• Journal of the Korean Home Economics Association
• /
• v.39 no.4
• /
• pp.1-18
• /
• 2001

Korea huts been dramatically changed during the last century in many aspect of society, with the introduction of western culture in the beginning of 20th century. This study aims at understanding the changes in our traditional culture shown by costume as well as examining the aspects of the changes of traditional clothing according to age, by comparing the differences of our traditional dress Hanbok between ear1y and the late of the 20th century. Analysis of photographs showing Hanbok of both ages was used. 155 photographs of people wearing traditional Hanbok in the beginning of the 20th century were collected from the photo collection books portraying various living conditions of common people at that time. 748 Photographs of Hanbok worm today were obtained by taking pictures of various occasions like wedding ceremonies in 5 big cities during 1997. The process of analysis consists of 3 stages: setting standards, sorting, and grouping by positioning. The results showed that traditional Hanbok room in the early 20th century has maintained its basic silhouette and design during the century, but the methods of color coordination, ornamentation, construction have underdone many changes in detail. Consequently, traditional frame exits, but actually there are many variations of tradition produced by individual tastes and fashion trend. These changes show that continuing influx of the western culture which has made enormous social changes in Korea had an influence even on Hanbok.

• Journal of Korean Library and Information Science Society
• /
• v.44 no.3
• /
• pp.447-470
• /
• 2013

The purpose of this study is to examine how the cultural aspects of the publication of literary collections have been changed from its time throughout the entire Joseon Dynasty. At the royal court in the early Joseon Dynasty, the need for publication of the literary collections has consistently arisen to preserve writings of the noted sages, and the Joseon government was also taking the lead and promoting the publication of the literary collections. From the 16th to the early 18th century, the publication was intensively made at the local governments led by local governors. From the 17th to the early to middle of the 18th century, the finances of local governments were limited with the changed taxation system, and there had been a dramatic decrease in the number of literary publication projects. On the other hand, with the sudden increase of the number of Seowons during the reign of King Sukjong, the focus of the literary publication was moved to Seowon from the 18th to the 19th century. After the enforcement of the Seowon Abolition Decree, the collections were still published at Seowons, however from the end of 19th century, the publication of literary collections had been explosively made by aristocrats who did not belong to the institution of Seowon or could not receive Seowon's support, which spreaded over the entire Yangban culture.

• Journal for History of Mathematics
• /
• v.25 no.2
• /
• pp.1-9
• /
• 2012

After disastrous foreign invasions in 1592 and 1636, Chosun lost most of the traditional mathematical works and needed to revive its mathematics. The new calendar system, ShiXianLi(時憲曆, 1645), was brought into Chosun in the same year. In order to understand the system, Chosun imported books related to western mathematics. For the traditional mathematics, Kim Si Jin(金始振, 1618-1667) republished SuanXue QiMeng(算學啓蒙, 1299) in 1660. We discuss the works by two great mathematicians of early 18th century, Cho Tae Gu(趙泰耉, 1660-1723) and Hong Jung Ha(洪正夏, 1684-?) and then conclude that Cho's JuSeoGwanGyun(籌 書管見) and Hong's GuIlJib(九一集) became a real breakthrough for the second half of the history of Chosun mathematics.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.2
• /
• pp.146-165
• /
• 2022

