• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2014.03a
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• pp.51-52
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• 2014

• Journal of Conservation Science
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• v.28 no.2
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• pp.101-112
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• 2012

The Donggwanwangmyo Shrine was built in the period of Joseon Dynasty in 1602. There are Clay Statues (Gwanwo, Jangbi, Woojanggun, Juchang, Jojaryoung and so on) enshrined in the inside of the main hall. Original color of these Clay Statues are deteriorated by inorganic pollutant like dust. And the origanal forms were damaged during several process of restorations and repaintings. This study carried out XRD, SEM-EDS, P-XRF and chromaticity measurement for characterization of pigments which painted on Clay Statues. As a result, cinnabar, hematite and red lead were used to paint in pigments for the red and brown colors. Light red pigment was made by gypsum with these minerals that make colors. Graphite and gold were used to color of black and gold pigment, respectively. Green pigment is identified of malachite, atacamite and glauconite. Blue pigment which is clearly painted on Clay Statues is interpreted a morden industrial pigment that were painted at repair work. White pigments are detected calcite, gypsum and silver white. Orpiment and litharge were used to color of yellow and light yellow pigment.

• Journal of Conservation Science
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• v.29 no.1
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• pp.35-45
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• 2013

The Clay Statues of Donggwanwangmyo Shrine (Treasure No. 142) are highly damaged physical weathering which are crack, exfoliation. Pigment of surface are discolored by chemical weathering like dust. The result of ultrasonic velocity measurement, low velocity zone was measured the lowest part of Woojanggun Statue. Deficiency condition of pigment layer was evaluated quantitatively through infrared Thermography. As a result, exfoliation part was detected at high temperature. Making techniques of the Clay statues were identified by gamma rays, infrared TV, SEM. All Clay Statues were founded on wood base and joints of wood were fixed using thin iron wires. After wood base was twisted a straw rope, it was made by clay. Clay was blended with rice straw to prevention of crack and exfoliation. The upper side of clay layer was coated with Hanji(Korean handmade paper) and cotton in order to isolate the pigment layer.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.94-113
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• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.33-50
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• 2013

The purpose of this study was to seek the spatial organization and prototype landscape through literature reviews, historical evidences, and field surveys for Donggwanwangmyo(東關王廟) shrine in Seoul. The results were as follows : First, the basic layout of the main buildings in Donggwanwangmyo which is the remains influenced by China had bilateral symmetry on the central axis between the north and south. Second, the Chinese forms and features were found at Jeong-jeon and middle gate in Donggwanwangmyo, and the symbolic elements of royal authority was also found in each space of Donggwanwangmyo. Third, spatial organization was classified as the entrance and the ritual area, and the entrance area was maintained by administrators and was used as the place of ritual ceremony preparation. Fourth, the original form of Donggwanwangmyo had been damaged due to the project for making urban park in the 1970s. The most of the existing trees and shrubs which are not suitable to the shrine should be removed to recover the original landscape of Donggwanwangmyo and chui-byoung(翠屛), pond, landscape facilities also needed to be restored. Fifth, Donggwanwangmyo needed to reorganize the pious atmosphere to recover of the shrine environment, and needed to be reclassified as historical site. Finally, some criticizes that Donggwanwangmyo is the result of Toadyism, but Donggwanwangmyo can be used as the valuable tourism resource through the awareness that Donggwanwangmyo was built under the situation of Joseon Dynasty, and organization and understanding that Donggwanwangmyo is a symbolic remains for the exchange between Korea and China.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.