• Journal of architectural history
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• v.28 no.2
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• pp.41-52
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• 2019

Seongjeonggak Hall in Changdeokgung Palace, although built after the Japanese Invasion in 1592, displays the architectural style and structure of Early Joseon period. It did not include ondol (Korean floor heating system) and contained Early Joseon style window frames. Later, King Jeongjo installed ondol as he repaired the building into a more convenient office. The initial construction of Seongjeonggak Hall was based on the architectural ideology of the Early Joseon Period, which divided up the space according to the season. Thus, the initial structure of the building consisted of a joint of a one-story building and a two-story building with the top floor of the latter specialized for hot and humid season. The two-story building was called 'chimnu(寢樓)', and its top floor was called 'nu-chimsil(樓寢室)'.

• Journal of architectural history
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• v.25 no.6
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• pp.61-72
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• 2016

This study is about the structure and transition of orthogonal design of palace architectures in Joseon Dynasty. The results are as follows. First, Changdeokgung and Changgyeonggung Palaces' corridors, and their architectures seen in the Court Documentary Paintings have early Joseon style in the corner-connections. Their roof shape in the corner is gable roof. Generally, gable roof has direction. Besides, it is easy to extend gable sides. Second, Corridor of Gyeongbokgung Palace has hipped and gable roofs with corner eaves. It was popular during the late Joseon Dynasty. On the other hand, it is impossible to extend any sides of those roofs since they have roof faces in their four sides. Instead, they have completeness. That's why their aesthetic appeal exhibits more pleasing than gable roofs. Third, corner-connections of palace architecture shows evidences and traces of the transition from gable roofs meeting at right angle in the early Joseon to hipped and gable roofs meeting at right angle with corner eaves in the late Joseon. Also, the corner-connections with corner eaves were usually used even in the attached architectures.

• Journal of architectural history
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• v.29 no.2
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• pp.39-52
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• 2020

Seonjeong-jeon, the semi-great hall in Changdeok Palace, was constructed in a highly formal and conservative style and accommodated official ceremonies. However, the contemporary modification of the building has distorted or eliminated features including the two side doors on the front, the floor coverings, and the throne base (Jwa-tap) that consisted the most significant part of the throne. Seonjeong-jeon originally had three doors that stood between each pair of columns on the front side, respectively. The courtiers accessed the building through the side doors, while the central door was exclusively designated for the king. However, the renovation in 1999 ignored the political context of the architectural form of the building and changed the side doors into windows, damaging the traditional structure inherited from the early Joseon Dynasty. Although the building currently has traditional wooden floor structure (Woomul-maru), it was originally covered with square brick tiles (Bang-jeon) before the Japanese occupation, following the customs of early Joseon Dynasty. The throne was placed to the north of the central door and consisted of the throne base and a decorative roof (Dang-ga). A canvas (Jang-ja), which featured the royal symbolic painting of Sun, Moon, and Five Peaks, was also installed between the two columns that connected the base and the roof. Nevertheless, only the columns and the blank canvas remain nowadays after the removal of the base.

• Journal of architectural history
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• v.28 no.6
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• pp.7-18
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• 2019

This study is to find out the design concept of asymmetrical building with 4 purlins mainly in Sungkyunkwan(Confucian Shrines), Changgyeonggung palace and Changdeokgung palace The results are as follows: First, asymmetrical building with 4 purlins has the same height pillars, which was useful to control the side lenght and put a higher pillar without limit. Second, the side length of the asymmetrical building with 4 purlins is between 12 to 14 Ja[尺]. It's relatively longer than the minimum length(12 Ja) of 5 purlins architecture seen in later Joseon dynasty. Third, asymmetrical building with 4 purlins was not an anomalous structure when compared to 3 purlins and 5 purlins. It was actually a traditional style, unlike the current architectural recognition nowadays, which mainly focused on the balanced roof structure. These examples show that the architectures in Early Joseon dynasty were planned and constructed first according to the plane division that fit in a specific use or space.

• Conservation Science in Museum
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• v.20
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• pp.61-76
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• 2018

The National Museum of Korea conducted conservation treatmenton the armor in its collection for the purposes of public display and appropriate preservation. This was preceded by a literature study on the types and features of the armor in order to collect basic data for secure and accurate conservation treatment. The literature study found that during the Joseon dynasty, armor was named in reflection of precise details including the color, material, status of the wearer, and even the certain parts of a suit of armor. In general, the name of armor includes the details in the order of color, underlying textile, and scale material (e.g., iron, leather). The former part of the name presents the features of the garment and the latter part refers to the material of the scales or the status of the wearer. The study also found that main materials used in armor include textiles, leather, and metal, and armor can be classified by the materials of the scales-e.g., metal armor (鐵甲), leather armor (皮甲), paper armor (紙甲), paper-and-fabric armor (淹心甲), silk armor (緞甲). Joseon-period armor can also be classified into four types according to its structure and the method of wearing, and overcoat(袍)-style armor was the most widely used in the period following the Japanese Invasion of Joseon (1592-1598) through the late nineteenth~early twentieth century. Overcoat-style armor was commonly worn by infantry, and the four examples of armor with leather scales at the National Museum of Korea belong to this category.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.223-242
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• 2022

