• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.198-221
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• 2009

Royal tombs of Joseon dynasty are the crystallization of history, ideology, culture, art, architecture, and ritual ceremony of Joseon dynasty, all mingled in one. So, they are very significant symbols showing 500 years of dynastic history as a whole. Among various factors comprising a royal tomb, stone figures surrounding grave mound are special factors as a symbol protecting it. Further among them, twelve zodiac images arrayed nearest to the grave mound represent the core of the function. Images of twelve zodiac signs originated from the tombs of the Unified Silla Kingdom are certain to hold important role and position in the construction of royal tombs, judging from huge scale and excellent sculptural art of them. However, both their scale and form had been gradually simplified in Goryeo and Joseon dynasty, thus the importance of them has been underestimated compared to other stone figures Images of twelve zodiac signs were very important factors which decorated royal tombs both as a protective role and as a concept of direction. Their historicity and symbolism cannot be neglected in that they had been transmitted to the royal tombs of Joseon dynasty. In this paper, images of twelve zodiac signs expressed in the royal tombs of Joseon dynasty are classified into 3 forms, and reviewed the origin and development of them for each period. They could be classified into 3 forms ; civil vassals with human body and head, civil vassals with human body and head wearing hat decorated with zodiac animals, Chinese characters of either zodiac signs or either a combination of 10 calendar signs and 8 trigrams. The above 3 forms originated from China and became a favorite motif to decorate the royal tombs from early Joseon period until late Joseon by replacing each other and thus changing along the course of the dynasty. In the meantime, we can see a unique character in the images of twelve zodiac signs of royal tombs of Joseon dynasty. In some cases, 24 directions are expressed in which 10 calender signs and 8 trigrams are composed altogether. Images of twelve zodiac signs in the royal bombs of Joseon dynasty are very significant as evidences by which we can confirm uniqueness and tradition of Korean tomb system transmitted from Unified Silla period.

• Journal of Haehwa Medicine
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• v.27 no.1
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• pp.9-20
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• 2018

Objectives : Ten heavenly stems(10天干) and Twelve earthly branches(12地支) are symbols exposing change order in heaven and earth, and are a very important sign in studying oriental philosophy and oriental medicine. Especially, 10 heavenly stems(10天干) and 12 earthly branches(12地支) are indispensable for the study of Five Circuits And Six Qi(오운육기), and a deep study is needed. Methods : I have examined Yin Yang combination(음양배합), Five elements combination(오행배합), Six Qi 3Yin 3Yang combination(육기삼음삼양배합), viscera combination(장부배합), Mutual collision(상충), Six combination(육합), Three combination(삼합), etc. of 12 earthly branches(12지지) by referring to books such as "Yellow Emperor Internal Classic" ("黃帝內經") and "Principle of universe change" ("우주변화의 원리"). Results & Conclusions : Zi Yin Chen Wu Shen Xu(子 寅 辰 午 申 戌) become Yang(陽), Chou Mao Si Wei You Hai(丑 卯 巳 未 酉 亥) become Yin(陰), Zi Si Yin Mao Chen Si(子 丑 寅 卯 辰 巳) become Yang, and Wu Wei Shen You Xu Hai(午 未 申 酉 戌 亥) become Yin. Twelve earthly branches can be divided into five movements by its original meaning, where YinMao(인묘) is tree, SiWu(사오) is a fire, ShenYou(신유) is a gold, HaiZi(해자) is water, and ChenXuChouWei(진술축미) mediate in the middle of four movements So they become soil(土). SiHai(巳亥) is JueYin Wind Tree(궐음 풍목), ZiWu(子午) is ShaoYin Monarch Fire(소음 군화), ChouWei(丑未) is TaiYin Humid Soil(태음 습토), YinShen(寅申) is ShaoYang Ministerial Fire(소양 상화), MaoYou(卯酉) is YangMing Dry Gold(양명 조금), and ChenXu(辰戌) is TaiYang Cold Water(태양 한수). Viscera combination(장부배합) combines Zi(子) and Bile(膽), Chou(丑) and Liver(肝), Yin(寅) and Lung(肺), Mao(卯) and Large intestine(大腸), Chen(辰) and Stomach(胃), Si(巳) and Spleen(脾), Wu(午) and Heart(心), Wei(未) and Small intestine(小腸), Shen(申) and Bladder(膀胱), You(酉) and Kidney(腎), Xu(戌) and Pericardium(心包), Hai(亥) and Tri-energizer(三焦), Which means that the function of the viscera and channels is the most active at that time. Twelve earthly branches mutual collisions collide with Zi(子) and Wu(午), Chou(丑) and Wei(未), Yin(寅) and Shen(申), Mao(卯) and You(酉), Chen(辰) and Xu(戌), and Si(巳) and Hai(亥). The two colliding earthly branches are on opposite sides, facing each other and restricting each other by the relation of Yin-Yin and Yang-Yang it rejects each other so a collision occurs. Six Correspondences(六合) coincide with Zi(子) and Chou(丑), Yin(寅) and Hai (亥), Mao(卯) and Xu(戌), Chen(辰) and You(酉) and Si(巳) and Shen(申) Wu(午) and Wei(未). Three combination(三合) is composed of ShenZiChen(申子辰), SiYouChou(巳酉丑), YinWuXu(寅午戌), and HaiMaoWei(亥卯未). Three combination(三合) is composed of ShenZiChen(申子辰), SiYouChou(巳酉丑), YinWuXu(寅午戌), and HaiMaoWei(亥卯未). This is because the time Six Qi(六氣) shifts in these three years are the same.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.56-77
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• 2021

