• Journal of the Korean Chemical Society
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• v.40 no.8
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• pp.557-564
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• 1996

FAB CAD MS/MS(Fast Atom Bombardment Collision Activated Dissociation Mass Spectrometry/Mass Spectrometry) was used to study different degree of bond stability according to the linkage positions of alkali cationized $(Na^+, Li^+, K^+, NH_4^+)$ stereoisomeric and synthetic oligosaccharides. The alkali metal cations were much more stable, requiring over -40 eV of collision energy vs. only -10 eV for the protonated forms. Of the cations, the potassium cationized trisaccharides were more stable than the others. They would not yield fragment ions under the conditions of collision available in triple quadrupole. Other cationized species exhibited decreasing stability in the series $Nap^+>Li^+>NH_4^+$ using 0.8 mTorr argon pressure in the collision cell. Metal cations of the oligosaccharides maintained charge principally on the amino sugar as shown by shift of all the fragment ions containing the amino sugar. The reason for the higher stability of the metal cationized form is the formation of crown ether-like bond around metal cations, N-acetyl group on GlcNAc and oxygens on fucose moiety. Depending on the metal sizes and the conformation of linkage-isomeric region, cationized species gave linkage dependent fragment patterns and exhibited stability in the series 1-6 > 1-4 > 1-3 linkage.

• Journal of Conservation Science
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• v.30 no.4
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• pp.427-438
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• 2014

To measure the depth and extension on the surface cracks of the stone monument, ultrasonic pulse velocity targeted at the Mulgyeseowon Stele in Changnyeong was used in this research. Additionally, to establish a long-term countermeasure of management and conservation for this stele, we have investigated the material properties and damage on it and have conducted a precise diagnosis by a variety of non-destructive techniques. Our research has revealed that stones of the stele are composed mainly of three rock types according to the parts of it, alkali-feldspar granite, gabbro and diorite. The result of the deterioration evaluation has occurred that cracks, which are observed from every direction in the body of the stele, are the significant factors to reduce structural stability. The ultrasonic velocity for an evaluation on the properties of the stele has revealed that the speed was high in the order of body, pedestal and crown. Furthermore, to understand the present condition and occurrences of the cracks which have measured in many different forms on the stele quantitatively, we have estimated from 0.6 to 24.1cm deep of the cracks by To-Tc method using ultrasonic velocity.

• Journal of Technologic Dentistry
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• v.25 no.1
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• pp.41-62
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• 2003

In this research, we manufactured the paste opaque porcelains using Propylene Glycol (PG) and Buthylene Glycol (BG) as a solvent, and compared the composition of solvents, the coefficient of thermal expansion, the particle size distribution, the viscosity and bonding strength to metal, and the tone with those of the commercial products(Duceram Plus, Duceram GmbH; VMK 95, Vita Co.; Noritake EX-3, Noritake Co.)used in the clinical field. The results of the research were as follows: 1. The result of solvent analysis indicated that the solvents included in the paste opaque porcelains of the control group were mainly composed of Glycols. 2. From the Coefficient of thermal expansion measurement, we drew out the following results; testing group: $14.0\times10^{-6}/^{\circ}C$, Duceram Plus: $13.9\times10^{-6}/^{\circ}C$, VMK 95: $14.3\times10^{-6}/^{\circ}C$, and Noritake EX-3: $13.3\times10^{-6}/^{\circ}C$. 3. Seen from the result of particle size distribution measurement, the experimental group was similar to the control group in 1$\mu m$ below, but the experimental group marked the highest distribution of 61% in the case of between 1$\mu m$ and 5$\mu m$. Between 5$\mu m$ and 10$\mu m$, they showed relatively similar distribution, and Noritake EX-3 was turned out the highest distribution of 29% in 10$\mu m$ above. 4. From the result of viscosity measurement, Duceram plus showed the highest viscosity throughout all the measurements followed by Noritake Ex-3, experimental group and VMK 95 in decreasing order. 5. The result of bonding strength measurement was EX 35.53 $\beta\acute{A}$, DU 40.88 $\beta\acute{A}$, VM 39.43 $\beta\acute{A}$, and NO 35.39 $\beta\acute{A}$, and no significant difference was found between the experimental group and the control groups(P>0.05). 6. The measurement of the tone indicated that the $L^*$ value of the experimental group was 86.89 0.63 in average, which is higher than the control group in its brightness. In the case of the $a^*$ value, Duceram Plus, VMK 95 and EX-3 showed positive value, whereas the testing group was turned out negative value. In $b^*$ value, Duceram Plus proved the highest. From the results of this research, the paste opaque porcelains using Propylene Glycol (PG) and Buthylene Glycol (BG) as a solvent did not make differences from the commercial products that are actually used in the clinical fields. Therefore, it is possible to utilize Propylene Glycol (PG) and Buthylene Glycol (BG) for the paste opaque porcelains of P.F.M crown. It is also recommended that further researches concerning the compositions and forms of powder, the types of organic solvent components and the ratio of mixture proceeded in order to improve the level of productivity in the future.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.12
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• pp.712-721
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• 2017

