• Korean Journal of Heritage: History & Science
• /
• 제56권2호
• /
• pp.62-78
• /
• 2023

The act of burning incense originated from Buddhist rituals and customs, and gradually formed its own culture. In the Goryeo Dynasty, in addition to religious and national rituals, incense came to be enjoyed more generally and widely. In particular, Goryeo literati enjoyed the elegant lifestyle of staying home and burning incense. This was part of a regional culture shared across East Asia. Such incense burning applied the same methods as were used during the same period in China. In collections of writings from the Goryeo Dynasty, it can be seen that incense methods such as gyeok-hwa-hoon-hyang (隔火熏香) and jeon-hyang (篆香) were used. A particular method of incense influenced the size and shape of the incense burner utilized. Small incense burners suitable for simple everyday incense were used, such as the hyangwan (香垸), a cup (wine glass)-shaped burner. White porcelain incense burners from Song were discovered in Gaegyeong, and celadon incense burners from Goryeo were made in the same shape. This phenomenon shows that there was great demand for ceramic incense burners in Goryeo in the 12th and 13th centuries. During this period, incense burners that imitated metalware were produced, and some applied the techniques and patterns of Goryeo celadon. The Goryeo Dynasty-era incense burner was basically a necessity for use in various rituals, but gradually came to be widely used also by individuals.

• Korea Science and Art Forum
• /
• 제30권
• /
• pp.119-127
• /
• 2017

Multi-cultural societies in the era of globalization are now common phenomena all over the world. Since our country has already entered into a multi-cultural society, we can no longer stay in the ideology of a single nation. However, current national policies and researches related to multi-cultural society in Korea are limited to institutional aspects and unilateral education of Korean culture. Therefore, this study aims to overcome these practical limitations. The purpose of this study is to acquire design resources in the folk paintings reflecting the culture of each country. And We will develop textile design content that can be applied to most closely related textile products in daily life. Through this, it is aimed to raise awareness of various cultures and to suggest a communication method through cultural exchange. Therefore, this study has developed color and textile pattern design contents through analysis of characteristics of China, Vietnam, and Japan peoples of the three most frequent countries based on the status of domestic marriage immigrants. And tried to apply it immediately to various textile products. The results and contents of the study are as follows. First, the domestic multi-cultural society was formed through international marriage, and the largest number of marriage immigrants came from China, Vietnam, Japan, the Philippines, Cambodia, Thailand, Mongolia and others. Second, folk paintings are suitable for developing textile design contents as an important factor implied by different cultures of different countries. Thirdly, we have developed the pattern and coloring DB and textile pattern design contents by using folk paintings of China, Vietnam and Japan. As a result, we could verify the utilization of contents reflecting the cultural characteristics of each country and the possibility of commercialization. Based on the results of this research, we hope to contribute to the harmonization of the emotional and artistic aspects that naturally share the culture among multi-cultural society members and to develop differentiated related products.

• Korean Journal of Heritage: History & Science
• /
• 제52권4호
• /
• pp.206-225
• /
• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• Journal of the Korean Society of Food Culture
• /
• 제8권2호
• /
• pp.139-146
• /
• 1993

The predeccessor of Danjanjinja was Myorak temple which is built in the 7th century. At that age, the Buddhist culture of Japan had highly prospected by transmitting Buddhism to Japan from Han peninsular On the other hand, the private god of Fujiwara family in Danjanjinja is Uchigami which is one of typical Japanese popular belief like Dangshin of Korean's. Through these historical background, it could by presumed that the Kakitsisai might be the original form of Korean Buddhist sacrificial offerings from ancient age. So this study on Kakitsisai what had handed down from generation to generation about for 1300 years help us to study and estimate the ancient dietary culture of Korean and Japanese. 1. Kakitsisai performed high filling method in the sacrificial offerings like Kasuga, Horyuji and Korea. 2. The patterns and colors of high filling offerings are various in Korea and Japan. 3. They used unpolished rice by ancient rice, and called red and black one. We can guess both of countries ate unpolished rice at that age. 4. They used many kind of ancient wild fruits and vegetables. We could recognize what the ancients had eaten the foods.