Toponyms are located not only in the site between human cognition and the physical environment but also in the name of cultural heritage. Accordingly, certain identities and ideologies for which human groups and community have sought, their holistic way of life, and all cultural symbols and cosmos, such as sense of place and genius loci, are included in their toponymic heritage. Denoting, symbolizing, integrating and representing the culture and nature belong to the human community. Based on these perceptions of the toponymic heritage, the aims of this article are to examine the values of a toponym as an Intangible Cultural Heritage (ICH) and to suggest the application methods using the toponymic functions for governing of tangible cultural heritage. This article discusses the multivocality, diversity, and non-representational theory of landscape phenomenology intrinsic to the terms of culture and cultural landscape and then the domestic and international issues on the toponymic heritage in the first chapter on the values of toponym as a part of the ICH. In particular, it analyzes the preceding research in the field of toponymy, as well as the Resolutions of UNCSGN and UNGEGN on "Geographical names as culture, heritage and identity" including indigenous, minority and regional language names since 1992, which is related to the UNESCO's Convention for the Safeguarding of the Intangible Cultural Heritage in 2003. Based on this, I suggest that the traits of toponymic cultural heritage and its five standards of selection, i.e., cultural traits of toponyms, historical traits, spatial traits, socio-economic traits and linguistic traits with some examples. In the second chapter discussing on the methods using the toponymic denoting functions for creating and governing of the tangible cultural heritage, it is underlined to maintain the systematic and unified principle regarding the ways of naming in the official cultural heritage and its governing. Lastly, I introduce the possible ways of establishing a conservative area of the historical and cultural environment while using the toponymic scale and multi-toponymic territory. Considering both the spatial and participatory turns in the field of heritage studies in addition to the multiple viewpoints and sense of cultural heritage, I suggest that the conservative area for the cultural heritage and the historical and cultural environment should be set up through choosing the certain toponymic scale and multi-toponymic territory.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.118-129
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• 2011

This study is about the governor general's official residence and its garden in Yongsan that were constructed during the Japanese occupational time. The garden design drawing was also made while planning such Neo-Baroque style building, and it contains particular information of the garden unlike the other existing landscape drawings. The content of garden translated and landscape historical value drawn out by analysis of garden drawings, press articles and literatures are as follows; First, such governor general's official residence garden in Yongsan is likely to be the Korean first western style landscape form. For, from the point that it was completely constructed together with such official residential building in 1909, its construction time should be before that of the garden of Seokjojeon, Deoksu Palace, which was constructed in 1911. Second, it shows the garden style and garden planting factors introduced together with the modern architecture then. Such garden planting factors are placed from the center axis of the garden that is connected to the center of the building and monument as well. Such style and factors cover and show the flower bed appearing in Baroque style gardens, the monument that forms Vista playing the center of audience's vision, water space that is placed symmetrically against the axis, planting pattern that emphasizes the plants' space, flower bed shape and axis, and what kinds of plants were introduced then. Third, it shows the using pattern of western style gardens. Western style garden parties used to take in place in this garden while official dinner and reception were held in the evening in the official residence. Fourth, it shows the historical value as a modern landscape drawing, which is the Korean first landscape drawing that shows the plants' names and planting techniques marking the current height and planned height for change of topography and water system as a water landscape factor. That is, this drawing has the value that it was upgraded from the other existing ones that expressed only simple plants' symbols or flower bed shapes. I, therefore, hope that the studies on the modern landscape would be getting wider by excavation of new historical records in the future.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.187-242
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• 2022