Recently, the intensity and frequency of floods has increasing worldwide, and flood disasters have become a big problem. Flood disasters, which account for the largest portion of disasters, are floods accompanied by typhoons and localized heavy rainfall. As a result, they cause damage of levee overtopping, in which the water level of a river rises to the levee crown. Therefore, countermeasures are essential and necessary because of the damage to the facility itself as well as to life and other property. The damage magnitude depends on the collapse of the levee. A levee that is difficult to collapse will reduce the discharge inland significantly. Accordingly, the protection of the inland slope, where the collapse of the levee is initiated, is one of the most important countermeasures In this study, revetments with various porosity and forms were suggested and hydraulic experiments were carried out for each type. The hydraulic experiments showed that the stability of a revetment in an inland slope is strongly correlated with the weight per unit area of the revetment. The relationship between the critical velocity, which is the velocity at the moment of leaving the revetment, and the weight per unit area was derived. Through this study, by applying the nature friendly revetment, which has not yet been applied to Korea, it is expected that life and property damage caused by levee overtopping during flooding can be reduced, and a nature friendly river space can be constructed.

• The Journal of Korean Academy of Prosthodontics
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• v.59 no.3
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• pp.319-332
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• 2021

With the rapid development of aesthetic ceramic materials and resin adhesives, the transition from metal ceramic crown to all-ceramic restoration is being actively carried out. When making porcelain restorations, the advantages can be maximized only when appropriate forms and techniques are used. Recently, an esthetic partial-coverage restoration method with supra-gingival margins was introduced by applying a minimally invasive tooth removal method that preserves enamel as much as possible and enhances adhesion efficiency. Through this, various advantages such as minimization of tooth structure removal and ease of excess cement removal can be obtained. In addition, since this manufacturing method does not require cord packing, it is possible to save time for impression taking and reduce patient discomfort. Furthermore, the margins can be clearly obtained without the intervention of gingival fluid or blood, making it possible to manufacture more accurate restorations. In the following cases of patients with partial tooth defects, esthetic ceramic partial-coverage restorations with supra-gingival margin was applied using minimally invasive tooth preparation method according to the concept of adhesive dentistry. Therefore, unnecessary tooth abutment preparation was prevented and residual tooth structure could be preserved as much as possible. After delivery of the ceramic partial-coverage restorations, favorable outcome was obtained.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.95-130
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• 2006

