• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Culinary science and hospitality research
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• v.9 no.4
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• pp.191-202
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• 2003

A growing interest in health has been leading to more interest in function of food rather than its taste and nutrition. Usually we think chemical-free or oriental food to be good for health. Yaksun is a food with herbal stuff, which reflects our desire for health and longevity and China's splendid food culture. It is based on the traditional medical thought of the Orient that both medicine and food have the same origin. Yaksun is a traditional functional or nourishing food with both nutritive and medicinal elements, which therefore provides such effects as epicurean pleasure, prevention of diseases and improvement of health. It is recorded that in China there was a dietitian in the royal court from the period of Seoju(B.C. 11∼7), who was responsible for supervising and controlling the health, nutrition and disease of an emperor. Therefore, herbal food has a very long history. Currently, there are many Yaksun stores in Japan and Taiwan as well as China, which are one of popular tourist destinations. Basically Yaksun follows the theory of the Oriental medicine. Yaksun is categorized into four(cold, cool, hot and warm) according to its temperature and into five basic tastes(bitter, sweet, pungent, salty and sour). Yaksun has the functions such as preventing diseases and aging improving internal organs, and healing diseases. In China many colleges of medicine have a department of Yaksun studies through which systematic researches have been being made since a long time ago. For Korea, the discipline of Yaksun studies is still at the beginning stage. To respond to a growing interest in health and prevent chronic adult diseases, it is required to develop a functional food by establishing a systematic theory of Yaksun and making more researches into it.

• KSBB Journal
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• v.24 no.4
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• pp.334-340
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• 2009

For the isolation of a plant growth-promoting rhizobacteria, strain YK-5 was selected from approximately 400 thermostable strains isolated from special soil samples. Strain YK-5 produced an antifungal compound, and optimum carbon and nitrogen sources for the production of the antifungal compound were investigated against Aspergillus flavus as a test strain. Modified LB medium containing 1% peptone, 1% yeast extract and 5% black sugar was determined to be the optimal medium for growth and antifungal compound production. Culture broth of strain YK-5 potently inhibited growth of the phytopathogenic fungus Fusarium oxysporum KACC 40052 for 7 days. The plant growth-promotion function of strain YK-5 was tested against radish and rice in pot trials. Leaf number, plant height and root length in YK-5-treated radish markedly exceeded (> 60%) those of untreated radish. Leaf length and white rootlet development were markedly more prominent than in commercially-treated rice plants. Strain YK-5 was determined to be Bacillus subtilis YK-5 by physiological, chemotaxonomical, and phylogenetical analyses.

• Journal of architectural history
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• v.27 no.2
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• pp.89-100
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• 2018

The stylobate for expanding the external stage area was the most frequently installed installment out of the installments installed for royal court ceremonies. The stylobate was installed for various ceremonies such as funeral rites, ancestral rites, customary formalities, state examination, feasts for celebrating a honored guest of the court, queen's silkworm cultivating ceremony, heir appointment, the presentation of honorary titles for the king or queen in honor of their merits, and entertainment of foreign dignitaries. The exact period stylobates came to be used for the play stage. The stylobate consists of the 紅座板, 屯太木, 竹欄間, 足木, and the 層橋. Depending on the 足木, the substructure of the stylobate, the stylobate could be divided into the 長足木, 中足木, 短足木, 平足木 type. The detail structure of the stylobate changed in form from the jokmok and duntaemok that appeared until the time of King Seonjo, into the 長屯太木, 短屯太木, and the 短短屯太木 during the time of King Heonjong. With the introduction of the 中足木, materials began to become more segmented and the structure stronger. According to existing records, while the height of the stylobate was not significantly high prior to King Seonjo's reign, the 十四層雲橋 and the 十三層層橋 introduced during the time of Emperor Gojong was designed to reflect his rank in external ceremonies while the eight story step bridge was exhibited in internal ceremonies to reflect the rank of Queen Mother Sinjeong. From here, we can deduce that the fourteen and thirteen story cloud bridges representing the king was of a higher grade than the eight story step bridge which represented the queen mother. Finishing by adding boards to the lower part of the stylobates began to appear in the time of King Seonjo. During King Heonjong's reign, the lower finish became gentrified with a thin board called 修粧板, and yeomupan 廉隅板 for decorating the edges of the stylobates were installed. Such style of finishing the lower part of the stylobate with boards mostly appeared in elaborate feasts 進饌 and celebrations 進宴 within the royal court 內宴. The stylobates appeared to have served not only practical purposes such as expanding the stage area, but also as installments which realize the authority and prestige of the royal crown. They were installed according to the purpose of the ceremony and the rank of the participant. In short, stylobates became established during King Seonjo's reign, became segmented and gentrified during King Heonjong's reign, and began to take height variations during Emperor Gojong's reign to reflect the rank and authority of the king and queen mother. As such, it can be considered another characteristic of Joseon Dynasty architecture.