• Proceedings of the Korea Contents Association Conference
• /
• 한국콘텐츠학회 2008년도 춘계 종합학술대회 논문집
• /
• pp.262-269
• /
• 2008

This research, to find the cultural identity of taekwondo, presents the historical origin of taekwondo in lights of Choi-centric theory, kwan-centric theory, karate inflow theory, and successive traditional martial arts theory. Then it investigates taekwondo's inner identity as a Korean traditional martial art according to presence, popularity, and independence, three factors of identity suggested by Tak, S. S.(2000).As a result, it reached these conclusions: First, taekwondo was formed after going through fusion of Hong Hi Choi, karate income in period of cultural severance during Japanese occupation, the first kwan leaders and Korean traditional martial arts, process of disorder and cultural reproduction. Second, taekwondo has essentially inherited and developed Korean barehanded martial arts' movements that lay stress on foot skills, and this distinguishes it from hand-skill-based Japan's karate and China's Wushu Furthermore, trunk/groin protectors and headgears are blended remarkably with taeguk patterns and traditional Colors of Five Directions. All terms rendered into pure Korean words shows the essence of Korean localization. It is therefore concluded that Koreans should, along with trying to overcome exclusive nationalism as a country of origin, build a new paradigm of establishing an identity as a global martial art sport.

• Korean Journal of Heritage: History & Science
• /
• 제41권1호
• /
• pp.57-78
• /
• 2008

According to the previous studies about Shilla's cremate grave, in the process of importing the cremate grave, there has been correlation with Chinese Buddhism, and there have been a lot of mentions about the change of the grave, Yinwha(Stamp) patterns and its existence, and about the characteristics of the vessels to contain the bones. The cremate grave is categorized into two-parts type and mono-type, depending on the dead person. The cremate graves that are in local areas such as Wang-Gyeong, show difference in types. The typical vessel to contain the bones, called "Yeongyeol Gori Yoogaeho" is again proved to have existed from A.D 8c. ~ A.D 9c., judging from the Yinwha pattern stamp's existence. Yet, the Yeongyeol Gori Yoogaeho from 9th century used the patternless pottery, also seen from the Won-wha 10 yeon-myeong cremate grave. Due to the prosperity of Buddhism, when the "Mukuchonggwang Taranikyong(Sutra)", translated into Han language in 704 at Dang, was imported into Shilla, the funeral ceremonies of Shilla people changed from making cremate graves with vessels or scattering the bones in oceans, into building stupas in temples with hopes and wishes to bring oneself and family's fortune and the next life of the dead. As a result, the meaning of "Grave" disappeared for the cremate graves, and rather the ceremony changed into scattering bones and wishing fortunes for the dead person. In other words, the ancestor-worship ceremony which was focused on the tomb changed into commemorating the ancestors and wishing individual fortunes by the religious assembly in temples and the building process of stupas. In conclusion, this social change was the cause of the extinction of stone chamber with tunnel entrance and the tombs such as cremate grave.

• Korean Journal of Heritage: History & Science
• /
• 제38권
• /
• pp.157-178
• /
• 2005

In this thesis, ammaksae, or internal roof tiles, which was reported to be in the period of Baekje, was examined on the basis of layers of archaeological excavation and styles of relics. As a result, among the relics which have already been reported, jidumun amkiwa (concave roof tiles patterned by finger tips) excavated from Pungnap Earthen Wall and yudansik amkiwa (stepped concave roof tiles) from remains such as Guari Baekje Remains, could not be seen yet. The only relics that could be identified as original-style ammaksae or ammaksae were jidumun amkiwa unearthed from the site of Gunsurisa Temple, togiguyeon amkiwa (mouth-rim earthenware concave roof tiles) and yuaksik amkiwa (concave roof tiles with sills) from Buso Fortress and Gwanbukri Baekje Remains, and gwimyeonindongdangchomun ammaksae (honeysuckle-pattern concave end roof tiles with monster design) from the sites of Jeseok Temple and Mireuk Temple. Regarding ammaksae in the period of Baekje like the above, it is considered that jidumun amkiwa (short sills appeared), which showed up in the period of China's North Dynasties, developed into togiguyeon amkiwa and yuaksik amkiwa (sills were formed), and then gwimyeonindongdangchomun ammaksae (patterns appeared) emerged.

