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Chinese people are not unfamiliar with the capital city of Korea or Seoul. Chinese envoys have begun their visits to this beautiful city surrounded by rivers and mountains since the capital was settled in Soul in Joseon Dynasty. After opening the port, with the enhancement of Sino-Korean relationship, more and more Chinese came to this city. Among these people, there were many great names in the history of modern China such as Wu Chang qing,Yuan Shi Kai,Zhang Jian and Zeng Ji Ze who however were sent to Seoul with missions as signed by government and common people had few opportunities to travel there but to get to know this city from text records. During the reign of Japan’s colonization, though Sino-Korean relationship was at themercy of Japan at first, then on governmental communication increased:more and more Chinese with various purposes came to Seoul,especially some Chineses cholars travelled in Seoul for study or research,and for travelling and sightseeing.What they had seen and had heard has been recorded in words which are a great treasure for us to know Seoul under the colonized rule. In modern Chinese people’s eyes, the colonized Korean capital city was no longer the “Seoul” that they had been familiar to,but the one full of modern flavor.There were bustling commercial streets and well-developed transportation system and perfect municipal management all of which presented a modern city before Chinese travelers.The appearance of Seoul had great changes while the owner of the city was also changed.Korean people who had been living there for many generations were replaced by extraneous Japanese,reducing victims being conquered.They have nothing to do with the prosperity or the progress of the capital city.They had to live in the places full of dirty streets,a totally different world. The 500-year inheritance of Joseon Dynasty, the majestic palaces and the beautiful gardens in Seoul all reveal the time-honored and splendid Korean culture whoses plendor however was enshrouded by the shadow of colonia lrule. As a traveler staying in Seoul for a short time, some Chinese were amazed at the great changes of the capital city and admired Japanese colonists’ “governance achievement” while most of the Chinese travelers from these changes saw the destroy of colonial rule to Korean people, Korean culture and Korean spirit which made them realize that the only thing brought into by the imposed “progress” and “development” is harm and destroy.

This study explores the characteristics of technical education in the era of wartime colonial Korea by analyzing Kyungsung technical public school(京城公立工業學校), the largest technical institution in colonial Korea. The technical education of colonial Korea had not been formed until 1930's. After the Sino-Japanese War, seven technical institutions of the secondary level were cursorily established in colonial Korea. This rapid and hasty beginning of technical education was attributed to the sharply rising demand for technical professionals in the munitions industry. At this time, colonial Korea lagged behind colonial Taiwan by a decade in training technical professionals. Kyungsung technical public school, established in 1899, had been in stagnant for a long time. However, by the need for technical education, Government-General started to reform Kyungsung technical public school and construct new buildings in Yeongdeungpo-Gu linked with the Kyungsung-Incheon industrial district, one of the representative industrial areas gathering the small and medium-sized machine industry in Korea. Despite severely ethnic discrimination, Kyungsung technical public school was encouraged to select Korean students by Government-General. Consequentially, the rate of Korean students in the school increased from 30% to 50%, fostered by the urgent need for technical manpower during the wartime. Although the curriculum of Kyungsung technical public school was based on that of the general schools, the education in Kyungsung technical public school was actually focusing on practical courses related to a job, especially in the field of mining engineering. While the training program was at a high level in the initial stage, the program could scarcely function after 1943. Because Kyungsung technical public school had tried to select high-quality students from the elementary school in Korea, the alumni were extremely proud of having entered the school. After the independence, however, many alumni cannot help but build their careers in the military industry or education field, not in the same field they had learned. Arguably, this means that the continuity of training technical professionals from the Japanese colonial period to the post-independence Korea would be undermined.