The purpose of this study is to identify differences in the formative characteristics and system of Jobok by comparing the three relics Ui, Sang, and Daedae, which comprised Jeon-Sik's Jobok, with the data in the literature and five excavated Jobok relics, Sin Kyung-yu, Kwon-Woo, Hwasan-Gun, Milchang-Gun, and Lee Ik-jeong, from the 17th and 18th centuries. Jeon-Sik'sJobok was designated as a Gyeongbuk tangible cultural heritage, Sangju JeonSik Jobok and Crafts, in 2021. The three components of Jeon-Sik's Jobok are valuable as historical data since they are the oldest relics confirming colors. Regrettably, the edging fabric of the Ui made of red twill was mostly lost, with only traces remaining. Based on records, it was presumed that the edging fabric was black. It was confirmed that white decorative lines were yet to be used. In Jeon Sik's Sang, only the three front widths and one rear width remain, but the shape of the four rear widths can be inferred, and the creases were held only at the waist. Eighteenth-century Sang was connected at intervals at the end of the waist. Seventeenth-century Sang was connected with a slight overlapping of the rear Sang below the front Sang; therefore, it is assumed that Jeon Sik's Sang was also connected by overlapping the rear by more or less than 5cm below the front. After Hwasan-gun, the Sang was first made using black lines, then white lines were inserted, and, finally, it was pleated from the waist to the hem. The Daedae made the Yo and the Sin by folding the corners to form a 冂 shape with a single long band. The white Ju(紬) and the green yumunsa were used for the Daedae and the edges. This matches the color of the Daedae seen in the Jobok portraits of Milchang-gun, Lee Ik-jeong, and Jeong Hwi-ryang from the 18th century. In the 17th century, the Daedae made the Yo and the Sin by folding a long band like the Daedae of Jeon-Sik. After the 18th century, the Yo and the Sin were made separately and connected. To tie the Daedae to the waist, thin straps were attached at both ends. The relics of Jeon-Sik can be evaluated as reflecting the 17th-century Jobok system in terms of color and shape. Furthermore, it can be said that they are important historical data complementing the insufficient or inaccurate records of the Gukjoolyeui-seolye and Gyeongguk-daejeon.

• Journal of the Korean Society of Food Culture
• /
• v.18 no.6
• /
• pp.536-543
• /
• 2003

The Chosun Dynasty in the $18^{th}$ century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's $60^{th}$ birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's $60^{th}$ marriage anniversary by an unknown artist presumably in the $18^{th}$ century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.

• Korean Journal of Acupuncture
• /
• v.23 no.2
• /
• pp.1-18
• /
• 2006

Objectives: The subject of this research is the catechism on medicine between the doctors of Joseon and Japan in the 18th century through Choson Delegation(朝鮮通信使 ). Methods: The author intended to review and analyze the contents of catechism related to Acupuncture and Moxibustion and determined the characteristics of Joseon and Japan ?s Acupuncture and Moxibustion. Results: At the time, Japanese doctors had a grasp on most theories of Acupuncture and Moxibustion and were very specialized clinically. They usually used filiform needles with various techniques, and already they had many different schools in practice. However, they wanted to know if their Acupuncture and Moxibustion skills were up to the international standard, especially to Joseon, whom they regarded as a country advanced in Acupuncture and Moxibustion. They wanted to com- pare and contrast their Acupuncture and Moxibustion with Joseon's. 18th century Joseon was high time for Acupuncture and Moxibustion. Various tools were used in surgery, and varieties of needles were used to stimulate acupuncture points. The development of tools evinces the precision of Joseon's Acupuncture and Moxibustion at the time. Also, comprehensive works such as DongUiBoGam(東醫寶鑑) and UiHaklpMun( 醫學入門) greatly influenced Acupuncture and Moxibustion. Because of this impact, it can be deduced that Acupuncture and Moxibustion emphasizing Jang(臟) and Bu(腑) organs and Internal Injury developed greatly. In addition, acupuncturist Holm(許任)'s fame continued from the 17th century into the 18th century, and his medical practice left a huge mark on not only Joseon but other eastern Asian countries as well. Conclusions: We found out the evidences that there were a lot of exchanges of acupuncture and moxibustion between Korea and Japan based of the Joseon TongShinSa (Emissary)'s record of catechism on medicine in the 18th century.

• The Research Journal of the Costume Culture
• /
• v.19 no.5
• /
• pp.1102-1118
• /
• 2011

The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the $18^{th}$ century Europe exposed underwear more frequently and decisively than movies set in the $16^{th}$ and $17^{th}$ centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.