This article was conducted with the purpose of finding the religious meaning of Jeongeup (井邑) by paying attention to two areas of inquiry. The first examines religious interpretations of the place names of peaks, mountains, and villages that have already existed have existed since ancient times. The second area of inquiry looks into religious narratives about Jeongeup that appear in scriptural records of the Reordering Works of Heaven and Earth (1901~1909) as performed by Kang Jeungsan. Looking at these to areas of inquiry together, the place names and topography inherent in Jeongeup and Kang Jeungsan's various Jeongeup-related Reordering Works, can be summarized as embodying characteristics of 'beginning (始)' and 'origin (本)' which can be further likened to the meaning of 'water (水)' in a 'well (井).' First, Jeongeup equates to the heavenly origin of the Gucheon Sangje (Supreme God of the Ninth Heaven) faith in Jeungsan Thought. Mangje (Emperor-awaiting) Peak is a peak that represent the wish for the Lord's descent to earth. Seonmang (Immortal-awaiting) Village is a village that was waiting for an immortal. Jeung (Steamer-on-Cauldron) Mountain (Jeungsan 甑山) is a mountain on the earth and also the honorific name later taken by Kang Il-Sun. In relation to Jeungsan, it is interpreted that Jeungsan was born and incarnated in the village as a human in response to a plea from all divine sages, buddhas, and bodhisattvas, who had existed since the dawn of time and came to wish for salvation of humankind. This is because both Mangje Peak and Seonmang Village are connected to the meaning of 'mang (望 to await).' Second, the Reordering Works of Jeungsan which related to Jeongeup show that Jeongeup has carries the meaning of 'beginning (始源)' and 'origin (本源).' The character, Jeong (井), in Jeongeup is seen as a place that contains water energy, and symbols and allusions referring to this can be found in various Reordering Works. As a symbol or allusion, the well can be seen as a new start, the lives of all people of the world, the purification of the world, and returning to the original root everything. These symbolic images can be found in the life of Kang Jeungsan from his incarnation to his passing into Heaven. This is because Jeong can allude to the origin by the Ninth Heaven, the beginning of the Later World's paradisiacal land of immortals, and the end of the Former World (Seoncheon 先天).

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Communications of Mathematical Education
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• v.36 no.3
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• pp.313-334
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• 2022

The purpose of this study is to analyze the changes in mathematical learning through applying STEAM education according to social needs for out-of-school youth. For this purpose, we developed a teaching and learning model and program for mathematics and music STEAM education, and we implemented and analyzed the changes of affective area and problem-solving strategies. The analysis results of characteristic in affective area are as follows: first, the activity-oriented class of mathematics and music STEAM education aroused interest in mathematics. Second, providing opportunities for mathematics and music STEAM education instilled a positive perception of the value of mathematics and STEAM education. Third, the autonomous communication-oriented learning environment of mathematics and music STEAM education improved confidence and motivation to learn in mathematics. The analysis results of the characteristic in problem-solving strategy are as follows: first, through the STEAM education with mathematics and music, a conceptual understanding of internally and externally dividing points was formed, and a given problem was expressed and solved in a formula. Second, the functional correspondence relationship was understood, and the given problem was described and solved with symbols associated with the function. The suggestions of the study are as follows: first, based on the teaching and learning model and results of this study, various STEAM education programs for out-of-school youth should be developed and expanded to foster future competencies and provide new changes for out-of-school youth. Second, it can be used for research on the development of teaching and learning materials for convergence elective subjects in the high school credit system by referring to the mathematics and music convergence STEAM program of this study. As the subjects and fields of STEAM education are diversified and organized, students in need of receiving educational opportunities will be reduced, and there will be a world where the name of out-of-school youth and alternative education will not be necessary. Therefore, it is expected that development of teaching and learning programs created by interest in education of out-of-school youth will be used as an innovative idea in school education to achieve a virtuous cycle.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.4
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• pp.56-75
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• 2023

