• Archives of design research
• /
• v.19 no.5 s.67
• /
• pp.17-30
• /
• 2006

The early Joseon Dynasty is very important period of studying about Korean history of ceramics because various kinds of porcelain were produced like celadon, brown porcelain, white porcelain, inlaid white porcelain, blue porcelain etc, $\ulcorner$sejongsilrok$\lrcorner$ $\ulcorner$Jiriji$\lrcorner$ was published and Saongwon established its branch. Moreover, there also had a sudden political change to Joseon Dynasty, so ceramic industry in Gangjin was closed and artisans in Gangjin scattered to find safer place. One of these place was Imiwueri and Chuhyunri, Joongmohyun in Sangju.(the name of the place in that times, now Modongmyun) Also, Sangju in Gyeongsangbuk-Do is one of the places where can get materials for producing white porcelain, so artisans in Gangjin could migrate to the place during change of regime to Joseon Dynasty which based on Sung Confucianism. In $\ulcorner$Tejongsilrok$\lrcorner$, it mentioned specific areas like Joongmo, Hwaryeong in Sangju, Gyeongsang-Do and we can find out about situations of ceramic production in the early 15 centuries with producing dishes for a Royal family. $\ulcorner$Sejongsilrok$\lrcorner$ $\ulcorner$Jiriji$\lrcorner$ mentioned Imiwueri and Chuhyunri and Sangju produced the half of porcelains. In $\ulcorner$Gyeongsangdojiriji$\lrcorner$, Sangju takes charge of 8 spots which is one third of ceramic production. $\ulcorner$Gyeongsangdojiriji$\lrcorner$ and $\ulcorner$Sejongsilrok$\lrcorner$ $\ulcorner$Jiriji$\lrcorner$ were published with same goals at the same year. In $\ulcorner$Gyeongsangdosokchanjiriji$\lrcorner$, there was deleted nine spots which included high, middle, low level compared with $\ulcorner$Seiongsilrok$\lrcorner$ $\ulcorner$Jiriji$\lrcorner$, and in $\ulcorner$Donggukyeojiseungram$\lrcorner$ there was entirely deleted the locations of porcelain spots and potteries.

• Korean journal of communication and information
• /
• v.43
• /
• pp.247-281
• /
• 2008

The purpose of this article is to re-examine the issue of Chobo's origin, which has not been clearly determinated thus far. Also, the research investigates Chobo's name, time point of discontinuance, character of the article on disaster, and civil-printed incident of Chobo during King Sunjo. As an internal bulletin, handwritten Chobo began to come out at the end of 15th century, roughly King Sungjong period of Chosun Dynasty. Systematically developed in the period of King Jungjong, it had continuously been released until November, 1907 when fairly organized and competitive commercial daily newspapers were published and when the office of secretary named Biseogam was abolished. Because handwritten Chobo was exclusive and narrow in its communication nature and difficult to read it's fast handwritten Nancho calligraphic style, in August, 1577 (10th year of King Sunjo) a few civilian in Seoul obtained a permission from authorities (Uijungboo and Sahunboo) published a wooden type printed Chobo. Unfortunately, privately printed Chobo was forced to cease in 3 month because of King Sunjo's oppressive measure. However, considering it was published for a profit by civilian and used the world's first type printing, it is highly probable that Chobo seems to be the world’s first type printing commercial daily newspaper.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.4
• /
• pp.18-37
• /
• 2019

