• Korean Journal of Heritage: History & Science
• /
• v.35
• /
• pp.236-282
• /
• 2002

Among elements of play, there are puppets performances and shadows performance which are replacing actors by puppets and shadows. Puppet performance is characteristic of expressing various movements and symbols at its conveniences by the reduced models of human form with various materials. Shadow performance is realized in various colors that cannot be discovered in other countries by expressing mysterious cubic effect in reflecting the light against various forms. Mansukjung Nolum is a unique shadow performance that has been inherited in Korea. There are found many shadow performances inherited in the northern Europe and South-eastern Asia. Recently the silhouette animation in application of shadow performance is made. In the northern Europe and South-eastern Asia, they performed in white and black color while Mansukjung Nolum is performed in natural colors. Since they adopted the leather materials for making puppets, their opaque feature cannot reflect the colored light. But in Korea we adopted the specially colored semi-transparent Korean paper, which gives the colored shadows to spectators. Mansukjung Nolum consists of three acts for arousing attention of fallen monks destroying the teaching of Buddha. Seosanbakchumji Nolum is a puppet performance inherited in a village in Seosan, Choongnam instead of wandering artists. The story and form of performance in Namsadangpae's puppet play is mostly similar to it, but it is woven by its villages natural environment and specific dialects, reflecting their consciousness in mind. The villagers made the puppets and manipulate them in communicating their wisdom of life between them. Parkchumji Nolum is a kind of integral art combining puppet manipulation, witticism, songs and dances. The hero of Parkchumji discloses the social and structural conflicts of feudalism, in arousing the spectators' rich attention of self-awareness and lessons.

• Journal of Korean Classical Literature and Education
• /
• no.39
• /
• pp.41-66
• /
• 2018

This paper investigates how narrative folk songs have been transmitted and enjoyed through literature data and field research, and discusses their educational significance. Narrative folk songs have changed from songs that were enjoyed by common women to songs enjoyed by upper class men according to the times. They have ranged from tragic songs lamenting hardships to comic songs that relieve oppression, depending on the performance situation. Moreover, narrative folk songs have been enjoyed through media transmission beyond traditional custom. Narrative folk songs have not been enjoyed in one fixed way, but rather in various ways depending on the situation, so they have functioned to enable common women, who are their main singers, to share emotions, communicate, and maintain their community. Therefore, in literature education, narrative folk songs can be used as very appropriate materials for learners to reflect on themselves, communicate with others and contribute to desirable community life. By experiencing the various ways of enjoying narrative folk songs, learners will be able to grow into subjects who actively solve their own problems and those of their communities.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.427-463
• /
• 2016

This article deals with five main theories about the origin of Yeonwahdae(蓮花臺), a Korean court dance(jeongjae; 呈才) and its transmission process through the age from Chinese Dang(唐) and Song(宋) to Goryo(高麗) and Joseon(朝鮮) in Korea. As a result, it was found that there was a significant difference between Chinese Chaj-u(?枝舞) dance and Korean Yeonwahdae, and furthermore there was an enormous change as it came to Joseon period in the number of performer, costume and music. Therefore, it is seriously necessary to select, restore the main version of Yeonwahdae in each period, and to make an effort to create new version of Yeonwahdae that reflects the spirit and taste of our time. Besides, it is important to inherit the inner spirit of Yeonwahdae as well as its outer appearance. Shortly, the main purpose of Yeonwahdae performance at present should be to reflect the most important, urgent issues of our time thereby to pray the welfare and prosperity of our country.

• (The)Study of the Eastern Classic
• /
• no.43
• /
• pp.33-64
• /
• 2011

The historical drama played on TV in 2003, Daejanggeum is originally based on the short historical record of lady doctor of the palace from the [Jungjong record] of Josun. The drama mixed fiction and historic record well together draw enormous interest and became a novel, musical and animation for children. Also the location of shooting drama became a theme park to attract travelers and the name 'Daejanggeum' was used for products to create great additional value. Most of all, the drama then was exported to overseas and became the representing drama of Korea. Therefore, drama is the representing piece that proved the success of historic data with its application as various modern cultural contents. The analysis of success reason of showed the creation of new modern woman character, fresh selection of the item that suits well in the time of desiring wellbeing, the strong drama scenario with different story development compared to previous historic drama. Also, it used 'one source multi use' method prior to the broadcasting and prepared production of various cultural contents. This success of Daejanggeum means a lot from the point of 'modern acceptance of tradition' to tradition researchers.

• The Journal of the Korea Contents Association
• /
• v.22 no.6
• /
• pp.238-246
• /
• 2022

The purpose of this study was to draw the conclusion that the appearance of 'Gyuncheonak' in the lyrics of Jangsaengboyeonjimu and that 'Gubyeonjakdaedo' are related to Gucheondo in Taoism and Buddhism. Jangsaengboyeonjimu is a Jeongjae, which has a variety of dance moves and composition changes compared to any other royal Jeongjae, and is recorded in detail that the formation changes nine times. the lyrics and Gubyeonjakdaedo were compared. The relationship was inferred by applying the Gubyeonjakdaedo of the record book to the Gucheondo Island of Taoism and Buddhism. It is believed that in 1829, Crown Prince Hyo Myung created the work by putting the meaning of Gyuncheondo in Taoism and Buddhism in the song and Gubyeonjakdaedo.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.2
• /
• pp.1-11
• /
• 2014

