• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.32-45
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• 2012

The purpose of this research is to better understand the Dongmyo, the Eastern Shrine of GuanYu and the military costumes of the Joseon period andto develop different cultural contents. By studying relevant literature, confirmations were made about the various types of costumes and their historical changes. During the reign of King Yeongjo, the ceremonial conductors often wore armors, and the king wore a different military costume. During the reign of King Jeongjo thereafter, the ceremonial costumes were codified in the book, the Chun-gwan tonggo(General Outline for the Ministry of Rites), along with the costumes for the musicians and lower officials. However, the military features were weakened in the late Imperial Joseon years. In terms of costumes, it would be best today to restore the ceremonies of the Shrine of Guan Yu during the period of King Jeongjo. All the costumes for different figures of the Shrine are clearly confirmed, and by emphasizing the main features of the ceremonials of the Shrine, it is possible to differentiate the ceremony from other restoration activities in Korea. For the Guan Yu statue, the hat is square shaped and decorated with nine bead strings, it is dressed with a red dragon coat and a violet inner coat. This study presents methods for the restorations of the original costumes for the individual figures of the ceremonials, with necessary theoretical explanations. The king wears the lamella gold armor, while different ceremonial officials wear differentiated armors according to their different ranks. All the civil and military officials who attend the ceremony wear military clothes with horse's mane hats and swords. The musical conductor and directors are expected in armors and participating musicians also have to wear armors according to the Akhak Gwebeom (Basics of Music).

• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.16 no.5
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• pp.60-71
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• 2017

The purpose of this study is to evaluate vertical moving facilities at subway stations for the elderly users and to analyze their improvement measures. To evaluate vertical moving facilities of the top 31 subway stations with the most trips in Seoul, a data envelopment analysis (DEA) is employed. The input variables for the DEA include the number and percentage of elderly users, which are calculated using smart card data. the output variables consist of the number of elevators and escalators per 100 steps. The results show that the average score of 31 subway stations is 0.62 and four stations, i.e., Jamsil, Gasan Complex, Konkuk University, and Dongmyo, have the highest score. These four subway stations are set as benchmarking groups for the other stations with the lower score. Based on the comparison with the benchmarking groups, the improvement measures for vertical moving facilities of each station are suggested and discussed.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.94-113
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• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.