
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• pp.95-105
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• 2023

Focusing on Hwaseokjeong in Paju, the work seeks to clarify the social production of Nujeong (樓亭: Korean traditional pavilions) space, which took place over the 1960s and 70s, and its cultural-political implications. To make the effort as such meaningful, a theoretical framework based not merely on the thesis of 'social production of space' advocated by Henri Lefebvre but especially on some discussions related to 'state production of space' is prepared, according to which Hwaseokjeong is analyzed and explained. As a consequence, two principal arguments are put forward: one is that Hwaseokjeong was a social space which had been built and constructed in accordance with the unique mode of production dominating Korean society at that time called 'the state mode of production (le mode de production étatique)'; the other is that what lies beneath the denotation of a 'social space of tradition restoration' that Hwaseokjeong appears to carry is in fact the connotation of 'infiltration of anti-communist ideology'. All of these claims are once again supported both by examining Roland Barthes's semiology and mythologies and by considering Hwaseokjeong's P yeonaek (扁額: a plaque or framed text) as 'the practice of naming power through Jesa (題詞: inscribing dedications)'. While providing a succinct summary, the paper finally evaluates what 'social production of space' implies to social practices of architecture and related criticisms by taking into account the relationship between visibility and readability of space including buildings.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.89-122
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• 2019

In this paper, I argue that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers by Jeong Su-yeong (1743~1831, pseudonym: Jiwujae) is a record of his private journeys to several places on the outskirts of Hanyang (present-day Seoul) and that it successfully embodies the painter's subjective perspective while boating on these rivers and going on outings to nearby mountains. Around 1796, Jeong Su-yeong traveled to different places and documented his travels in this 16-meter-long handscroll. Several leaves of paper, each of which depicts a separate landscape, are pieced together to create this long handscroll. This indicates that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers reflected the painter's personal subjective experiences as he went along his journey rather than simply depicts travel destinations. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers features two types of travel: boating and mountain outings on foot. Traveling by boat takes up a large portion of the handscroll, which illustrates the channels of the Hangang and Imjingang Rivers. Mountain outings correspond to the sections describing the regions around Bukhansan, Gwanaksan, and Dobongsan Mountains. Jeong Su-yeong traveled to this wide span of places not just once, but several times. The fact that the Hangang River system are not presented in accordance with their actual locations shows that they were illustrated at different points. After visiting the riversides of the Hangang and Namhangang Rivers twice, Jeong Su-yeong delineated them in fourteen scenes. Among them, the first eight illustrate Jeong's initial trip by boat, while the other six scenes are vistas from his second trip. These fourteen scenes occupy half of this handscroll, indicating that the regions near the Hangang River are painted most frequently. The scenes of Jeong Su-yeong's first boating trip to the system of the Hangang River portray the landscapes that he personally witnessed rather than famous scenes. Some of the eight scenic views of Yeoju, including Yongmunsan Mountain, Cheongsimru Pavilion, and Silleuksa Temple, are included in this handscroll. However, Jeong noted spots that were not often painted and depicted them using an eye-level perspective uncommon for illustrating famous scenic locations. The scenes of Jeong's second boating trip include his friend's villa and a meeting with companions. Moreover, Cheongsimru Pavilion and Silleuksa Temple, which are depicted in the first boating trip, are illustrated again from different perspectives and in unique compositions. Jeong Su-yeong examined the same locations several times from different angles. A sense of realism is demonstrated in the scenes of Jeong's first and second boating trips to the channels of the Hangang River, which depict actual roads. Furthermore, viewers can easily follow the level gaze of Jeong from the boat. The scenes depicting the Imjingang River begin from spots near the Yeongpyeongcheon and Hantangang Rivers and end with places along the waterways of the Imjingang River. Here, diverse perspectives were applied, which is characteristic of Imjingang River scenes. Jeong Su-yeong employed a bird's-eye perspective to illustrate the flow of a waterway starting from the Yeongpyeongcheon River. He also used an eye-level perspective to highlight the rocks of Baegundam Pool. Thus, depending on what he wished to emphasize, Jeong applied different perspectives. Hwajeogyeon Pond located by the Hantangang River is illustrated from a bird's-eye perspective to present a panoramic view of the surroundings and rocks. Similarly, the scenery around Uhwajeong Pavilion by the Imjingang River are depicted from the same perspective. A worm's-eye view was selected for Samseongdae Cliff in Tosangun in the upper regions of the Imjingang River and for Nakhwaam Rock. The scenes of Jeong Su-yeong's mountain outings include pavilions and small temple mainly. In the case of Jaeganjeong Pavilion on Bukhansan Mountain, its actual location remains unidentified since the pavilion did not lead to the route of the boating trip to the system of the Hangang River and was separately depicted from other trips to the mountains. I speculate that Jaeganjeong Pavilion refers to a pavilion either in one of the nine valleys in Wooyi-dong at the foot of Bukhansan Mountain or in Songajang Villa. Since these two pavilions are situated in the valleys of Bukhansan Mountain, their descriptions in written texts are similar. As for Gwanaksan Mountain, Chwihyangjeong and Ilganjeong Pavilions as well as Geomjisan Mountain in the Bukhansan Mountain range are depicted. Ilganjeong Pavilion was a well-known site on Gwanaksan that belonged to Shin Wi. In this handscroll, however, Jeong Su-yeong recorded objective geographic information on the pavilion rather than relating it to Shin Wi. "Chwihyangjeong Pavilion" is presented within the walls, while "Geomjisan Mountain" is illustrated outside the walls. Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers also includes two small temples, Mangwolam and Okcheonam, on Dobongsan Mountain. The actual locations of these are unknown today. Nevertheless, Gungojip (Anthology of Gungo) by Yim Cheonsang relates that they were sited on Dobongsan Mountain. Compared to other painters who stressed Dobong Seowon (a private Confucian academy) and Manjangbong Peak when depicting Dobongsan Mountain, Jeong Su-yeong highlighted these two small temples. Jeong placed Yeongsanjeon Hall and Cheonbong Stele in "Mangwolam small temple" and Daeungjeon Hall in front of "Okcheonam small temple." In addition to the buildings of the small temple, Jeong drew the peaks of Dobongsan Mountain without inscribing their names, which indicates that he intended the Dobongsan peaks as a background for the scenery. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers is of great significance in that it embodies Jeong Su-yeong's personal perceptions of scenic spots on the outskirts of Hanyang and records his trips to these places.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.32-51
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• 2016

