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권영걸 서울대학교 조형연구소 2000 造形 FORM Vol.2000 No.23
From ancient times, Korea had cultural exchanges with its neighbors - China and Japan. In the traditional architectrue there is substantial formal concerns based upon the spiritual culture of Korea and it's neighbors. A reciprocal influence between Korea and it's neighbors is demonstrated by their complicated roots. To examine closely the specific cultural character and identity of the traditional space of Korea, China, and Japan, my research started with the belief that it is useful to look at Korea througth other nations - China and Japan and to typologically compare with the explanatory notes on the analytic criterion. By making apparent the similarities and dissimilarities with Korea's neighboring nations we are able to make concrete the abstract attributes and ultimately fathom the depth of our own culture. According to Lee Woun Hwa, to understand the history of architecture is to know 'death', and on the other hand this can be translated as to know 'life'. Antiquated or extinct objects transmit the validity of time of construction to the present day. So they have an influence on their own reproduction, and promote such activity. This is why and the reason for saying to know 'life'. Simultaneously, since extinct constructions can be reproduced and succeed a generation, this is the underlying principle of the proposition. There is no old thing that cannot be achieved in the present.' If the concept of looking at the present could be connected and reproduced, judging from the past precedents would be the best way to draw a lesson of historic discipline and percept. Culture is the reflection of an age and its society. Thus, we can find the implication from the traditional spaces built in the past. The main object of this study, landscape garden and architecture are the signs that contain the remembrance of the space where they were created. Additionally because the traditional spaces are the outcome of the absolute influence of the environment, they can be a clue to observing an attitude and a disposition. My study takes the following steps. First, to perceive the traditional spaces of the East Asian countries that denotes physical beings to be the signified. Second, through typological methods, find out the signifier in the aspect of the special scheme and the formal internal structure. And finally, to interpretate and synthesize them. Traditional architectural spaces reflect the context of the spiritual and physical situation in which they exist. Thus we can understand the spirit of the era, the world view, aesthetics, and a system of social organization from them. We can deduce the unseen through the seen. This kind of analysis of contexts can supply the cognitive background for the information accumulated by the cultural anthropological group. Therefore, it contains both cultural contexts in a broad point of view, and site contexts in a micro point of view. The analysis of the exemplary spaces in Korea, China and Japan is developed on different levels. One is based on the phenomenological and iconographical level-location direction, arrangement, structural elements of garden, and specific elements of architecture, the other is based on the semantic level. That is, deep structure-humanitarian background, spiritual culture, space culture, an aesthetic insight, and formative sense. The interpretation in both levels was inter-relatively attained. As the outcome of the typological comparative analysis was classified in the former chapter, in this chapter I will present the result in a broad point of view. First the nature-friendly tendency is one of the common space building consciousness of Korea, China and Japan. Although there is a difference of degree and the method of embodiment, they all make a conversion to nature the best state of spatial art-Tao. The example of restraining artificial technique and adapting to nature has been the base of East Asian aesthetics. In the East Asian culture, there is a inherent rule to look natural, in spite of being artificially made and to never step over the line. Architecture of Korea, China and Japan follows nature in the concepts of location, spatial syntax and advancing to motif of building and material. But in East Asia where they use chinese letter, the concept of nature didn't mean just the material phenomenal world. Sometimes it was respected as personificated beings, and existence like God, or as the embodiment of their concept of Tao or truth. Such tendency is the core of the thought regardless of Confucianism, Buddhism, and Taoism in Korea, China and Japan. Another example of nature-filendliness is 'Pung-ryu'. This is translated as taste and leisure in the West, but the meaning is different. When we compare the traditional spaces of Korea, China and Japan, a singular point of view toward neture, life and built environment is a very important standard. In the Western viewpoint nature is often seen in opposition to mankind, and thus space is viewed with the concept of 'dichotomy' between human and nature. But in Korea, China and Japan, they make the spaces with the concept of monism in that they pursue unity with nature. 'Pung-ryu' is a basic element in forming a landscape garden which is the main topic of this study, and also in the case of designing a religious space. That is based on East Asian naturalism, and related with the attitude that exchanges between all kids of nature. So the internal relationship between human and nature means 'nature-friendliness' and 'mutual response with nature' and moreover 'unity with nature' and 'recurrence to nature'. Another East Asia's shared value is 'contemplation'. This is in collusion with the nature-friendly tendency. They pursue unification with an object with meditative mind, and the consensus between an object and the contemplative mind. This means to realize Tae, and attaining a state of perfect natural order. Although there is a difference in the approach, Korea, China and Japan attach importance to intuition and assume an attitude that pursue ideal state of mind. They don't decorate things gaudily but have the intention to extract a new personal spacial experience with contemplation. This attitude takes intuition seriously, and makes the space contemplative and thoughtful. Compared with the West which regards superficial character of the object highly, the Easters attitude leaves a remnant of an aroma and presents a spiritual concept of space, and allows for a variety of approaches. This kind of system of thinking allows for a more relativistic world view. Another commonality is the 'humanism' of East Asia. From an early age, the East Asian societies regarded humanistic relationship as important and have made firm patriarchies. Sometimes patriarchy was presented by hierarchical order of space, but on the other hand, was developed into zoning and space layout to promote a relationship between people. This is different from the West that focuses on function and efficiency of space and thus regards 'emotion' and 'feeling' as unimportant and focuses upon the relationship between things and mankind. Of course in confucianism, there is the human centered concept : 'Man is the most important being in the world', which may be viewed similarly as the western translation of humanism. But in East Asia, there isn't an interpretation of humanism to the direction of destruction, but use it with the concept of monism. These 'human-friendliness' ideas and 'nature-friendliness' ideas have the same origin, but they were used reciprocally. Even if there is a difference in the method of representation in Korea, China and Japan's spaces, there is much humor. It was based on humanism that attach greater importance to man's feeling than representations of the object. Finally, the space of Korea, China and Japan all pursue a 'complemented pragmatism'. But the concept of this is different from that of the West. The pragmatism of the West give priority to technical efficiency and pursuit of the personal 'function', and makes the space into an object. But in Korea, China and Japan they emphasize public utility and relationship of the spaces, and in relationship of nature to human human to human, human to things, things to things. It is based on the nature philosophy without the subject and the object. Additionally in the relationship of human to things, Asia breaks the self-centeredness and upholds the tradition that respects things. It is driven from the spiritual flexibility, the world view of relativism, and equalitarianism that all things could be the subjects. Such attitude is inherited in the belief that respects the resolution of the association, and is presented to demonstrate the awe of life. This research focuses on 16th century representative spaces like landscape gardens, temples, and the royal palaces of Korea, China and Japan. To find the archetype of spatial culture in three countries and the principle of space building with small cases, I based my study on Chaos and fractal theory. In fractal theory, if one branch were split into two, there would be a typical phenomenon that the angle of the both branch were regular and infinitely repetitive. In that case, even if the shape would be different, the branch would have the same form - 'self-similarity'. That is the basic order of nature. This theory and typology was adopted into my study and concept that there are eternal principles and elements in space and architecture-propriety. In this study, I classified immaterial and philosophic space culture with concrete words, and horizontally compared the examples of built environment and obtained a demonstrative result. The purpose of my treatise is to look into commonness and differences of traditional architectural spaces in East Asian countries. The examination of commonness will be the basis for building wide cultural cooperation of East Asian countries, and the scrutinies of differences will be the efficient tool for embodiment of the culture of space that has been ideologically recognized until now.
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