This study derived a method for establishing the chronology of cloud patterns by examining the arrangement of the treasure motifs in the cloud pattern used in the relevant pattern-decorated book covers of 89 Oegyujanggak Uigwe books, which are currently housed in the National Museum of Korea. The cloud pattern with a treasure motif was used in the covers of a total of 89 books from King Hyojong Gukjangdogam Uigwe (1659) to Sadoseja Garyedogam Uigwe (1744), spanning 86 years. First, to analyze the cloud pattern, it should be broken down into smaller parts to the extent that the different shapes of treasure motifs can be recognized. Secondly, the method of decoding the pattern is as follows: First, check whether the pattern is arranged in one or two directions from the vertex of the cloud's head, and determine the direction of the cloud tail. Then, decode the treasure motif's arrangement starting from the vertex of the cloud's head toward the direction the tail of manja is headed. Record the findings of this decoding process by categorizing them. Thirdly, as a result of the analysis, a total of 28 types of cloud patterns with treasure motifs were identified in 89 books. There were 45 types of treasure motifs used in such patterns. Finally, we have concluded that applying the method of decoding the treasure motif in the cloud pattern to portraits, excavated costumes, and various relics can be useful to establish the chronology of cloud patterns in the late Joseon period. The method suggested in this study is called 'The Reading Method of Chronology in Cloud Pattern with Treasure Motifs' (also 'Jeung-ha Cloud Pattern Reading Method').

• Korean Journal of Heritage: History & Science
• /
• v.47 no.4
• /
• pp.22-47
• /
• 2014

This study was to understand the basic principles of the East Asian wooden structure system research and analysis. The Korea and China ancient architecture internal structure research that the combination of girders and crossbeams position. The ancient wooden structures of eastern Asian countries, Korea and China are not much different from each other in the principles of the wooden architecture structure, combining pillars, purlins and crossbeams. However, it seems that age-division, local-division, national-division differs in detail techniques. China ancient wooden structures combination of purlin and crossbeam, and So-seul Timber(Chinese name: Chashou叉手, Tuojiao 托脚) seems to show differences according to the age of the fulcrum position, detailed approach is also different according to various historical dynasty. Before in the 15th century, Purlin and Crossbeam are coupled to each other, but since the 15th century, seems to have developed a technique combined with each other Girder and Crossbeam and to prevent buckling of the Crossbeam cross-sectional area increased dramatically. For Tuojiao in China Tang-Wudai dynasty(A.D. 618~979), can see that saw the top position Girder and Tuojiao no direct coupling, can be seen as maintaining the safety of the material than the material of the inner wooden structures prevent buckling of the purlin. Korea ancient wooden structures of Goryeo dynasty(A.D. 918~1391), So-seul Timber(Chinese name Tuojiao) why do not to use the fashion? To use Purlin Lower backing material techniques to prevent buckling is a popular trend to stable can be thought of as a preferred way to maintain. I think that with universality beyond the local-division, national-division and the two countries since the 15th century of Korea and China ancient wooden structures detailed mechanism for the purlin buckling. In middle-late Chosen dynasty, The effect of Deotgeolyi- techniques and fleeting beams reduce the purlin buckling that reduces the load transmitted from purlin and crossbeam of how to reduce the load on the roof portion of the architecture fleeting beams used, which of craftsmanship of the Chosen Dynasty building can be referred to as another technique for preventing buckling purlin. This Korea and China ancient architecture purlin beam structure and material So-seul Timber study. Seems to be able to provide a basic research study to restore and designed the old wooden architectures.

• (The)Study of the Eastern Classic
• /
• no.54
• /
• pp.319-348
• /
• 2014

This paper examines the centered on the Ritualized of Royal archery as a national event led to the demonstration of military rites was settled during the early Chosun Dynasty. And aims at considering of traditional of archery a Royal family and high position military people's. It was maintained as an system for both stability of royal family and centralization of government authority. As we know, since ancient times, the performance number of shooting arrows had been reduced in the early Chosun Dynasty. And one more reason is, traditionally Royal family liked shooting archery. For example, King Taejong was very openly shooting archery to inside palace and outside field. He says the archery is a principal element of military persons. Anyhow, to the King Jungjong, many Kings played shooting archery. However, at that time, the Royal archery came from ancient Korea and Kingdom of Koryo. In this historical background, Military rites will be established not just from ancient China. It specially called five manner of rituals. However, the rule of Confucianism to be Government police, archery ritual was declined. It's involved Curriculum of education. And this is related to the who got the new group of government authority. They are young confucianist. From there, the Confucianism manners, were to change of traditional of archery in Early Chosun Dynasty.

