• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.102-123
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• 2013

This paper is a study about the Gang Sehwang's (姜世晃 1713~1791) Ink Orchid Painting. Gang Sehwang is a representative literati gentleman who painted Four Gentlemen, for the first time, during the late Joseon Dynasty. There are 20 pieces of Ink Orchid Painting of his in Korea. His recognition of the Ink Orchid Painting can be understood through his records and analysis of his Ink Orchid Painting. He considered the sketch from the nature (寫生), practice of old paintings (古畵), and copy-training of the manual of paintings (畵譜). Particularly, Gang Sehwang focused on the copy-training of old paintings (古畵臨倣) which integrates the will and spirit of old literati gentlemen. This means that he had recognized the picture as a means of 'literature carrying morality (載道). Also, we could read self-discipline (修己的) values from his continuative copy-training of the manual of paintings (畵譜臨倣). Next, his Ink Orchid Painting were divided into the first half of the term (his 30s to 40s) and the second half of the term (his 60s to 78 years old). He had polished up on the Jieziyuanhuazhan ("芥子園畵傳") during the first half of the term and on the Shizhuzhaishuhuapu ("十竹齋書畵譜") or the Maejuknanguksabo ("梅竹蘭菊四譜") during the second half of the term. Therefore, it could be understood that he had depended on the manual of paintings (畵譜) for a long time. Nevertheless, he had completed the elegant and graceful Pyeoam Orchid (豹菴蘭)' based on his skill of the manual of paintings (畵譜) in his 70s. Finally, the 18th century Ink Orchid Painting and painters who lived (worked) at that time were investigated. He made?? the Albums of Calligraphy and Painting (書畵合壁帖) with Shim Sajeong (沈師正) and Choi Buk (崔北). They also interacted with each other by Calligraphy and Painting (書畵). Also, Yi Insang (李麟祥) and Im Heeji (林熙之) contributed to the diversification of the 18th century Ink Orchid Painting style by imitating Ink Orchid Painting with the manual of paintings (畵譜). Moreover, it is meaningful that the Ink Orchid Painting of Gang Se-hwang and the18th century Ink Orchid painters influenced the foundation of the 19th century Ink Orchid Painting fashion.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.1-52
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• 2021

The Naejeong, the inner court, which is one of the structures found in the temple complexes of Daesoon Jinrihoe. It serves the function of leading and controlling the operation and direction of Korean religions in general. Considering that the dictionary meaning of 'Naejeong' is 'a place to manage the affairs of the state from inside a palace,' the name and function of the structure appear to be in harmony. However, in the Daesoon Jinrihoe context, it is said that the name 'Naejeong (內庭 'Neiting' in Chinese)' is related to a verse from a Daoist scripture. It has not been revealed whether or not the scripture is historical, and what contents or contextual meanings it contains. This study tries to pursue this matter and introduce the original source of the Naejeong in Daesoon Jinrihoe as likely coming from Qianbapinxianjing (前八品仙經, The Former Scripture of the Eight Phases That Reveal the Means to Acquire Immortality). This scripture was compiled in Lüzu-quanshu(呂祖全書, The Entire Collection of Ancestor Lü). This text and its contextual meanings will also be examined. The origin of Qianbapinxianjing dates back to either the late Ming Dynasty or the early Qing. In those days, there existed a group of literati who worshipped Ancestor Lü because he had saved people and taught the art of immortality. The group organized Daoist Spirit-Writing Altars (鸞壇道敎) and invoked the spirit of Ancestor Lü. They were said to have been taught through messages received from spirit-writing sessions (降乩) with Ancestor Lü and several Daoist scriptures were composed by them in this manner. At Immortals-Gathering Pavilion (集仙樓) of Wandian (萬店) in Guangling (廣陵), China, some literati in that group conducted a spirit-writing session with Ancestor Lü between 1589 and 1626, and they produced a scripture which contained the passage, "A crow and a rabbit gather in the middle valley (烏兎結中谷) while a turtle entwined with a snake is in the inner court (龜蛇盤內庭)." They titled the scripture, The Five Movements and Filial Piety (五行端孝). This passage symbolically expresses the accomplishment of immortality in Neidan (internal alchemy) which, within the human body, combines the two energies of yin and yang which are Water and Fire in the Five Movements scheme. This kind of cultivation is said to be achieved only by maintaining the highest possible degree of filial piety. In this context, the Naejeong where a turtle is entwined with a snake (龜蛇合體) was a term that symbolically depicted a place wherein one transforms into an immortal through cultivation. The Five Movements and Filial Piety was included in Qianbapinxianjing after it had been compiled with the other scriptures containing Ancestor Lü's teachings. In 1744, Qianbapinxianjing was included in Lüzu-quanshu, the entire 32-volume collection of Ancestor Lü and printed for the first time. This underlies the belief in Ancestor Lü (呂祖信仰) which embraces the idea of the redemption of people, teaches the arts of immortality, and features Daoist Spirit-Writing Altars, filial piety, the art of Neidan, and the combination of Water and Fire.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Cartoon and Animation Studies
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• s.40
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• pp.497-519
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• 2015