• Journal of the Korean Home Economics Association
• /
• v.44 no.1 s.215
• /
• pp.25-35
• /
• 2006

This study investigated the scheme for correctly making Korean fashion design known to the world. It attempted to increase the influence of the Eighteenth Century Costume in contemporary fashion. During the 18th century, France had an almost complete monopoly of fashion. Growing out the fairyland atmosphere of the French Court and often conceived of as ennui by personal vanity, this fashion was a product of an age which sought at any price to live life with supreme grace. Most of the special costume exhibitions in the Metropolitan Museum of Art are planned and directed by Polaire Weissman, Diana Vreeland, Richard Martin, Harold Koda. The Costume Institute has held exhibitions of the Eighteenth Century Costume several times such as "Museum Period Rooms Re-Occupied in Style," "the Eighteenth Century Women," "the Ceaseless Century," "Dangerous Liaisons," etc. Especially, the exhibition of "Dangerous Liaisons" is organized in ten parts such as the Portrait, the Levee, the Music Lesson, the Withdrawing Room, the Broken Vase, the Favorite, the Masked Beauty, the Card Game, the Late Supper, and the Shop. Using the eighteenth century as its touchstone, The Ceaseless Century proceeds differently, not seeking the short distance between a discrete present and the multiple past but rather showing the complicated navigation that comes of revivalism swing to and fro on the timeline of history and sensibility. The designers featured include Karl Lagerfeld, Gianni Versace, Vivienne Westwood, Jean Paul Gaultier, Christian Dior, Cristobal Balencicga, Christian Lacroix, Stella McCartney forChloe, Olivier Theyskens, Alexander McQueen, etc. Therefore, Korean designers should refrain from (Ed-confirm) the foreign collection without a clear purpose and should devote their effort to create with an active attitude.

• Journal of Families and Better Life
• /
• v.24 no.1 s.79
• /
• pp.287-297
• /
• 2006

The purpose of this study is to investigate the traditional American houses in eighteen century and their specific styles at the historic pace of Deerfield. The results of this study were as follow: First, Village of Deerfield is founded by Henry Flynt and PVMA(Pocumtuck Valley Memorial Association). Their preservation and restoration has been achieved from the efforts of collection constantly and the concrete research of old houses. So, It should be reflected their way of approach to preserve and restore for old houses in Korea. Second, the traditional eighteen century houses in Deerfield had generally Colonial Style. Style of Colonial houses had a "L"shape exterior view and a flat facade and the front door made a symmetry with sash windows. A chimney had been installed in the middle of the roof and it usually had a gable with natural materials in a simple manner. Third, the most important factor to design houses was a front door and it had been decorated in luxury and in a display. Lastly, the traditional American houses in eighteen century had been greatly influenced not by the that of British which is commonly taken but by the various cultural backgrounds which represented regional characteristics and was rather simple.

• Journal of the Korean Geographical Society
• /
• v.43 no.6
• /
• pp.858-872
• /
• 2008

This study examined the meteorological disaster of Jeju Island in Chosun Dynasty based on historical documents, and analyzed how its government and Jeju Islanders responded to this. Recording cases of abnormal weather days of Jeju Island in Chosun Dynasty were most in 17th Century, and then in 18th Century, 16th Century, 15th Century, and 19th Century in order. For the type of meteorological disaster, storm damage was most serious, and then flood disaster, drought disaster, and snow damage were in order. For the region, Jejumok was mostly damaged from storm and flood, and Daejeonghyeon was mostly from drought. Once meteorological disaster occurred, it was a common thing that it continued with famine. The Chosun government relieved Jeju Islanders by moving the grains of mainland into Jeju Island, and for this, installed Galdujin warehouse, Naripo warehouse, and Jemin warehouse. Also, it tried to resolve chronic famine by moving Jeju people into mainland such as Pyeong'an-do. Corresponding to severe weather, the farmers of Jeju Island implemented agricultural methods such as Dapjeon, Baryeong, molding, and wind-breaking; and the seamen conducted unique arts of navigation such as Hwanjeon, and gravel shipment.