This study examines, based on the database of the Institute for the Translation of Korean Classics(ITKC), the garden plants and their symbolism, and the landscape culture recorded in 'Jipkyungjaeyoungsi(the Series of Poems on Gardens Poetry)' in relevance to traditional houses. First, Jipkyungjaeyoungsi had been continuously written since mid-Goryeo dynasty, when it was first brought in, until the late Joseon dynasty. It was mainly enjoyed by the upper class who chose the path of civil servants. 33 pieces of Jaeyoungsi(題詠詩) in 25 books out of a total of 165 books are related to residential gardens. The first person who wrote a poem in relation to this is believed to be Lee GyuBo(1168~1241) in the late Goryeo dynasty. He is believed to be the first person to contribute to the expansion of natural materials and the variation of entertainment in landscape culture with such books as 'Toesikjaepalyoung(退食齋八詠)', 'Gabeunjeungyukyoung(家盆中六詠)'and 'Gapoyukyoung(家圃六詠)'. Second, most of the poems used the names of the guesthouses. Out of the 33 sections, 19(57.5%) used 8 yeong(詠), then it was in the sequence of 4 yeong(詠), 6 yeong, 10 yeong, 14 yeong, 15 yeong, 16 yeong, 36 yeong(詠) and so on. In the poem writing, it appears to break the patterns of Sosangpalkyung(瀟湘八景) type of writings and is differentiated by (1) focusing on the independent title of the scenery, (2) combining the names of the place and landscape, (3) focusing on the name of the landscape. Third, the subtitles were derived from (1) mostly natural landscape focused on nature and garden plants(22 sections, 66.7%), (2) cultural landscape focused on landscape facilities such as guesthouses, ponds and pavilions(3 sections), (3) complex cultural scenery focused on the activities of people in nature(8 sections). Residents enjoy not only their aesthetic preferences and actual view, but the ideation of the scenery. Especially, they display attachment to and preference for vegetables and herbs, which had been neglected. Fourth, the percentage of deciduous tree population(17 species) rated higher(80.9%) compared to the evergreens(4 species). These aspects are similar results with the listed rate in 'Imwonkyungjaeji(林園經濟志)' by Seo YuGu [evergreen 18 species(21.2%) and deciduous trees 67 species(78.8%)] and precedent researches [Byun WooHyuk(1976), Jung DongOh(1977), Lee Sun(2006)]. Fifth, the frequency of the occurrence of garden plants were plum blossoms(14 times), bamboos(14 times), pine trees(11 times), lotus(11 times), chrysanthemum(10 times), willows(5 times), pomegranates(4 times), maple trees(14 times), royal foxglove trees, common crapemyrtle, chestnut trees, peony, plantains, reeds and a cockscombs(2 times). Thus, the frequency were higher with symbolic plants in relations to (1) Confucian norms(pine trees, oriental arbor vitae, plum blossoms, chrysanthemums, bamboos and lotus), (2) living philosophy of sustain-ability(chrysanthemum, willow), (3) the ideology of seclusion and seeking peace of mind(royal foxglove ree, bamboo). Sixth, it was possible to trace plants in the courtyard and outer garden, vegetable and herb garden. Many symbolic plants were introduced in the courtyard, and it became cultural landscape beyond aesthetic taste. In the vegetable and herb garden, vegetables, fruits and medicinal plants are apparently introduced for epigenetic use. The plants that were displayed to be observed and enjoyed were the sweet flag, pomegranate, daphne odora, chrysanthemum, bamboo, lotus and plum blossom. Seventh, it was possible to understand garden culture related to landscaping materials through poetic words such as pavilions, ponds, stream, flower pot, oddly shaped stones, backyard, orchard, herb garden, flower bed, chrysanthemum fence, boating, fishing, passing the glass around, feet bathing, flower blossom, forest of apricot trees, peach blossoms, stroking the pine tree, plum flower blossoming through the snow and frosted chrysanthemum.