This thesis studies a true-view landscape painting of the west village(西村) in late Joseon period. First, the present condition and painterly features of the region’s noted places are mentioned, and then points of reviews are discussed based on the characteristics drawn from the comparison between the picture and a real view. A true-view landscape painting has acted as an important intermediary through which 18thCentury west village’s noted places has become beauty spots at present. Although written documents on the noted places of the west village were important, a true-view landscape painting had a huge influence on the history of painting and the related research fields in that it brought old place of the west village out alive through visible pictures. The fact that a true-view landscape painting is considered as the main “landscape text” to understand “cultural landscape” or “historical landscape” is a good example. Most paintings of the west village are the works of Jeong Seon(鄭敾, 1676-1759), who was a leading painter of a true-view landscape painting in 18thCentury, and his two albums of “Jangdongpalgyeongcheop(壯洞八景帖)” and several pieces are still present. Jeong Seon(鄭敾) has painted many places in Hanyang(漢陽), the capital city, but most of his paintings were on the west village. This is possibly because it was where he was born and brought up, and he was very familiar with the beautiful views of this place. Even though some places in the true-view landscape painting of the west village are now damaged, there are still quite a lot of places which remain as it were so that it becomes possible to compare them with the picture. These actual places portrayed in the painting are significant as they could visually show the past view, compare with the real view and give us a room to study the history of the people and the space. In chapter II, important places of the west village are studied based on the poetry of Kim Sangheon(金尙憲, 1570-1652) and pictures of Jeong Seon(鄭敾). In selecting the noted places, Kim Sangheon(金尙憲)’s main focus was on natural landscapes while as for Jeong Seon(鄭敾), it was based on the history of the people. In particular, a noted place in “Jangdongpalgyeongcheop(壯洞八景帖)” is divided into Baekak(白岳) Mountain area and Inwang(仁王) Mountain area, and they are categorized by the places of scenic beauty, places where famous people stayed, a summer house and a back garden, thus making up eight views altogether. Jeong Seon(鄭敾) considered the relation of the place to the people as most important in selecting noted places. In other words, he thought a famous place without people cannot be appreciated. So certain places where people stayed were symbolized by special sceneries to represent that person. Also, four noted places of Bakak(白岳) Mountain and Inwang(仁王) Mountain respectively, were put together under “Jangdongpalgyeong(壯洞八景).” To Jeong Seon(鄭敾), these places from each mountain were considered equal. In chapter III, a point of review is discussed based on the comparison between the actual view of the west village and the painting. Many studies have been conducted on the trueview landscape painting of the west village but not enough understanding has been made on the real view, the object of painting. Jeong Seon(鄭敾)’s “Inwang jesaekdo(仁王霽色圖)” and Kang Heeon(姜熙彦, 1710-1784)’s “Inwang sando(仁王山圖)” are the two best examples. When the painting is compared to the real view, the structure of the scenery reveals the intention of the painter, his perspective, his true-to-real expression and how he tried to express his idea through the scenery. Specially, as for “Inwang jeseakdo(仁王霽色圖),” I sought to locate the actual places portrayed in the planting, based on the reliable scenery of the painting. The process of confirming actual place has proved that the illustrated location of Jeong Seon’s “Pilunsanghwa(弼雲賞花)” might be around Seshimdae(洗心臺), at the skirt of Inwang(仁王) Mountain, not around Pilundae(弼雲臺). Also, with the painting “Cheongpunggye(淸風溪),” I recomposed an old place by tracing back the true view scenery. The original places in the true-view landscape painting are main clues which can tell the history of the present view. Next, with “Janganyeonu(長安烟雨)” and “Yuksangmyodo(毓祥廟圖),” after a close examination of clues in the paintings and documents, I was able to point out the issues regarding the time and the background of the paintings. The main clue in “Janganyeonu(長安烟雨)” was the three gates in Yuksang shrine(毓祥廟). It tells that this picture was painted in 1753(Yeongjo 29) when Yuksang shrine(毓祥廟) was raised to the status of the palace. “Yuksangmyodo(毓祥廟圖)” which was painted in 1739(Yeongjo 15) shows the seating orders of the vassals who were related to the royal enshrinement of the Queen Sunui in 1732, which proves that this painting was irrelevant to Yuksang shrine. In short, the clues for the date and the background of the painting were all in the picture. Thus the process of confirming the actual view painted in the true-view landscape painting is one of the important works of verifying and complementing the significance of the true-view landscape painting on a more objective basis. This will also shed new light on the understanding of the current or disappearing scenery. Jeong Seon(鄭敾)’s true-view landscape painting of the west village is a valuable reference showing humanities, geography and history of the scenery and this is highly significant in the history of painting and the history of culture of the late Joseon period.