• Journal of Ginseng Culture
• /
• v.3
• /
• pp.11-37
• /
• 2021

Korean ginseng is the one of the most famous medicinal herbs globally and has long been a representative item of East Asian trade, including across China and Japan. Since Joseon (1392-1910) ginseng trade was entirely controlled by the state, The Veritable Records of the Joseon Dynasty are a valuable resource that can shed light on the history of the ginseng industry at that time. By studying the subsection "The Veritable Records of King Sejong" (世宗實錄), when ginseng was used even more widely, we assess the purpose and scale of its trade in the 15th century, identify its original listing in the geographical appendix, develop a distribution map, and explore similarities to current ginseng cultivation areas. During the reign of King Sejong (1418-1450), ginseng was sent to China as a tribute 101 times, with a combined weight of 7,060 kilograms, with less than one-third of that amount given to Japan and Okinawa. It was used to cover the travel expenses of foreign envoys and servants, but this can be seen to gradually decrease after the regnal mid-term, primarily due to a decrease in the amount of ginseng being collected. At the time, there were 113 areas of naturally growing ginseng as listed in the records' geographical appendix, including 12 recorded in the 'tributes' category: Yeongdeok-gun, Yeongju, and Cheongsong-gun in Gyeongsangbuk-do; Ulju-gun and Ulsan in Gyeongsangnam-do; Jeongeup, Wanju-gun, and Jangsu-gun in Jeollabuk-do; Hwasun-gun in Jeollanam-do; Goksan-gun and Sinpyeong-gun in Hwanghaebuk-do; Jeongju and Taecheon-gun in Pyeonganbuk-do; and Jaseong-gun and Junggang-gun in Jagang-do. A total of 101 places are recorded in the 'medicinal herbs' category, located throughout the mountains of the eight Joseon provinces, except the islands. In comparison with current ginseng cultivation sites, many of these historical areas are either consistent with or adjacent to contemporary locations. The geographical appendix to "The Veritable Records of King Sejong" was compiled in the early days of the king's reign (1432) when there was a lot of wild ginseng. The appendix is a valuable resource that indicates the possibility of growing ginseng on the Korean Peninsula in the future. The apparently natural habitats in the south, where ginseng is not currently cultivated, could be candidates for the future. Moreover, areas in the north where ginseng has not been grown, except Kaesǒng, could be a good alternative under sustainable inter-Korean exchange should cultivation sites move north due to climate warming.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.46-61
• /
• 2023

Various Buddhist metal artifacts were excavated from the Heungjeon-ri Temple site from 2014 to 2020, such as gilt-bronze openwork decorations, a bronze kundika, a lion incense burner with a handle and lion weight, and so on. The gilt-bronze openwork decoration founded from the main hall of the western area is believed to have been used for the decoration of the Buddhist temple, and it is considered to be the best example of the gilt-bronze openwork decorations of the unified Silla that have been discovered so far. The incense burner with a handle and lion weight excavated from Heungjeon-ri Temple site is the earliest example of the style. The bronze kundikas excavated at the Heungjeon-ri Temple site have a more developed style than those of Ingaksa Temple. The bronze bowl and bronze bowl with a lid are similar to those excavated from the Anapji, Hwangryongsa Temple site, and Inwangdong Temple site. So these bronze vessels seem to have spread from the capital city to the provinces. Bronze seals excavated from the Heungjeon-ri Temple site are similar to those of the Hwangnyongsa Temple site in form and font. So, it was considered that they were produced and sent by the royal palace. In addition, "梵雄官衙之印" on the seal can be said to show that Heungjeonri Temple site was related to the organization of the monks at the time. The Buddhist metal artifacts excavated from Heungjeon-ri Temple site are believed to have been used from the early to mid-9th century at the temple by the Seon Order monk who was the main character of the monument. It can be said to be an important example of how the royal palace of Unified Silla and local crafts had a two-way influence, not a one-way influence, from the first half to the middle of the 9th century.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.413-444
• /
• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.