Kwon Kisoo is one of the most promising artist in Korea. His paintings portray a lot of metaphors and philosophies in oriental art. As an artist, he adapts both oriental and contemporary ideas to make his paintings. His main motifs are Plum blossoms, Chrysanthemum, Orchid and Bamboos. These plants are known as 'Sa-gonja' in Korean but translated as the 'Four Gracious plants' or the 'Four Gentle Plants in english'. These noble plants represent the four seasons. They grow in different weather conditions. In oriental art, these plants are considered very important for their qualities. These qualities are important attributes for gentlemen in literati painting. The drawing of the 'Four Gracious Plants' in Kwon Kisoo's paintings is simplified. He uses lines, shapes and colour to create contours of the motifs. In his paintings, there is another icon he calls 'Dongguri'. Dongguri is the main character in Kwon Kisoo's paintings. It was developed in 2002 by fast brush strokes. Dongguri is an admired character because it looks like very cute in Kwon Kisoo's paintings. Dongguri is always seen living in the midst of the 'Four Gracious Plants'. The 'Four Gracious Plants' with other landscape features like rocks and mountains are places 'Dongguri' lives. Dongguri is also often found performing a lot of actions like climbing, running, sitting etc. All these actions depict metaphors which have been unraveled in this study.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.1
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• pp.76-84
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• 2019

This study was conducted for the purpose of examining the Outstanding Universal Value, World Heritage Values, in Suzhou classical gardens and the operational method of the protection management of historic gardens, and the results of the study are as follows; The first, as a world heritage, Suzhou gardens proved OUV by showing the taste and lifestyle of the literati, the unique class of Chinese history, to the natural environment of the East Yangtze Delta region. In addition, it showed the exchange of international culture with unique Chinese garden techniques. Second, a authentic reconstruction of garden have original value because it exist records of the near past. The 20th-century archives described by the contemporary language and describing the heritage through images using such media as photography and drawing played a decisive role in restoring gardens. Third, the protection management of Suzhou gardens, which began in the 1950s, was carried out in detail, including the reconstruction of components such as buildings, the restoration of plant materials and horticulture technique, the creation of a list through the records of trees, the maintenance of props such as plaque, furniture, and the project to improve water quality and restore waterscape. The last, after the World Heritage inscribing, Garden's protection management was proceeded in two directions. One is that through the reorganization of the administrative management system and the enactment of laws related to Suzhou classical Gardens, the listing heritage is strictly protected and managed, and the other is that the historical gardens are used to establish urban masterplan and urban identity in Suzhou. The range of garden properties greatly expanded by distinguishing the principle of conservation from protection to rational use and the grade of protection, such as whole protection, maintenance protection and protection of historical sites.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.39-51
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• 2011

This study is explored the relationship of cultural history between the culture of mental stroll about nature and the traditional landscape architecture spaces, which showed various aspects of developments, based on the records as to landscape architecture spaces. The philosophical view on nature was turned into the esthetic view with the mellow ripeness of multifarious cultures in Choseon period, since the life of literati had to be a comprise between the Confucius' life and the Taoist life. Around the seventeenth century, as the culture of enjoying a secluded life in city had been descended, the aspiration to appreciate nature in daily life with the changed view on nature. Those desires made the Wa-yu culture, which has a meaning of mental stroll about nature, and drew the attention and various kinds of the Wa-yu culture had bloomed. In the field of Korean literature, the record of strolling in nature had flourished, while the realistic landscape painting had emerged in the field of art. In the field of landscape architecture, the building of places where the vivid experience of nature was realized in the aspect of impressions was performed to express their utopia. Indeed, the space of traditional landscape architecture in the reality meant more than the actual nature.

