• (The) Research of the performance art and culture
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• no.36
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• pp.725-750
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• 2018

Uigue(儀軌) is the report of court events, and its contents are very detailed and crucial as it is even called as the flower of written culture. Thus, many research theses about Uigue have been accumulated in academic circles so far, and easy books about Uigue targeting ordinary people have also been published. However, Uigue has not been used actively in educational circles yet. From now on, we should develop and induce ways to use Uigue actively in educational spots in order to let students who will lead our future have pride in our culture and know about the superiority of our court music culture. Especially when court music culture is taught in the sector of Korean traditional music education, it is beneficial to use Uigue. Since most of the court music repertory is slow and magnificent, if court music itself is exposed beforehand, it might give them an impression that it is "unexciting and boring". Therefore, this study gropes for teaching methods to 'show' court music culture first through various visual aids contained in Uigue. In other words, it examines how the instrument images, band images, dance images, or concert stages contained in Uigue can be used as teaching materials. Except for the materials selected in this article, there are plenty of teaching materials for court music culture in Uigue. Furthermore, it would be even better if not just Uigue but Oryeseo (五禮書), Akseo(樂書), Dobyeong(圖屛), and Gwanchan Akbo(樂譜) can be added to widen its range for more multilateral court music culture education. And if at the educational spots, showing classic court music culture is accompanied with listening to court music through various materials of court music and dance, we can expect even better educational effects from it.

• 대학교육
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• s.163
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• pp.26-31
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• 2010

전주대학교 '궁중약(藥)고추장' (사업단장 신정규)은 지난 2004년 ‘교과과정과 연계된 현장학습을 통한 우수한 실무 인력 양성’을 목적으로 하여 설립된 학교기업이다. '궁중약(藥)고추장'의 주 상품인 약고추장은 전주대학교 전통음식 문화전공에서 우리나라 고조리서에 기록된제법을 바탕으로 현대인이 입맛에 맞게 재현한 고추장으로 학생들과 교수진이 함께 연구를 통해 탄생시킨 우수상품이다.

• The Journal of the Convergence on Culture Technology
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• v.1 no.1
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• pp.1-14
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• 2015

This article examined the different types of Pyeonyuk as recorded in 15 royal palace studies from the Joseon dynasty (1392-1909). The ingredients used in Pyeonyuk during the Joseon dynasty were categorized as follows: 20% for Pyeonyuk(片肉), 18.6% for Jeyuksukpyeon(猪肉熟片), 17.1% for Uyuksukpyeon(牛肉熟片), 15.7% for Yangyuksukpyeon(羊肉熟片), 8.6% for Gyeyuksukpyeon(鷄肉熟片), 7.2% for Yangsukpyeon(月羊熟片), 5.7% each for Uselurangsukpyeon(牛舌牛囊熟片) and Utaeulpyeonyuk(牛胎栗片肉), 1.4% for saengsenssukpyeon (生鮮熟片). Further studies will be conducted on recipes and ingredients recorded in Euigwe in order to develop a standardized recipe for Pyeonyuk.

• (The) Research of the performance art and culture
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• no.33
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• pp.329-354
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• 2016

Hyupryulrang was the position that announced the start and end of music in royal ceremonies. It appeared when the royal etiquette was categorized and implemented due to the five etiquette system, which was formed by the influence of Confucianism. Confucianism valued etiquette and music and this aspect was reflected in royal five etiquette, making music involved in royal ceremonies. So there was a need to have a mediator who will announce the insertion of music according to the process of royal ceremonies. For harmonious realization of royal ceremonies and music, hyupryulrang was indispensible. In Korea hyupryulrang appeared in Goryo era and lasted until Joseon era. Hyupryulrang during Joseon was handled by bongsanshi and once was taken by jeonak( 典樂) temporarily but finally was managed by officials in jang-akwon(掌樂院). Among the officials in jang-akwon, jang-akwon jeong(正) mainly served the role but jang-akwon chumjeong(僉正) and jang-akwon juboo(主簿) were sometimes recruited for the role according to circumstances. What was common among jang-akwon jeong, chumjeong, and juboo was that they were all danghakwan(堂下官). Danghakwan was an official who had the fundamental limitation of not being able to participate in policy making so was in a lower position compared to dangsangkwan. Meanwhile, according to circumstances of ceremonial process or the characteristics of ceremonies, gyeraseonjeonkwan(啓螺宣傳官), mushingyungseonjeonkwan(武臣兼宣傳官), and yeojipsa(女執事) were recruited as hyupryulrang instead of officials of jang-akwon, so that there would be no problems in ceremonies and performance of music. The activities of hyupryulrang can be summarized as setting up or laying down hui in most ceremonies that involved band. At night, however, as hui(麾) was invisible, jochok(照燭) or sometimes geumgogi(金鼓旗) was used. As for the term that referred to hyupryulrang, in case of royal banquet, the names of the ceremonial tools were borrowed such as geohuichabi(擧麾差備) and jochokchabi(照燭差備). The location of hyupryulrang was in the west on top of seogye(西階) facing toward the east, which was a position where hyupryulrang could watch the ceremonial process easily and be close to the band. That is, it was a position where one can see the space of ceremony and the space of music at the same time. Also, hyupryulrang was involved in musical parts related to ceremonies such as rehearsals, arrangement of the band, controlling the speed of music, and prevention of missing any musical pieces, and was in charge of such tasks. Hyupryulrang, who had to take charge of music in accordance with ceremonial procedure, was a mediator between royal ceremonies and music.

