• Journal of the Korean Society of Costume
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• v.41
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• pp.63-93
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• 1998

This thesis focuses on how the dancing suit frequently used in the Korean royal court has been chronologically changed to that of the modern times. It also aims at how the implicit symbols shown in the royal court dancing suit are related to the traditional concepts and thoughts on Lunar-Solar-Five-Natural-Elements(Eum-Yang-Oh-Haeng). The results of this thesis are as follows. In the historical period of Koryo dynasty, the Buddhists religional ceremonies of YeonDueng-Hoi and PalGwan-Hoi favoured a ritual dancing of DangAakJeongJae originated from the old ancient China, and at the same time it also employed HyangAakJeongJae of Sin-la dynasty. Especially, the DangAakJeongJae contained the kinds of SooSeon-Dyo, Soo-YeonJang, PoTae-Aak, OhYa-ng-Seon, and YeonHwaDae-Mu; and the Hyang-AakJeongJae dealt with Moo-Go and Aa-Bak.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.2
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• pp.173-184
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• 1998

The results of this theis are as follows. As regards the chronological transformation of the royal court dancing which is characterized by the variousness and colorfulness of the old-fashioned dancing suit, in the pre-dynasty of triple alliance among Shinla, Bakjae, and Goguryeo, the traditional ritual stood on ceremony through the ceremonial dancing in support of a religional rite. But while the Shinla, Bakjae, and GoGuRyeo dynasty began to excercise the systematic royal control over people, each royal court employed the professional ritual dancers; and it encouraged them to dance on the variety of ceremony on behalf of a rite and celebration. Of course, except for that of Shinla dynasty, it is not so easy to find out the historical record for the evidence which can back up these facts. As representatives of a ritual dancing, the religional ceremony of Shinla dynasty brought about the orientation of GumGee-Mu, MooAe-Mu, Saseon-Mu, Seonyu-Ak, and Cheoyong-Mu.

• Journal of the Korean Society of Food Culture
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• v.1 no.3
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• pp.197-209
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• 1986

This study was conducted to establish Korean food culture by analizing in sets of Jinyounigue (進宴儀軌), Jinchanuigue (進饌儀軌), and Jinjarkuigue (進酌儀軌) which were the records of royal party procedures in Yi-Dynasity. Korean desserts were 141 kinds and could be classified into 8 groups such as Yoomilkwa(油蜜菓)16, Gangjung(强精) 51, Dasikl(茶食) 13, Jungkwa(正菓) 22, Suksilkwa(熟實菓) 7, Byung(餠) 8, Dang(糖) 28, Junyak(煎藥) 1. Food materials were fruits, fruit vegetables, roots, cereals, wine, pepper, cinnamon, ginger powder, pine spike, maximowiczia chinensis, fruit of buckthorn, cape jasmine, japanese touchwood, green bean, sesame oil, honey, salt, sesame, rouge and so on.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.89-96
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• 2003

The court dancing suit, so-called "JeongJae(呈才) suit," has been worn by court dancers. Since the court dancing suits in the age of the ancient Three Kingdoms and Koryo Dynasty have already been studied previously, this study discussed the change of dancing suit styles created in the latter period of Chosun Dynasty, such as GaInJeonMok-Dan(佳人剪牧丹)ㆍGoGuRyeo-Mu(高句麗舞)ㆍGongMak-Mu(公莫舞)ㆍManSuMu(萬壽舞), and the thought of Yin-Yang and five elements(陰陽五行思想) that the colors of the court dancing suits imply. The purpose of this study is to understand the thoughts contained in the ancient suits as well as their styles in order to inherit and uphold our traditional culture properly. properly.

• Korean Journal of Human Ecology
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• v.15 no.3
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• pp.425-437
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• 2006

The focus of this study is on the diffusion and aspects of Yoenji make-up in China. The diffusion of Yoenji make-up into China was achieved by Zhuang-Kun's departure for the West of China, after Emperor Moo of Han Dynasty defeated the Huns (B.C. 121). The Yoenji make-up is basically used as a unique sign and from the result of excessive development from the facial beauty point in accordance with luxurious Court culture and opening door of culture. It can diversely express kinds, names, ways, types and patterns, places and bodily parts, the colors of materials for use, and time zones of a make-up.