• (The) Research of the performance art and culture
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• no.39
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• pp.637-667
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• 2019

I have researched in the field the religious and performance culture of Indonesia through the musical iconography of Borobudur. There are many kinds of musical instruments which belong to India or Indonesia, performers being either court or folk musicians. Contemporary south-east Asian Indonesia has a broad religious heritage. Most of the population is Muslim, but the culture and customs are rooted in Indian Ramayana. I discovered, for example, the same percussion instruments played on a person's knees. I also came across similar string instruments with long and elliptical resonance casks on the iconography of the Incense Burner and Byam temple stone pagoda of Beakje dynasty in Korea and in Borobudur in Indonesia. The two musical instruments can not be found in other countries, such as Silla, Koguryŏ, China or the silk road area, but only Indonesia or India. This suggests that Beakje Buddhism is from the southern regions rather than China. I also discovered the same dancing motion with the court performers on the iconography of Borobudur, and the same musical instrument and performance in the Gamelan in today's Indonesian performance. Despite a disjuncture between the people and their past, the Shailendra Buddhism is alive in people's life and culture in the present day. So we can discover some familiarities between Indonesia's Gamelan and the percussional performance in Korean Buddhist rituals.

• Journal of the Korean Society of Food Culture
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• v.6 no.3
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• pp.265-274
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• 1991

To analyze wedding feast dishes of king and royal prince of Chosun Dynasty (1866, 1906), the author studied historic book Gare Dogam Euigwae, in which the wedding feast dishes of King and Prince in Chosun Dynasty were described. The results obtained from the study were as follows, 1. Dish materials used for wedding ceremony in the year of 1866 was same as that of the year 1749. 2. Dish materials used for wedding ceremony in the year of 1906 was quit different that of the year 1749. 3. Dish materials used for main table(연상(宴床)), second table(좌협상(左挾床)), third table(우협상(右挾床)), and fourth table(면협상(面挾床)) was the same as that of from the year 1651 till 1906. 4. Dish materials used for a small round table(초미(初味)), another table(이미(二味)), and the other table(삼미(三味)) was the same as that of from the year 1749 till 1906. 5. A large boiled beef(대선(大膳)) and a small boiled beef(소선(小膳)) were in the year 1819 and 1906.

• Journal of the East Asian Society of Dietary Life
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• v.1 no.2
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• pp.175-183
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• 1991

To examine the Royal evening party in the Man Kyoung Jeon, the authors studied“Jin Chan Eui Gue”, which is a historical record published in 1887(King Go-Jong) The results obtained from the study were as follows. 1. The dining tables were divided into two : fixed arranging tables(7) and taking-away tables. 2. There were no distribution of food and flowers to the attendants in the evening party. 3. Tables used in the evening party were all round tables. 4. According to the status or class of the attendant, the pattern or size of table settings were differentiated in the kinds of food, hights of food, flowers china ware etc. 5. All of the arrangements in the evening party were the same as those of the main party. 6. In the arrangements of tables for the King's Grand Mother, the hights of food on the dishes were as following levels, 1 dish : 9 chon(촌) 7 dishes : 7 chon(촌) 4 dishes : 6 chon(촌) 3 dishes : 5 chon(촌)

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.2
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• pp.360-378
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• 2018

Noeui was a garment used for women's outfits and robes. In the late Joseon Dynasty it was a special garment that could only be worn by the class belonging to the royal family. Noeui was especially prepared as a wedding dress, and was worn by the bride at the Chinyeong ceremony on the day of the wedding ceremony. Until now, Noeui did not have in depth research at the costume history despite its importance as a royal costume in the Joseon Dynasty. Thus, based on Uigwe for the Royal Wedding Ceremony of King Injo and Queen Jangryeol (which is the only material with a diagram of Noeui and its pattern) this study historically investigated and restored the Noeui set of Queen Jangryeol, which was arranged in 1638, when King Injo and Queen Jangryeol were married. This academic study is the first to historically confirm and restore Queen Noeui's set, and rigorously analyze the historical materials as well as provide new comments on the shapes of Noeui's Git and the front side.

• Journal of the East Asian Society of Dietary Life
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• v.1 no.3
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• pp.217-237
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• 1991

To examine the following day party and the following evening party in the Man Kyong Jeon, the authors studied“Jin Chan Eui Gue”, which is a historical record published in 1887(King Go-Jong). The results obtained from the study were as follows, 1. There were fixed arranging tables(22) and taking-away tables in the dining table of the following day party. 2. There were fixed arranging tables(5) and taking-away tables in the dining table of the following evening party. 3. Food and flowers were distributed to the 390 attendants in the following day party. 4. There were no distribution of food and flowers to the attendants in the following evening party. 5. Arrangements of the following day party and following evening party were the same as those of the main party. 6. The arranged seat of the King, Go-Jong was facing the south. 7. According to the status or class of the attendant, the pattern or size of table settings were differentiated in the kinds of food, table flowers chinaware etc. 8. In the arrangements of table for the King, the heights of food on the dishes were as following levels. 1 dish : 1chok(1척) 6 dishes : 8 chon(8촌) 4 dishes : 7 chon(7촌)