By replacing the Crown prince in the 18th year of King Taejong's reign, the symbolic nature of Yang'nyeong/讓寧大君's status, who was declared as Crown prince by the authority of the Founder King/太祖 Taejo and the authorization of the Chinese Ming(明) dynasty, was politically dismantled. This replacement was also an act of establishing a new line of succession of the throne, designed by King Taejong himself. Yet Yang'nyeong, the eldest(嫡長子) son of King Taejong, had already been the Crown prince for 14 years, and during that time maintained the image as a person to be the next king. From a political standpoint, it was not an easy task for Taejong to nullify that kind of position of his own son. So, in the 18th year of his reign, he temporarily moved himself(移御) to Gaeseong, separated the royal family from the governmental officials, and then called the Crown prince to Gaeseong, relieved him from the seat of the Crown prince, and declared his youngest son Chung'nyeong(later King Sejong), as the new Crown prince. Then he returned to Han'yang, and relinquished his throne to the newly installed Crown prince.

In 1920s, there came into being a competition system between the tram and the bus in line with rapid growth of the road transportation business but the Railway Bureau controlled the traffic focusing on railway and tram. Gyeongseong Electric company relocated the buses where tram lines were not available upon taken over of the bus business in the year 1933-1934. As a result, the public transportation in Gyeongseong area was reorganized focused on the tram. However, there occurred a shortage of public transportation in Gyeongseong area in 1930s. The phenomenon of rush hour was occurred in the early part in 1930s, and the traffic difficulty became heavier after the traffic control in 1934 and expansion of administrative district of Gyeongseong municipal gov’t in 1934. The major cause of the traffic congestion was the rapidly increased number of passengers. The average number of passengers of the tram & bus had increased to about 130,000 persons from 100,000 persons per day for 5-6 years after municipal bus started operation in 1928 indicating the increase of passengers merely 30,000 passengers, but from 1934 to 1940 after reorganization of public traffic focused on the tram the passengers increased to 3 folds to 440,000 persons from 150,000 persons indicated the increase as many as 280,000 persons. The reason of rapid increase of passengers was; First, the increasing trend of populations year by year in Gyeongseong area. Second, the effect of traffic fare decrease caused by the traffic fare system change. Third, the increased commuters of employee & student. However, the vehicles and capacity of the facilities of Gyeongseong Electric company could not catch up with the then increasing passengers. There lacked trams & buses, furthermore their route as well could not be extended more or less, and even the fuel of gasoline was also restricted. This was on the one hand due to the profit-oriented policy of Gyeongseong Electric company, but the possibility of its improvement was further decreased under the war time controlled economy. In September 1939, ‘The countermeasure committee of Tram/Bus Problem’ was organized by the Member of Gyeongseong Municipal Assembly and criticized Gyeongseong Electric company of their profit-oriented management policy. Gyeongseong Municipal gov’t requested the operation of express-bus comparable to tram routes to digest rapidly increased passengers during rush our time, which was a reemergence of parallel operations of bus & tram routes merely for 5-6 years to mitigate traffic difficulty since the tram focused traffic system was introduced. In March 1940, the semi-municipalization of public transport was raised by Gyeongseong Municipal Assembly which was the reemergence of the movement of municipalization of Gyeongseong Electric company in early 1930s. In August 1939, and in December 1939 the downtown circle line of tram was introduced in the downtown area where passengers concentrated during rush hour and the express-bus was introduced by Gyeongseong Electric company respectively, but it could not contribute to the mitigation of traffic difficulty due to their separate fare system. In April 1940, an express tram was operated, and in December 1944 the methods of prohibition of transfer during rush hour and removal of seats in the tram etc. were added. But such measures were merely a temporary measures rather than the fundamental solutions for the problem. This was due to the passive attitude of profit-oriented Gyeongseong Electric company, and the fundamental solution was next to impossible under the war controlled economy. Also this was a measure favorable to Gyeongseong Electric company at the expense of local residents. Finally, the sacrifice to mitigate the traffic congestion was left intact to the residents of Gyeongseong municipal city through promotion of walking short distance or reducing time for getting on & off by observing strict traffic ethics.