Japanese government college researchers, including Sekino Tadashi(關野貞), have conducted research studies and collected data, on overall Korean cultural relics as well as Silla tumuli(新羅古墳) in the early modern times under the Japanese imperialistic rule. They were supported by the Meichi government in the early stage of research, by the Chosun government-general, and by their related organizations after Korea was coIonialized to carry out investigations on Korean antiquities, fine arts, architecture, anthropology, folklore, and so on. The objective for which they prosecuted inquiries into Korean cultural relics, including Silla tumuli, may be attributed to the purport to find out such data as needed for the theoretical foundation to justify their colonialization of Korea. Such a reason often showed locally biased or distorted views. Investigations and surveys had been incessantly carried out by those Japanese scholars who took a keen interest in Korean tumuli and excavated relics since 1886. 'Korea Architecture Survey Reports' conducted in 1904 by Sekino in Korea gives a brief introduction of the contents of Korean tumuli, including the Five Royal Mausoleums(五陵). And in 1906 Imanishi Ryu(今西龍) launched for the first time an excavation survey on Buksan Tumulus(北山古墳) in Sogeumgangsan(小金剛山) and on 'Namchong(南塚)' in Hwangnam-dong, which greatly contributed to the foundation of a basic understanding of Wooden chamber tombs with stone mound(積石木槨墳) and stone chambers with tunnel entrance(橫穴式石室墳). The ground plan and cross section of stone chambers made in 1909 at his excavation survey of seokchimchong(石枕塚) by Yazui Seiyichi(谷井第一) who majored in architecture made a drawing in excavation surveys for the first time in Korea, in which numerical expressions are sharply distinguished from the previous sketched ones. And even in the following excavation surveys this kind of drawing continued. Imanishi and Yazui elucidated that wooden chambers with stone mound chronologically differs from the stone chambers with tunnel entrance on the basis of the results of surveys of the locational characteristics of Silla tumuli, the forms and size of tomb entrance, excavated relics, and so forth. The government-general put in force 'the Historic Spots and Relics Preservation Rules' and 'the Historic Spots Survey Council Regulations' in 1916, establishing 'Historic Spots Survey Council and Museum Conference. When museums initiated their activities, they exhibited those relics excavated from tumuli and conducted surveys of relics with the permission of the Chosun government-general. A gold crown tomb(金冠塚) was excavated and surveyed in 1921 and a seobong tomb(瑞鳳塚) in 1927. Concomitantly with this large size wooden chamber tombs with stone mound attracted strong public attention. Furthermore, a variety of surveys of spots throughout the country were carried out but publication of tumuli had not yet been realized. Recently some researchers's endeavors led to publish unpublished reports. However, the reason why reports of such significant tumuli as seobong tomb had not yet been published may be ascribed to the critical point in those days. The Gyeongju Tumuli Distribution Chart made by Nomori Ken(野守健) on the basis of the land register in the late 1920s seems of much significance in that it specifies the size and locations of 155 tumuli and shows the overall shape of tumuli groups within the city, as used in today's distribution chart. In the 1930s Arimitsu Kyoichi(有光敎一) and Saito Tadashi(齋藤忠) identified through excavation surveys of many wooden chamber tombs with stone mound and stone chambers with tunnel entrance, that there were several forms of tombs in a tomb system. In particular, his excavation survey experience of those wooden chamber tombs with stone mound which were exposed in complicated and overlapped forms show features more developed than that of preceding excavation surveys and reports publication, and so on. The result of having reviewed the contents of many historic spots surveyed at that time. Therefore this reexamination is considered to be a significant project in arranging the history of archaeology in Korea.

• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.190-211
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• 2010

The purpose of this paper is to provide the preliminary data for maintenance of old trees of natural monuments and establishing protection projects. Accordingly, growth conditions, location circumstances, environment and protection management were analyzed for old trees at 34 sites in Gyeongsangbuk-do. Tree forms, crown, trunk and trees' health, leaves volume were analyzed in survey sites. As the results, the growth of Picrasma quassioides in Songsadong, Andong-si and Catalpa ovata in Hongwon-ri, Cheongsong-gun were not in good condition, along with other old trees of 6 cities (Quercus variabilis in Susan-ri, Uljin-gun, Juniperus chinensis in Hujeong-ri, Uljin-gun, Pyrus ussuriensis in Ssangjeon-ri, Uljin-gun, Salix glandulosa var. pilosa in Deokchon-ri, Cheongdo-gun, Pinus densiflora for. multicaulis in Hwasan-ri, Mungyeong-si, Pinus densiflora in Daeha-ri, Mungyeong-si). Accoding to these results, protection project and consistent monitoring are necessary. The analysis results of growth conditions per location circumstances showed that the old trees in the small spaces with large traffic of people were in bad condition. Therefore, it is necessary to secure sufficient space and soil improvement for such trees. The analysis results of growth conditions per species showed that Zelkova serrata, Quercus spp., Pinus densiflora are in good condition while Salix koreensis and others, i.e. a singular tree, are in poor condition. Thus, relatively smaller individuals and separately situated trees need careful management in their protection. The analysis results of trunk's growth ratio showed that Pinus densiflora, Ginkgo biloba, Zelkova serrata are in good condition whereas Juniperus chinensis, Quercus variabilis, Salix koreensis are not. It is a recent trend that tree surgeries are gradually decreasing; there are a number of damaged trees with no maintenance/management, and several sites requiring mend trunks management and cabling, bracing in protection and management projects. Hence, in the future, local government and management organizations should plan for systematic management and establish a protection plan for the natural monument trees. Also, 12 sites were found to be in need to purchase lands in order to secure the growth spaces, and since most of these areas are available for purchase, it is needed to promote a budget and purchase those areas through persuasion of the owner. These areas seems crucial in order to maximize the effect of conservation efforts and budgets for the preservation and restoration of the old trees.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.140-170
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• 2021