• Journal of Conservation Science
• /
• 제27권1호
• /
• pp.75-90
• /
• 2011

At the beginning of the Chos$\breve{o}$n dynasty, punch'$\breve{o}$ng began as a simplified form of inlaid celadon, and in the two following centuries it developed into a popular folk craft in various styles and expressive decorations; overtime, it was increasingly made to resemble whiteware, and its production stopped after the Japanese invasion of Korea. In the present study, the body and glaze compositions of punch'$\breve{o}$ng were examined and compared with those of celadon and whiteware, whose compositions have previously been compared with those of Chinese ceramics. Here, the analyzed shards were organized into 28 groups based on their production sites and archaeological characteristics. For each group, the body and glaze compositions of several shards(usually three to five) were obtained, averaged, and compared with those of the other groups. These comparisons showed that the majority of the punch'$\breve{o}$ng bodies were formed, like those of celadon and whiteware, with mica-quartz porcelain stone, which was commonly used in Yuezhou, Jingdezhen, and other southern Chinese kilns. The glazes consisted of clay materials and flux components made from various proportions of wood ash, burnt limestone (glaze ash) and crushed limestone. Overall, the punch'$\breve{o}$ng glazes resembled the Kory$\breve{o}$ celadon and Kory$\breve{o}$ whiteware glazes more closely than the Chos$\breve{o}$n white wareglazes. However, the $TiO_2$ levels found in the tested punch'$\breve{o}$ng were low, similar to those of Chos$\breve{o}$n whiteware; this indicated that glaze stone was used as the clay component of the punch'$\breve{o}$ng glazes, as was the case for Chos$\breve{o}$n whiteware. This study of the material characteristics of punch'$\breve{o}$ng may be used as a comparative framework for analyzing ceramic shards discovered at current and future excavations within Korea.

• Korean Journal of Heritage: History & Science
• /
• 제53권3호
• /
• pp.24-41
• /
• 2020

The engraved line expression in metal crafts is a detailed technique of carving or decorating metal surfaces. This technique engraves a line using a tool on the surface of a metal craft. This technique was used extensively in articles made of various metal materials during the Goryeo Dynasty, and the range of patterns that could be expressed and the width of users was wide. In this paper, based on relics and literature, the concept of line representation of this engraving technique used in the metal crafts of the Goryeo Dynasty and the perceptions and terms of the Goryeo Dynasty were examined. In addition, the users engaged in this craft and the specific patterns and patterns of decoration were reviewed. Through these means, it was possible to confirm various aspects of a technique that was thought previously to involve just simple expression of lines using tools. In addition, through the literature, Geumseokmun Gate, and relics currently being transmitted, it was possible to confirm the utilization patterns of techniques used in various types of objects. Various uses have led to the combination with other metal craft techniques that were popular at the time, and while utilizing unique characteristics of the techniques, this maximized the molding of various patterns. In the meantime, it is true that the intaglio technique in metal crafts has not received much attention compared to the decoration techniques of other metal crafts, such as inlay, embossing, and openwork techniques in which decorative effects are maximized due to the recognition that the technique was used so widely in relics. However, the universality of the technique is premised on its wide use across all eras. As such, it was used in metal craft relics that reflect the various cultural characteristics of Korea and various cultural aspects that are currently passed down. On the one hand, technology has been passed down as a form of intangible heritage that embodies a longstanding craft culture which continues to the present in the fields of sculpture and intangible cultural properties. As such, the universality of Seongak contains many cultural meanings. In addition, the uniqueness of the technique is distinct, and it is deeply related to Goryeo, who was in charge of the use of technology and craftsmanship of the Joseon Dynasty and the metal craft technology that is currently handed down. I think research on future techniques should be continued in depth.