In The Tale of King Mu, the mythical space where the Queen Mother of the West, the goddess of longevity and immortality, meets the king Mu of Zhou, symbolizes a utopia, a place of love, and parting and a fairyland, also used in Korea during the traditional period. In the 19th century, Joseon envoys named the peep box Yojigyeong. The reason for this was not only because they saw the image of Yoji that they had imagined through peep box, but also because Yoji represented something unfamiliar and new. From this, the envoys witnessed that commerce and private culture were flourishing in the Qing dynasty, which contradicted the existing worldview. Also, reformist intellectuals saw the possibility of reform to overthrow the existing order. In Manyo, the music genre was born in the 1930s, Yojigyeong meant a hybrid era in which tradition, Western culture, and colonial rule were mixed. In the 60s, Yojigyeong meant Seoul, which was rapidly urbanizing. In the 90s, Yojigyeong meant generational conflict. Yojigyeong compares the new social aspect to the landscape of Yoji, which shows that Yoji, the space of the auspicious goddess, has been given a new symbol of ‘strangeness’ in the Korean context