• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.64-87
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• 2017

Dahoe is a traditional braid in Joseon Dynasty. There are many Dahoe artifacts, which can give us a glimpse of the costume, culture, and life of that era. The study of Dahoe is necessary in various fields, but it is difficult because this manufacturing technique has been passed down from hand to hand. Few studies have been done so far. This research examines the manufacturing technique of KwangDahoe which is passed down by Maedeupjang (Decorative Knotting) and is generally used for knotting and/or tying objects. The main characteristic of TieKwangDahoe, made through the same method as WonDahoe, is the square hole in the middle. It was impossibile to remake the original braid because there is no confirmed number of the strand. Especially it is very difficult to do conservation and restoration on serious degradation state of the fiber. Therefore, it is necessary to analyze the non-destructive manufacturing techniques method for Dahoe and assess their applicability. First, we analyzed the artifacts' manufacturing technique based on the database of the Dahoe's manufacturing technique. In order to do that, we undertook schematization, restoration, morphological analyzation of the Dahoe. And then, X-ray CT scans were performed to improve the reliability of the DB. These results of scanning were interpreted based on the manufacturing technique. The selected Tie-KwangDahoe on the sword for the study are artifacts including artistic value and symbolism in Joseon Dynasty. Based on the analysis of the manufacturing technique, we found that both artifacts were made of 20-strand braid of single cross according to the length-scale measure. It was manufactured using 8-strand on left-right side, 12-strand on front-back side by the braiding manufacturing technique method Finally, this research suggests non-destructive analysis method of Dahoe's manufacturing technique is based on the database and the analysis results. I hope this research can be useful in various professional fields of Dahoe in the future. Moreover, I hope this can be of any help in preserving Korean cultural heritage.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.27-34
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• 2016

The results of investigation on the spatial composition and landscape characteristics of Shimwon-pavilion garden built and enjoyed by Jo Byeong-sun in 1937 during the period of Japanese colonialism based on 'Shimwon-pavilion Soosukgii(水石記)' and 'Shimwon-pavilion Poem of 25 Sceneries(二十五詠)' contained in 'Anthology of Giheon(寄軒)' are as follows. 1. Shimwon-pavilion garden is assumed as Byeol-Seo garden based on the planning background and contents of Gimun and the observations on spot. By its location, it is classified as 'Planted forest' with a pine forest in the north and 'Byeol-Seo of mooring type' with Guyacheon flowing in the garden. It is about 400m away from the main house in the straight-line distance. 2. The meaning and attributes of reclusiveness are well represented in the 'screening structures' all around Shimwon-pavilion garden with Hakrimsan, a Gasan(假山) in the north, vines on Chwibyeong(翠屛) in the east and west, Eunbyeong(隱屛) of stone walls along with Guyacheon in the south, which shows the spirit of Giheon who adored the Taoistic life. 3. Shimwon-pavilion garden, located in the Songrimsa, a temple of thousand years, is a place of consilience where Buddhism was accepted, Taoistic life was pursued with Tao Yuan-ming's philosophy regarding rural areas and romantic sensibilities of Li Po, called poem master(詩仙), the confucian values of Zhu Xi were realized. Giheon intended to build and enjoy this place as a microcosm and shelther where he unfolded his own view of learning and cultivated his mind. 4. 25 sceneries on Shimwon-pavilion consist of 5 sceneries in the space of pavilion(architecture) and 20 sceneries in the outer garden. First, 5 sceneries consist of ancillary rooms for various uses, including Jeongunru, Amsushil, Wiryujae, Iyeoldang, and Jeong-Gak Shimwon-pavilion embracing them, which shows that Shimwon-pavilion is a place to foster younger students. And 20 scenary is divided into 9 sceneries on the natural spaces and 11 artificially created facilities. 9 sceneries are engraved on the rocks as described in 'Seokgyeonggi'. 5. 4 sceneries of the indoor scenery lexemes(亭閣 心遠亭 怡悅堂 停雲樓 闇修室) were intended to be recognized by the framed pictures, 5 places among the scenery lexemes in garden(龜巖 醒石 隱屛 兩忘臺 東槃) by letters carved on the rocks, and 8 places(君子沼 杞泉 天光雲影橋 芳園 槐岡 柳堤 石扉 東翠屛) by sign stones, but signs of 8 sceneries are not currently identified because they have been be swept away and demolished. 6. A variety of plant landscapes with various meanings and water landscape with various types are contained in 25 sceneries - Sophora symbolizing a tree for scholar in Gehgang(槐岡), Willow symbolizing Tao Yuanming and continued vitality in Yooje(柳堤), Boxthorn symbolizing family togetherness in spring(杞泉), vines and herbal plants and waterfalls(隱瀑), shallow pond(君子沼), pond(湯池), water hole(杞泉), water flowing in the middle of rock(盤陀石), water flowing between the rocks(水口巖). 7. While Shimwon-pavilion garden is a garden near the water, the active involvements with 11 sceneries directly built is distinguished. The other pavilion gardens are faithful in engraving the names by setting the scenery lexemes of the nature-oriented Gyeong(景) and Gok(曲) near and far, but Shimwon-pavilion garden is a garden for active learning(修景) with the spaces built to match with the beautiful nature and to show the depths of space off.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.116-137
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• 2024