• Journal of architectural history
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• v.20 no.2
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• pp.7-22
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• 2011

This study primarily aims to illuminate the characteristics of $Meoreum$ in Korean traditional fitting system according to the respective types and its periodical changes. Using the research findings as a chronological indicator by which to estimate the construction date of the building is the secondary purpose. In this study 42 of $Byeoldang$ and pavilion architecture remaining in $Yeongnam$ district were examined through the field surveys and methods of documentary research. The research results are as follows. First, $Meoreum$, which is located below the windows or doors, provides protection against the outer wind and has the function to prevent some warm air of the room from flowing outside. Second, $Meoreum$ was recorded as $Yoeum$(了音), $Woneum$(遠音), and $Maleum$(末音) in $Yeong-geon-ui-gwe$(營建儀軌) of Joseon period. While $Yoeum$(了音) was used in $Yeong-geon-ui-gwe$(營建儀軌) of 1776 and 1856, $Woneum$(遠音) had been also used continuously since the year of 1800. The word, $Maleum$(末音) can be seen in $Lim-won-gyeong-je-ji$(林園經濟志), published in 1827. $Woneum$(遠音) and $Maleum$(末音) seem to be the $Yi-du$(吏讀) types of expression of $Meoreum$ which is being extensively used now. Third, the kinds of $Meoreum$ can be classified as $TohMeoreum$, $TongMeoreum$, $TongpanMeoreum$, and $JjaneunMeoreum$. $TongMeoreum$ and $TohMeoreum$ were mostly used at the front part of $Ondol-rooms$, the backside of main floor called $Daechung$(大廳), and at the space between $Daechung$ and rooms in the Pavilions and $Byeoldangs$(Annexes) that had been built in the early Joseon dynasty. $TohMeoreum$ was usually used at the bottom parts of windows between $Daechung$ and $Ondol-rooms$. $TongpanMeoreum$ was mainly used in the mid-Joseon period and relatively high height was the distinctive feature of $Meoreum$ at that time. $Jjaneun$ $Meoreum$, used mainly in the late Joseon dynasty, has become lower and lower gradually in height since 19th century, so people could enter the room through the windows(fittings). Such changes in $Meoreums$ types has brought about the flow of human traffic directly from $Toenmaru$, narrow wooden porch running along the outside of a room to $Ondol-rooms$.

• Research in Community and Public Health Nursing
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• v.9 no.1
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• pp.72-88
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• 1998

This study was designed to identify the relationship between health perception arid health promoting behavior in the elderly. The subjects for this study were 92 persons over 65, who could be easily met in households, pavilions for the aged, and parks. The data were collected during the period from March 24th to April 12th, 1997 by interviews with a structured questionnaire. The instruments used for this study are as follows: The Health Perception Questionnaire developed by Ware (1979) and translated by Yu Ji-Su(1985). The Health Promotion Lifestyle Profile(HPLP) developed by Walker, Sechrist & Pender (1987) and partially amended by the author of this study. The Health Promotion Lifestyle Profile(HPLP) was parameterized by nutrition, exercise, stress management, self actualization, health responsibility, and interpersonal support. The data was analyzed by frequency, percentage, mean, standard deviation, t - test, ANOVA, and Pearson's correlation using an SPSS program. The results of this study were as follows: 1. Hypothesis 1 : 'The higher the level of health perception in the elderly, the higher the practice of health promoting behavior in the elderly' was supported(r=0.449, p<0.001). 2. The health perception mean score on a four point scale was 2.564. 3. For health promoting behavior, the mean score on a four point scale was 2.560. The factor of the highest mean score was interpersonal support(2.850) and factor of the lowest mean score was exercise(1.964). 4. Among the general characteristic variables, sex(t=4.12, p<0.001), religion(t=2.47, p<0.05), education(F=3.27, p<0.05), marital status (t=2.22, p<0.05), living situation(F=3.50, p<0.05), and hobby(t= -2.57, p<0.05) showed strong connections to health perception. 5. Among the general characteristic variables, religion(t = 1.83, p<0.05), and marital status(t= 2.12, p<0.05) showed strong connections to health promoting behavior. In conclusion, this study revealed that health perception is an important factor related to health promoting behavior in the elderly. The general characteristic variables showed strong connections to health perception and health promoting behavior. Therefore, nurses should consider health perception and general characteristic variables when they plan nursing intervention for the elderly. Also, educational programs encouraging constructive health perception should be developed.

• 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.