As of 2019, for the 'Island I Want to Visit' project, Banwol and Bakji Islands, located in Shinan-gun, started color marketing to create a tourist attraction by painting roofs, buildings, and facilities purple. As this landscape change was evaluated as a 'dangerous but beautiful attempt,' it was recognized as the 'World's Best Tourism Village' in 2021, drawing attention from domestic and foreign tourists. However, the residents of the islands, who created and enjoy the benefits of the landscape, were alienated from the planning stage. This study investigated the meanings and symbols of residents' perceptions of the purple landscape. The cultural landscape frame of new cultural geography, which interprets the landscape's symbolic meaning and ideological signs, was utilized. In addition, a holistic approach was applied to understand the residents' perceptions of the multi-layered environment. Therefore, the perception of purple, the main color of the islands, the overall landscape and individual places, and the general perception of the Purple Island project were investigated. After the Purple Islands Project, the main senses for recognizing the villages focused on sight, and the residents were satisfied with the purple landscape as it improved the underdeveloped village environment. This satisfaction was based on lessening the negative memories experienced as an island rather than a value judgment on the purple color. In addition, the perception of the symbolic landscape, which has a social and universal system, has been subdivided and reorganized, including for tourism functions. It can be understood as an aspect of the spectacle landscape that appears in cosmopolitanism. However, in the process of transforming into a tourist attraction, it was discovered that the residents recognize the value of local resources and create a new cultural landscape. In addition, the perception of the relationship between Banwol and Bakji has also changed around tourism.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.35-77
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• 2016

All humans are subject to death, and this creates a motivation to construct theories regarding divine immorality (神仙思想) in order to satisfy the human desire (慾望) for eternal life (長生) and the avoidance of death(不死). In the concept of Earthly immortality (地上神仙) from Daesoonjinrihoe (大巡眞理會), devotees do not carry out their work in a deep mountain ranges far removed from human society. Instead, they cultivate themselves in Dao from within the human society (自身修道), chant incantation to benefit others, aspire towards immortal status (神仙), and promote harmony between divine beings and humans (神人調和) all without ever leaving human society. In the Yeoju Headquarters of Daesoonjinrihoe, members created a new place called a "Dojang (道場 temple complex)" to live as immortal humans in the here and now while they chant incantations (呪文) as an act of participation in the Immortal Realm of the Later World (後天仙境). Some key religious and fengshui (geomancy) oriented symbols used within the Yeoju Headquarters of Daesoonjinrihoe appear as follows: first, Cheonggye Tower (靑溪塔) represents faith in traditional astrology (星宿神仰) and reverence for the God of the Nine Heavens (九天上帝). Second, Daesoonjinrihoe (大巡眞理會) emphasizes the Saturn associated earth element from five phases (五行土星) and this represent the Later World due to numerological associations. Third, the Fengshui of the Yeoju Headquarters of Daesoonjinrihoe is a highly propitious (吉地) and also accentuates the Saturn associated earth element from five phases. Fourth, Yeongdae (靈臺) in the Yeoju Headquarters of Daesoonjinrihoe faces west where Jeungsan will come accompanied by other gods (神命). Fifth, the Yeoju Headquarters of Daesoonjinrihoe is in charge of property and receives happiness and prosperity (福祿) through its Fengshui. The Yeoju Headquarters of Daesoonjinrihoe is an earthly paradise for immortals (地上天國) forged to achieve the ultimate purpose of transforming its members into the Dotong (道通, those enlightened in Dao and thereby successful in their every endeavor) of the Later World. In accordance with Daesoon thought, the Saturn associated earth element from five phases is positioned in the middle of incantations, and Yeongdae, other architecture, and landscaping has all been arranged to correspond with Daesoon geomancy and numerology (後天數理).