• (The)Study of the Eastern Classic
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• no.35
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• pp.471-498
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• 2009

The aim of this study is to see how bamboo paintings developed and what is the iconographical meaning of them through bamboo Ti-hua-shi(poems on paintings) found in Sheng-Hua-Ji, a leading compilation of Ti-hua-shi(poems on paintings) of Song Dynasty. Bamboo paintings give shapes in a simpler and more direct way in drawing, which means bamboo paintings reveal concretely more characteristics of Ti-hua-shi (poems on paintings). Bamboo paintings, which flourished during Northern Song Dynasty, often had the image of the dragon, specially a lying dragon or a winding dragon, which suggests a great man in obscurity. Snow-laden bamboos were also a symbol of a great man, very wise man in Confucian tradition. This shows Confucian ideal examples were embodied through bamboo paintings. Another aspect of bamboo paintings is that bamboo paintings were regarded as a means of self-expression, which identified Confucian sadaebu (scholar-officials) who advocated simplicity and austerity in their life. Contrary to professional painters, who added color and decoration to their paintings, Confucian scholars of Song Dynasty reduced color and embellishment in their bamboo paintings in black-and-white to reveal their own identity, focusing on spirituality rather than the image itself. Therefore, drawing and appreciating bamboo paintings were highly respectable pastime among the literati of Song Dynasty. In short, Bamboo paintings in Song Dynasty were not only a Confucian symbol of a wise and virtuous man but also reflected the taste of Song sadaebu class who thought of bamboo as a symbol for moral and cultural responsibility of Confucian society.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.748-756
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• 2021

In this study, as the first attempt to develop an experiential game tourism program using Korean classical literature, the primary research was conducted on Kim Soo-Jang and his anthology "Hae Dong Ga Yo". To this end, a theoretical review of the value of hands-on games and Korean classical literature as tourism content was conducted first. Afterwards, the consumers for the program were set up into three categories: family unit, MZ generation including lovers, and foreigners. A survey was conducted to confirm the program preference of each group. According to the analysis framework, the main value of each historical and cultural resource in "Hae Dong Ga Yo" and seven sijo pieces created by Kim Soo-Jang was discovered and, based on the survey, the preferences of the consumer related to the target were analyzed. Accordingly, the narrative structures were organized differently for each group. An adventure plot was designed for the family unit, a love plot for MZ generation and lovers, and a mixture of adventure and love for foreigners. Utilizing stories from Kim Soo-Jang and his works, which are rarely used despite their value, this study attempted to develop them into hands-on game tourism programs to create new outlets in terms of both Korean classical literature and the tourism area. In the future, if various Joseon literati are discovered and their storytelling is continued, we can expect the vitalization of the travel product line with the concept of classical literature travel.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.15-29
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• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.62-78
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• 2023

The act of burning incense originated from Buddhist rituals and customs, and gradually formed its own culture. In the Goryeo Dynasty, in addition to religious and national rituals, incense came to be enjoyed more generally and widely. In particular, Goryeo literati enjoyed the elegant lifestyle of staying home and burning incense. This was part of a regional culture shared across East Asia. Such incense burning applied the same methods as were used during the same period in China. In collections of writings from the Goryeo Dynasty, it can be seen that incense methods such as gyeok-hwa-hoon-hyang (隔火熏香) and jeon-hyang (篆香) were used. A particular method of incense influenced the size and shape of the incense burner utilized. Small incense burners suitable for simple everyday incense were used, such as the hyangwan (香垸), a cup (wine glass)-shaped burner. White porcelain incense burners from Song were discovered in Gaegyeong, and celadon incense burners from Goryeo were made in the same shape. This phenomenon shows that there was great demand for ceramic incense burners in Goryeo in the 12th and 13th centuries. During this period, incense burners that imitated metalware were produced, and some applied the techniques and patterns of Goryeo celadon. The Goryeo Dynasty-era incense burner was basically a necessity for use in various rituals, but gradually came to be widely used also by individuals.