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송혜영 한국건축역사학회 2019 건축역사연구 Vol.28 No.3
Mandongmyo(萬東廟) was a shrine built for two emperors of the Ming Dynasty in Huoyangri, Cheongju. Since the 17th century, the classical scholars of the Joseon Dynasty had valued Mandongmyo Shrine as a place for the so-called Jonjudaeui(尊周大義). In 1865, however, the shrine was demolished and ruined, afterward rebuilt by King Gojong(高宗) in 1874. King Gojong played an important role in the construction plan for the new shrine, which he adjusted the layout of the building and named it. Unlike in the past, the reconstructed shrine was thoroughly led by the government, and its architectural character was greatly transformed. The reconstructed Mandongmyo was respected as the national shrine, but subjected to oppression by the Japanese imperialism. The 68 years after it was rebuilt, the shrine was destroyed on the charge of inciting the sense of national consciousness. 본 연구는 조선후기 예제건축을 대표했던 만동묘의 1874년의 중건에 대해 공사의 계획과 절차 그리고 공역 및 건축물 내역 등을 중심으로 고찰한 것이다. 1703년 송시열의 유명에 의해 창설되었지만 1865년 흥선대원군에 의해 철폐되었다가 1874년에 다시 중건된 만동묘는 고종의 명에 의해 재설이 계획되고 추진되었으며 충청감영이 공사를 맡아 시행한 국가적 영건공사의 하나였다. 만동묘의 중건은 조선후기 사회를 지배했던 존주대의를 기반으로 하는 왕권과 신권의 대척점이 된 예제 건축물의 위상을 재정립하려는 고종의 의도에 따라 공사 기획과 국고 지원, 건물의 재배치 및 명칭 부여 등에까지 군주의 의지가 큰 영향을 끼쳤음을 밝히려 한다. 또한 중건된 만동묘는 일제강점기를 거치면서 민족의식의 유발을 우려한 조선총독부의 탄압으로 인해 다시 철폐되는 일련의 과정을 살펴본다. 이러한 고찰은 만동묘를 둘러싼 조선후기의 정계 실상을 이해하고 중건 공사의 시행 배경과 공역 실상을 밝히는 건축사적 의의를 갖는다.
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송혜영,Song, Hye-Young 한국건축역사학회 2020 건축역사연구 Vol.29 No.5
The Municipal Building of Busan was the first western-style building of Korea in 1879. It was also the predecessor of Busan Metropolitan City Hall. On the other hand, the Municipal Building of Busan was a symbolic structure that shows the history of Busan. The Municipal Building of Busan has inherited the construction location and site, including the speciality of Choryangwaegwan, and is a good example of the process of inheriting the authority of the former space through the appropriation of the building. The Municipal Building of Busan was relocated to the edge of the coast in 1934 because a small and dilapidated building failed to function properly. The relocation of the Municipal Building of Busan in 1934 was the origin of changing the coastal space in downtown. As a result, landfill sites along the coast were in the limelight and developed into the downtown area of Busan after Korea's liberation.