• Sijohaknonchong
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• v.20
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• pp.173-195
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• 2004

In this thesis I tried to unearth some Korean Akjang, written and sung by Korean language, not by the form of Chinese verses. In 19th century they used the Korean Akjang at Court banquet cerymony in Chosun Dynasty. I had got four meaningful conclusions through this study, as follow. 1. There are various banquets but they used Korean Akjang only at YaYeon, a sort of night banquet. 2. The Akjangs arranged at YaYeon are called Ak-ka-Samn-jang which means three songs at the banquet. 3. These Akjangs were usually composed of 3 pieces of Gagok, the Korean traditional vocal music, as one. 4. The Kings and princes wrote all the words of these music.

• The Journal of the Convergence on Culture Technology
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• v.3 no.2
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• pp.1-13
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• 2017

This article examines the types of Eumchungru as recorded in 16 royal palace studies of the Joseon dynasty (1392-1909). The types of Eumchungru during the Joseon dynasty appeared Hwachae(花菜), Sujunggwa(水正果), Isug(梨熟), Sumyeon(水麵), Sangseolgo(霜雪膏), Gareun-sujeonggwa(假蓮水正果), Hwamyeon (花麵), Cheongmyeon(淸麵), Semyeon(細麵), Saeng-isug(生梨熟), Osaeg-sudan(五色水團), Sudan(水團), Maeg-sudan(麥水團), Bogbunjago(覆盆子膏), Milsu(蜜水). The frequency of the Eumchungru types during the Joseon dynasty in order were; Hwachae(花菜) 26.4%, Sujunggwa(水正果) 20.7%, Isug(梨熟) 17%, Sumyeon(水麵) Sangseolgo(霜雪膏) each 5.6%, Gareun-sujeonggwa(假蓮水正果) Hwamyeon(花麵) Cheongmyeon(淸麵) each 3.8%, Semyeon(細麵) Saeng-isug(生梨熟) Osaeg-sudan(五色水團) Sudan(水團) Maeg-sudan(麥水團) Bogbunjago(覆盆子膏) Milsu(蜜水) each 1.9%. Through this study, through new lighting and menu development for hwachae used as a basis for hope to contribute to the globalization of Korean food.

• (The) Research of the performance art and culture
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• no.23
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• pp.105-158
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• 2011