This paper investigates the Wooden Seated Tri-kaya Buddha Images(三身佛像) of Vairocana, Rushana, and Sakyamuni enshrined in Daeungjeon Hall of Hwaeomsa temple(華嚴寺) in Gurae, South Cheolla Province. They were produced in 1634 CE and placed in 1635 CE, about forty years after original images made in the Goryeo period were destroyed by the Japanese army during the war. The reconstruction of Hwaeomsa was conducted by Gakseong, one of the leading monks of Joseon Dynasty in the 17th century, who also conducted the reconstructions of many Buddhist temples after the war. In 2015, a prayer text (dated 1635) concerning the production of Hwaeomsa Tri-kaya Buddha images was found in the repository within Sakyamuni Buddha. It lists the names of participants, including royal family members (i.e., prince Yi Guang, the eighth son of King Seon-jo), and their relatives (i.e., Sin Ik-seong, son-in-law of King Seonjo), court ladies, monk-sculptors, and large numbers of monks and laymen Buddhists. A prayer text (dated 1634) listing the names of monk-sculptors written on the wooden panel inside the pedestal of Rushana Buddha was also found. A recent investigation into the repository within Rushana Buddha in 2020 CE has revealed a prayer text listing participants producing these images, similar to the former one from Sakyamuni Buddha, together with sacred relics of hoo-ryeong-tong copper bottle and a large quantity of Sutra books. These new materials opened a way to understand Hwaeomsa Trikaya images, including who made them and when they were made. The two above-mentioned prayer texts from the repository of Sakyamuni and Rushana Buddha statues, and the wooden panel inside the pedestal of Rushan Buddha tell us that eighteen monk-sculptors, including Eungwon, Cheongheon and Ingyun, who were well-known monk artisans of the 17th century, took part in the construction of these images. As a matter of fact, Cheongheon belonged to a different workshop from Eungwon and Ingyun, who were most likely teacher and disciple or senior and junior colleagues, which means that the production of Hwaeomsa Tri-kaya Buddha images was a collaboration between sculptors from two workshops. Eungwon and Ingyun seem to have belonged to the same community studying under the great Buddhist priest Seonsu, the teacher of Monk Gakseong who was in charge of the reconstruction of Haweonsa temple. Hwaeomsa Tri-kaya Buddha images show a big head, a squarish face with plump cheeks, narrow and drooping shoulders, and a short waist, which depict significant differences in body proportion to those of other Buddha statues of the first half of 17th century, which typically have wide shoulders and long waists. The body proportion shown in the Hwaeomsa images could be linked with images of late Goryeo and early Joseon period. Rushana Buddha, raising his two arms in a preaching hand gesture and wearing a crown and bracelets, shows unique iconography of the Bodhisattva form. This iconography of Rushana Buddha had appeared in a few Sutra paintings of Northern Song and Late Goryeo period of 13th and 14th century. BodhaSri-mudra of Vairocana Buddha, unlike the general type of BodhaSri-mudra that shows the right hand holding the left index finger, places his right hand upon the left hand in a fist. It is similar to that of Vairocana images of Northern and Southern Song, whose left hand is placed on the top of right hand in a fist. This type of mudra was most likely introduced during the Goryeo period. The dried lacquer Seated Vairocana image of Bulheosa Temple in Naju is datable to late Goryeo period, and exhibits similar forms of the mudra. Hwaeomsa Tri-kaya Buddha images also show new iconographic aspects, as well as traditional stylistic and iconographic features. The earth-touching (bhumisparsa) mudra of Sakymuni Buddha, putting his left thumb close to the middle finger, as if to make a preaching mudra, can be regarded as a new aspect that was influenced by the Sutra illustrations of the Ming dynasty, which were imported by the royal court of Joseon dynasty and most likely had an impact on Joseon Buddhist art from the 15th and 16th centuries. Stylistic and iconographical features of Hwaeomsa Tri-kaya Buddha images indicate that the traditional aspects of Goryeo period and new iconography of Joseon period are rendered together, side by side, in these sculptures. The coexistence of old and new aspects in one set of images could indicate that monk sculptors tried to find a new way to produce Hwaeomsa images based on the old traditional style of Goryeo period when the original Tri-kaya Buddha images were made, although some new iconography popular in Joseon period was also employed in the images. It is also probable that monk sculptors of Hwaeomsa Tri-kaya Buddha images intended to reconstruct these images following the original images of Goryeo period, which was recollected by surviving monks at Hwaeomsa, who had witnessed the original Tri-kaya Buddha images.

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