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송혜영,서치상 한국건축역사학회 2019 건축역사연구 Vol.28 No.4
Busanjin Fortress was originally made of stone fortress for the Joseon Navy, which was located in Dongnae area in the late Joseon Dynasty. However, the Japanesque Castle of Busanjin in 1592 was built by the Japanese military during the Japanese Invasion of Korea. Since the Japanese military retreated, the Joseon Navy had renovated the fortress and had used it as a base for stationing, and it had been maintained in Busanjin Fortress until the Joseon Navy was disbanded in 1895. After the abolition of the Naval Force System, the space in Busanjin Fortress was dismantled, and the government facilities and their sites were not properly managed and repaired, eventually was sold to Japanese. As Busanjin Fortress failed to function properly, the coastal space in Busanjin became a burial ground after being reclaimed by Japanese with real estate investment in mind. Today, the traces of Busanjin Fortress have been removed by the reclamation work, and only the remains of some stone pillars remain under the name of Jaseongdae(子城臺). Thus, the old custom as the Naval base disappeared, leaving only the image of Japanesque Castle. 부산진성은 오늘날 부산광역시 동구 범일동에 있는 석축 성곽으로 조선시대 수군첨절제사가 주재했던 부산포진의 주둔지로서 임진왜란 때 왜군에 의해 축조되었다. 임진왜란 때 원래의 부산진성이 왜군에 의해 훼손됨에 따라 잔존했던 왜성 일대를 부산포진이 수축 후 주둔하면서 그 유구가 현재까지 남아 보기 드문 왜성 형식을 갖춘 수군 진성으로 남겨졌다. 외적을 방어하던 수군해안방어의 최전선이라는 역사성과 왜군에 의해 축성된 왜성이라는 특수성에 주목하면서 본 연구는 관방도시의 공간구성과 변화과정에 대해 사료의 고증을 통해 고찰하는데 초점을 맞추었다. 조선 후기 부산포진의 주재지였던 부산진성은 임진왜란의 교훈에 따라 적로초경으로 중시되었으며 특히 부산진첨사는 남방의 요해처를 사수하는 수군 장수로 역대 군주의 신임을 받았고 부산진성이 임진왜란 때 축조된 왜성에 기반을 두었음에도 불구하고 전래의 읍·진성 형태를 유지하였다. 그러나 을미개혁의 여파로 수군제도가 폐지됨에 따라 부산진성은 보존의 기회를 얻지 못했는데 이는 구한국정부의 재정악화에서 비롯했다. 종국에 부산진성 내 관아 부지가 일본인에게 불하되었고 일본인 주도의 철로 개설로 선소 일곽이 해체됨으로써 관방도시로서 제 기능을 잃었다. 일제강점기를 거치면서 일본인 주도의 해안매립공사로 인해 수군 특유의 해안지역은 사라졌고 매립에 따른 창고부지만 남겨짐에 따라 오늘날 옛 수군기지로서 옛 풍모는 찾을 수 없으며 단지 왜성 이미지만이 유구와 함께 전해진다.
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13세기 이탈리아의 <성 프란체스코> 전기(傳記)제단화
송혜영 미술사학연구회 2010 美術史學報 Vol.- No.34
This study focused on the Vita Retable of <St. Francisco> made in 13th century, and to the end, the background of this times was first reviewed. The Franciscan Order and the Dominican Order are mendicant orders which were established in parallel in the first half of the 13th century. The friars lived a common life in the city and got interested in icons and holy pictures gradually since the last half of the 13th century. As mentioned is an anecdote of Francesco related to holy pictures in Celano's hagioraphy in 1247, the Francesco Order recognized the significance of icon as a religious instrument, earlier than any other order. The Vita Retable of <St. Francisco> in the first half of the 13th century is very exceptional in view of its production in a while after his death. Its style follows the Vita Icon which is composed of the Saint in center and the biographical scenes around him. Elias of Cortona who was a leading figure in the early history of Franciscan Order, made active use of the fine arts, especially 'speaking painting', a new painting style, which was available to communicate with the spectators. In the Vita Retable of <St. Francisco> of Pescia (1235), to describe the Saint's image as similar as possible to that of Christ, it was schematized as icon, regardless of his real features. The scenes around the Saint also showed not his human aspects but his transcendental power like Christ describing the miracles, and further, incited the faith that the Saint could work miracles. This aimed evidently at advertising effectively the new ideal of the order and its founder. As the Vita Retable of <St. Francisco> served for the sermon of festive days, it filled the educational role to make the believers read visibly the Saint's life through it, which was different from the 'speaking painating' Crucifixion, established in similar times. However, it was by Giotto at the end of the 13th century that the Francesco's feature and life moved and fascinated the spectators, not limiting to a just literary role.
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