This study aimed at investigating the content and meaning of royal garden(宮苑) sightseeing event in Pyoam Gang, sehwang's "Hogayugeumwongi" As the research method, descriptive research method was used, which is to consider and interpret the content and meaning in the historical records. Research results are summarized as follows. 1. "Hogayugeumwongi", which recorded the event that the King personally guided and explained the palace to the vassals, is a very precious historical records in Korean landscape gardening cultural history. Such thing is unprecedented in Joseon Dynasty as well as China. 2. The person who recorded this event was famous for shi seo hwa samjeol in the time, and the point that he was Pyoam, who was appreciated as 'the head(總帥) of artistic and literary circles(藝苑)', adds more value to the future generations. 3. The characteristic of this sightseeing event was to praise the vassals' labor, who contributed to the completion of Kyujanggak, to establish King Jongjo's direct rule in the early period of seizure of power, and eojin(御眞) dosa(圖寫), etc., which expressed the King's dignity. Jongjo utilized Geumwon, a forbidden place in the palace, to give a special privilege to the vassals' effort, who took a great part in realizing his political ideal. 4. One of sightseeing lines toward the backyard of Changdeok Palace could be identified. Though the sightseeing lines toward the backyard were not fixed, however this might be the best sightseeing line which Jongjo intentionally chose to enjoy that day's flavor of autumn. 5. The characteristic of this event was informal and somewhat extemporary 'sightseeing'. Therefore, it is considered, that day's event was relatively private and free 'play(遊)', while 'sanghwaeojoyeon(賞花漁釣宴)', which Jongjo gave to the vassals middle after his reign, was a royal 'banquet', which prepared frames, such as event holding time and form, qualification for participation, e.g. flower viewing, fishing, writing poems, etc. This research has a significance that it considered the content and meaning in historical records including the front and the rear context that "Hogayugeumwongi" was written through the consideration of related historical materials. "Hogayugeumwongi" can be utilized as a material for storytelling with regard to royal garden sightseeing in future as a valuable cultural content, also, follow-up study on this is necessary.

• Journal of the Korean Society of Food Science and Nutrition
• /
• v.45 no.1
• /
• pp.126-136
• /
• 2016

This study was performed to investigate menu preferences of adult customers for Korean food made from Korean traditional sauces. A total of 962 valid responses were used for data analysis. Statistical analyses were conducted using the SPSS package program (ver 20.0). The results of this study are summarized as follows: overall preferences were highest for braised spareribs, followed by braised short ribs, grilled beef ribs, and bulgogi. On the other hand, overall preferences were lowest in eggplant namul, followed by squid and radish soup, and grazed lotus roots and burdock. Female's overall preferences were significantly higher than male's for nine menu items, including japchae and seasoned acorn starch curd with vegetables, whereas male's overall preferences were significantly higher than female's for 19 menu items, including grilled deodeok and frozen pollack stew. Moreover, the menu item that was most significantly preferred was soybean sprouts soup in subjects aged under 20 years and Korean meatballs in subjects in their twenties. Subjects in their forties showed significantly higher preferences for 15 menu items, including braised hairtail, grilled deodeok, and seasoned and grilled yellow corvina compared to other age groups. Furthermore, menu preferences of production service workers were significantly higher than other groups for frozen pollack stew, loach stew, grilled dried pollack, steamed dry pollack, dried pollack soup, eggplant namul, and seasoned and grilled yellow corvina, whereas menu preferences of official professional workers and students were significantly higher than those of production service workers for braised short ribs, grilled beef ribs, seasoned and simmered chicken, mixed noodles, Korean meatballs, stir-fried rice pasta with vegetables, spicy soft bean curd stew, japchae, mung bean jelly mixed with vegetables and beef, bibimbap, and stir-fried squid. The results show that menu preferences of adults customers differed depending on gender, age, and occupation. In conclusion, the results of this study should provide foodservice managers with information about menu planning for target customers of commercial or non-commercial foodservice cafeterias and recipe development of low-sodium Korean foods.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.5-46
• /
• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.

• Korean Journal of Heritage: History & Science
• /
• v.37
• /
• pp.121-150
• /
• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• (The) Research of the performance art and culture
• /
• no.34
• /
• pp.133-172
• /
• 2017

Mansuseongjeol was originally a term that referred to the birthday of Chinese emperors. In October 1897, when Emperor Gojong ascended the throne, his birthday could be called mansuseongjeol. The celebratory events for mansuseongjeol took place throughout various levels of society and regions. Various places and classes including government officials, foreigners, students, religious people, journalists, merchants, civic groups, and nation-wide open ports celebrated the birth of Emperor Gojong, and the classes celebrating the day became stronger and wider. In other words, in the sense that the celebration had the nature of being universal, national, and global in terms of classes, regions, and races, the event was distinguished. Due to such nature, celebrating culture proceeded in various ways and the imperial family provided donation. Celebration on mansuseongjeol extended to respect toward the emperor and patriotism so it contributed to strengthening the emperor's power and solidifying the unity of the people. Also, such an event was reported around the world through diplomats and reporters living in Korea, raising the national status of Korea in the world. However, after the breakout of Russo-Japanese War, Japan controlled the finance of the royal family, reduced the power of the emperor, and the celebration of mansuseongjeol was also reduced. Due to the suspension of royal family's financial support, crackdown from Japan, and the dethronement of Emperor Gojong, events for mansuseongjeol disappeared and only inside the palace, did formal celebrations continue centering on pro-Japan officials and Japanese people. The abdication of Emperor Gojong came with the collapse of Korean Empire and along with that, celebration of mansuseongjeol came to an end. In the circumstances, the culture of court banquet disintegrated, and the best performers of Korean Empire degenerated into mere entertainers. Though mansuseongjeol, the medium of expressing respect toward the emperor and patriotism, lost its status, it is significant that the cultural achievements, which were created during the process established with the support of the financial power of the royal family, serve as internal power that drove Korea's modern and contemporary cultural history.