• Journal of the Korean Society of Food Culture
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• v.1 no.2
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• pp.101-115
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• 1986

This study was designed to establish Korean food culture by analizing 17 sets of Jinyounuigue(진연의궤) Jinchanuigue(진찬의궤), and Jinjarkuigue(진작의궤) which were the records of royal party procedures in Yi dynasty. Side dishes were classified into 20 groups in this study ; Tang (場) 19, Jungol (전골) 3, J'im 18, Jun (전) 20, Jock 14, Pyunuk (片肉) 14, Cho 12, Hyae 17, Po 8, Chae 3, Bung 1, Nanri 1, Sooran 1, Sookran 1, Jaban 1, Kimchi 2, etc. all of 140 different kinds of side dishes. There was no tendency in omission or addition of food materials. Food materials were beef, pork, lamb, chicken, duck, peasant meat, dock's egg, fish, shellfishes, mollusca, curstacea, seaweeds, vegetables, fruits, beancurds, muk (a starch jelly), d'ock, muchrooms, etc. Seasonings were soysauce, pepper, sesame oil, ginger, green-onion, garlic, bean paste, ginger powder, red pepper powder, red pepper paste, salts, vinegar, honey, sesame power, etc.

• Journal of the Korean Society of Clothing and Textiles
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• v.1 no.2
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• pp.71-80
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• 1977

From the period of King Tae-Jong up to the third year of King In-Jo, the bestowal system for queen's court dresses from the Myeong Dynasty was one which was much lower than that of China. This system was applied to the queens' court dresses in the early Yi Dynasty. The pheasant's pattern on Jeockwan and Hapee probably indicates that Daesam was possibly regarded as Jeockyoe. In fact, according to Kaeredogam, Jeockyoe was for the first time made in the third year of King Kwanghae, which is the oldest record on Jeockyoe and Daesam. At the age of King Seon-Jo, a new type of queen's clothing was taken as an inevitable result of Japanese Invasion. Jeockyoe system was gradually made ceremonious until the period of King Yeong-Jo through Kakhonjeongye and Kukjosokoryeycobo; it became that of Queen Myeong-Jo's in the end. The traditional Jeockyoe system might have been interblended with Daesam. Yeodae was queen's usual dress and its pattern was the same as that of every women's dresses at Court.

• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.170.2-170.2
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• 2012

한국전통식품은 우리나라의 풍토와 생활 습관 속에서 형성된 일상 음식, 궁중 음식, 절기 음식, 대가 음식 등의 풍부한 소재와 조리방식, 건강기능적 우수성에 대한 과학적 근거가 밝혀짐으로서 산업적으로도 차별성과 경쟁력이 있다. 또한 종교, 문화, 역사, 관광. 전기전자, 기계 등 21개 연관 산업이 융합된 분야로서 정부주도하 추진된 한식세계화 사업의 성과가 부진한 이유도 다양한 분야의 콘텐츠를 적절히 활용하거나 접목하지 못한 점이 크다. 따라서 본 연구분야는 식품기술, 식문화 등 융복합콘텐츠 개발과 global Contents Management System(gCMS)과 다매체 연동형 콘텐츠 활용 시스템 구축하기 범정부적 국가차원의 연구이며 한국식품의 세계화 비전을 달성하고 동시에 국가신성장동력 창출에 필수적인 연구사업이다.

• Journal of the Korean Society of Costume
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• v.5
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• pp.113-140
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• 1981

"Jung Ri Eui Kwae" is the book, illustrated and recorded with court coutesy and manners during the King, Jung Jo's honoured coming to his own father's royal tomb "Hyun Ryung Won" of Sa Do Seh Ja(The Crown Prince to be mourned) with his own mother Hae Kyung Koong Mrs. Hong. According to this book, we can see the costumes and its ornaments of the civil and military officials and also of Yu Ryung(the maden court musician) and Dong Ki (a young Kisaeng girl) during serving at Bong Soo Dang bangquet celebrating his own mother's 60th birthday anniversary. It is interesting to review once more the royal ceremonies representing the portion of the costumes and its ornaments in the 18th century of the Yi Dynasty, Yung-Jung Jo era that is to be thought the reform period in almost every field of social system.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.