Due to the system of sending selected hyanggi(local entertaining woman) to the government office in Seoul after the abolition of the system of gyeonggi(entertaining woman in capital area) during the reign of King Injo(1595~1649), the kyobang-jeongjae(local dance performed for the provincial government office) had gotten into the court to be performed at the royal banquet as gungjung-jeongjae(court dance), one of which was seonyurak(dance of boating). It used to be performed for finale of the royal banquet in the late Joseon Dynasty and appeared in several uigwes(record for royal banquet) since its first appearance in the wonhaeng-eulmyo-jeongri-uigwe, documented in 1795, the 19th year of the reign of King Jeongjo. Considering that the yeoggi(female entertainer) responsible for the court dance, seonyurrak was the seonsanggi(selected entertaining woman from provinces) from the northwestern provincial villages such as Euiju, Ahnju, and Seongcheon etc., we can assume that the baettaragi, one of kyobang-jeongjaes whould have been getting into the court to become the seonyurrak as court dance. The baettaragi, kyobang-jeongjae of northwestern province that affected the development of the court dance, seonyurak was created as performance executed by entertaining women of kyobang(local supervisory office for entertaining women) on the basis of the fact that the envoy of Joseon dynasty to the Ming dynasty could not help but taking a sea route when Amaga Aisin Gurun had a grip on the northeastern area of China during the shift of power from Ming to Qing. There had been a lot of banquets for envoys in the northwestern province because of its geographical feature as gateway to trip to China and the baettaragi used to be performed by entertaining women belonged to local provincial office to consolate the sadness of separation with those who destined to depart to China and to hope for their safe return. The kyobang-jeongjae, baettaragi of northwestern province is recorded as performance with sorrowful song to put the pain of parting into work, according to many related documents. It puts together painted boats as props, the march of a couple of dancer dressed up as soldier with marching music called gochiak, the song and musical accompaniment before getting on boat, the dramatic expression of sailing, and the farewell song praying for safe return etc. It turns the situation of dispatching envoys for China by sea into performance with combination of music, song and dance. Created in this way, the kyobang-jeongjae, baettaragi had been performed at the various banquets for envoys departing for China and it affected the formation of court dance or gungjung-jeongjae called seonyurak through the activities of selected local entertaining women. It also exerted influence on other similar performance in provincial area because of the returning home of the selected local entertainers who finished their performance in Seoul and it had been performed with different variation at local banquet including locality in it.

• Korean Journal of Plant Resources
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• v.2 no.2
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• pp.312-318
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• 1989

가을무우의 궁중 무우 6품종 및 연마무우 4품종에 관하여 Acp, NDH 및 IDH의 다형적변이를 조사하였다. 1. Acp에서는 7개의 Band가 (PH 7.0~8.0),NH에서는 2개의 Band가 (PH7.5~8.0) IDH에서는 3개의 Band가 (PH 5.0~6.0) 검출되었다. 2.Acp-1, -2, -3, -5 및 -6의 band, NDH-2의 Band 및 IDH-2의 Band 가 전품조에서 고정적인 Band로 검축되었다. 3.궁중군에서는 NDH-1, Acp-4 의 Band가 전혀 검출되지 않았다. 4. 다형적인 변이가 보여진 Acp-4 및 -7, NDH-1, IDH-1 및 -3의 5가지의 Band에서 품종판별로 Marker로 활용할 수 있음이 밝혀졌다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2020.07a
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• pp.405-407
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• 2020

본 연구에서는 시각장애 학습자를 위한 새로운 형태의 인터랙티브 웹 AR 시스템을 제안했다. 궁중 기록화를 3D 프린팅 과정을 거쳐 시각장애가 있는 학습자들이 활용할 수 있도록 웹 AR를 접목하여 저시력 학습자에게는 시각적 효과를 더해 미디어 기기를 활용한 학습방법을 개선하고자 하였고, 전맹 학습자에게는 회화의 선묘를 살려 프린팅하여 구성을 자세히 알아볼 수 있도록 제안했다.

• Sijohaknonchong
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• v.25
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• pp.145-174
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• 2006

The purpose of this study is to research the correlation of Sijo with Akjang. In Joseon Dynasty, the contact of folk music and court music was brisk. Although they had some political premises, many Jeongjaes presented in the royal court parties accepted Gagok, one of the representative folk song genres. It was an eye-opening matter. The song words sung by Gagok music accompaniment were the lyrics of Sijo. We can give Sijo that was used in diverse royal court parties as an typical example about introduction of folk music to the court music. A lot of Goryeo Dynasty's Jeongjaes were introduced to Joseon Dynasty nearly as they are. Naturally so most Sokak-gasas were. Bukjeon was sung to Jinjak tune which Jeong-gwajeong was sung. Bukjeon in the music book Akhak-Guebum is a long song, but instead Bukjeons in the music book Geumhapjabo and Yang'geum-sinbo are short. It suggests that the poetic form of Sijo was introduced to the Lyric of royal court music from a point of time in the early Joseon Dynasty. Especially, Bukjeon had been continued to the late Joseon Dynasty after exchanging to the lyric form of Sijo. Bukjeon had been used In the royal court to the first half of Joseon Dynasty It became established in the repertory of Gagok after spreading to people out of court. Turnover from the long Bukjeon to the short was a result that the folk music influenced royal court music. Bukjeon. song words praying King's longevity. was used in the diverse situations such as a small royal parties, royal archery, and King's outing. It can be a clue that the Korean song words continued to late Joseon Dynasty were used for the lyric of royal court music. In the correlation of the poetic form of Sijo and Akjang, we can find out some characteristics different from our common sense to distinguish royal court music from folk music.