This study quantitatively explored the interrelationship between water features and surrounding waterscape elements through a literature review and observational study targeting nine waterscapes of Suzhou Classical Garden in Jiangsu Province, China, which is designated as a UNESCO World Heritage Site. The purpose was to understand the objective characteristics of classical Chinese gardens and seek a basis for their differences from Korean gardens. The average area of water space in Suzhou gardens was 1,680.7㎡, which accounted for 21.3% of the total garden area, showing large variation by garden. Most of the Suzhou Gardens use springs and wells as their water sources. The Surging Waves Pavillion uses surface water, and Retreat & Reflection Garden uses seasonal water as its water source. The water pipes in Suzhou Garden are divided into a water outlet and a water outlet(water holes). Of these, the water outlet is a water outlet that imitates the water outlet just to induce a visual effect, and focuses on the meaning of the water system. It is judged to have been combined with the trend of Suzhou gardens. In addition, it was confirmed that, semantically, the arrangement of the water polo in Suzhou Garden is based on the traditional 'Gamyeo(堪輿) theory'. Meanwhile, there are five types of methods for bringing water to Suzhou Garden: Jiginbeop(直引法), Myeonggeobeop(明渠法), Invasionbeop(滲透法), Gwandobeop(管道法), and Chakjeongbeop(鑿井法). Suzhou Classical Garden mainly applies the infiltration method and the irrigation method as a method of securing water in the garden, which can be classified and defined as the water catchment method(集水法) and the water pulling method(引水法) in the domestic classification method. Among the watering techniques in Korean traditional gardens, watering methods such as 'suspension waterfall(懸瀑)', 'flying waterfall(飛瀑)' and water eluted(湧出), have not been found, and it is believed that they mainly 'rely on hide with dignity(姿逸)' and 'submerged current(潛流)' techniques. As for the watering technique, no watering technique was found that uses a Muneomi, which is applied in traditional Korean gardens. As this was applied, the seal method, penetration method, and Gwandobeop were also used in water extraction techniques. And at the inlet and outlet of Suzhou Garden, the main static water bodies were lakes, swamps, and dams. While the eastern water bodies are classified into streams, waterfalls, and springs, the water spaces in the three gardens reflect the centrifugal distributed arrangement, and the water spaces in the six places reflect the water landscape effect due to the centripetal concentrated arrangement. And as a water space landscape design technique, the techniques of 'Gyeok(隔)' and 'Pa(破)' were mainly applied at the inlet, and the techniques of 'Eom(隔)' and 'Pa(破)' were mainly applied at the outlet. For example, most bridges were built around the inlet, and sa(榭), heon(軒), gak(閣), pavilion(亭), and corridor(廊) were built, and the outlet was concealed with a stone wall. Therefore, it is understood to have embodied Suzhou Garden's idea of water(理水), which says, "Although it was created by humans, it is as if the sky is mine(雖由人作，宛自天開)."A trend was detected. Lastly, as a result of analyzing the degree of concealment and exposure in the visual composition of the inlet and outlet, it was confirmed that the water outlet was exposed only at the Eobijeong and Mountain Villa with Embracing Beauty view points of The Surging Waves Pavillion and the water outlet was hidden at other view points. Looking at these results, the 'Hyang-Hyang-Ba-Mi-Bob(向向發微法)' from the perspective of left-orientation theory of Feng Shui, which is applied in Korean traditional gardens in classical Chinese garden water management, "makes water visible as it comes in, but invisible as it goes out." It is judged that the technique was barely matched.