• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.353-365
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• 2018

This study is on the usage of bojagi recorded in Yeongjo Jeongsun Wanghu garye dogam uigwe. Major findings are as follows. The eighteenth century marked a period of entrenchment of Neo-Confucianism in the Joseon dynasty and the royal wedding was a tool to propagate Neo-Confucian values to the people. The bojagi used at King Yeongjo and Queen Jeongsun's wedding were made of simple red silk produced domestically to avoid extravagance. Uasge of costly flower-patterned silk from China was restricted to comply with the rules of the Kukhon jeongrye, which codified the royal marriage ceremony and the Sangbang jeongrye, which regulated royal attire. This modesty also shows King Yeongjo's determination to abandon lavishness.

• 보존과학연구
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• s.32
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• pp.53-60
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• 2011

The aim of this study is to investigate the traditional manufacturing technique of lacquering by comparing and analyzing materials used for wooden lacquerware artifacts with focus on the Joseon dynasty Eugye, and to apply the manufacturing technique to the conservation treatment of the lacquerware. artifacts. This study conducted the documentary survey focusing on "Yongjo Jeongsun Queen Consort Garye Dogam Eugye",and "Jeongjo Gukjang Dogam Eugye." The royal lacquering is roughly classified into three categories-scarlet lacquering, quality black lacquering, and terra rosa lacquering- according to materials used for lacquerware. The bean flour was mostly used for under lacquering of the articles which was offered to the king and in case of other articles, bean flour was used mixed with bone ashes. In some cases, burned pine soot was added to under lacquering. Japanese scarlet lacquering was applied by mixing maechil-main coat, in inverted commas- with Japenese scarlet after lacquering jeonchil-base coat, in inverted commas-. In case of Chinese scarlet lacquering, part of terra rosa was used mixed with red clay. For quality black lacquering, basically jeonchil and maechil were used, but sometimes part of burned pine soot was added. In addition, terra rosa lacquering was applied by basically using terra rosa mixed with red clay. Lastly, gloss was given by using perilla oil. It is expected that the traditional materials and technique examined through both documentary and relic research will contribute to advanced result of the conservation treatment of wooden lacqueringware artifacts.