The main purpose of this study is to find out the meaning of structural changes that appeared in the royal tombs of the Joseon Dynasty after the application of a compound lime-mortar(Sammulhoe三物灰: the mortar with lime, sand, ocher). In the early Joseon Dynasty, the royal tomb was constructed by following the system of the stone chamber tomb in the Goryeo Dynasty. However the system of the stone chamber tomb recorded in 『GukJo-OReYi(國朝五禮儀: The five category's formalities in the Joseon Dynasty)』 is very different from that in the Goryeo Dynasty. The biggest difference is that a compound lime-mortar was applied into the system of the stone chamber tomb in order to attempt structural reinforcement. This change reflects King Sejong's willingness to build a dense structure in which water does not permeate the stone chamber when Yeongneung(英陵) was built in 1446(the 28th year of King Sejong's reign). Yeongneung is a complex structure consisting of a stone chamber and compound lime-mortar wall. After constructing a stone chamber, the 1.2m(4尺) thick wall with a compound lime-mortar is additionally constructed outside the stone chamber structure. In 1468(the year of King Yejong's accession), according to the will of King Sejo, the stone chamber system was abolished and the Hyeongung(玄宮: the chamber enshrining a coffin of the deceased king or queen consort) was constructed only by the thick wall with a compound lime-mortar. This change become a primary cause for the royal tomb to be constructed as Hoekyukneung(灰隔陵: the royal tomb with chamber constructed only by the thick wall with compound lime-mortar) in the late Joseon Dynasty. The Hoekyukneung in the late Joseon Dynasty has been constructed with the method of structure and construction for the thick wall with a compound lime-mortar since the complex structure recorded in 『GukJo-OReYi(國朝五禮儀)』. The Hoekuykseoksilneung(灰隔石室陵: the complex structure consisting of a stone chamber and compound lime-mortar wall) is unique tomb style of Joseon Dynasty and become a motive of tomb system(Hoekuykneung) in the late Joseon Dynasty.

• Journal of architectural history
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• v.15 no.1 s.45
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• pp.29-40
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• 2006

This paper is focused on Damheonseo(湛軒書), an anthology written by Hong Daeyong, and I deal with Chinese Architectural views which he had experienced in his itinerary to Beijing, and the vivid pictures of Joseonkwan (called the Koryo or Joseon Embassy) located in Beijing at that time. He was a scholar of great erudition over astronomy, mathematics, military science, politics, and so on. He was interested in practical sciences at early time, and criticized secular scholars full of vanity who had presented purposeless articles. In his age of 35, Qianlong(乾隆) 30 (1764, Youngjo 41), he, a military escort, accompanied by Hong Uk, Joseon envoy and his uncle. Before his itinerary, he self-studied Chinese. Also, during a long journey he got new experiences and information around each area, deviating his group whenever he had some times. He could get more variant experiences than others because of his character full of curiosity, and his observations from the vivid lives of the time helped us get various views between Chinese and Korean architecture. Likewise, although he denounced Qing(淸) scathingly as a barbarian, he mentioned several points about the characteristics of Chinese architecture at that time. First of all, totally Chinese architecture had strong rational and practical points. Secondly, based on bountiful products, buildings along streets shown in Chinese city had sophisticated compositions, and luxurious and magnificent appearances. Thirdly, using the brick from walls to houses was so universal. Fourthly, the layouts of building with three- or four-closed courtyard had very orderly shapes, and the structure of street was also so arranged. Finally, because of stand-up lives, the scales and appearances of interior space were even more extended, and storages were less developed than those of Joseon. As another points, I found that Joseonkwan was moved next to Shushangguan(庶常館)from Huidongnanguan(會同南館) around Hanlimyuan(翰林院), and had been remodeled into a house with Korean custom in using the inner spaces, although it was followed by a closed courtyard style. Likewise, I recognized that Ondols were sure to be established in all temporary houses during the journey to Qing, and felt their strong traditional residential custom in such mentions. Now that the past pictures have disappeared and ways of life and our values have been largely changed, this study has very important meaning in comparing the ancient Chinese and Korean architecture.

• Journal of architectural history
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• v.31 no.1
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• pp.7-17
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• 2022

The purpose of this thesis is to understand the shape of The Sijeon (Licensed-Markets) established around the Jongno and Namdaemun-ro Avenues in Hanyang during the Joseon Dynasty in the 19th and 20th centuries and then to examine the relationship with the urban structures of Hanyang City. By investigating the excavation results of the Cheongjin and Gongpyeong areas, drawings, photos, and documentary records related to the city, this study classified the building types in the Jonggak area. As a result, since the 19th century, the basic form of Sijeon with 2 Gan(間, bay) in the front facade and 3 Gan(間) on the side, in other words, 5M in the front and 8M in the side was arranged in parallel, and it was a type with a corridor-type courtyard inside. The inner sides of Jongno Avenue had an atypical flat shape that suited the more free lot, and a courtyard-type plan with a single entrance was also confirmed in the one or two Bang(房, district). This study reflected the operation method of the Sijeon buildings b between the one unit and the other units, which affected the internal spatial structures, and it found that the size and style of the Sijeon buildings were closely relevant to the size of the lots near Jongno Avenue.

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.4-19
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• 2012

There remain many royal tombs of the Goryeo Dynasty in Gaeseong and Ganghwa. During the Goryeo Dynasty, these royal tombs were taken over tradition of tomb construction style from previous generation, and they completed their own inventive style. Furthermore they handed down those style to the Joseon Dynasty. The area of tomb was divided into 3 or 4 steps, and stone figures and T-shaped houses for sacrifice were arranged on each steps. It was the stone chamber of lateral opening style which had an entrance to southward, and it was formed as a rectangular box-shaped with a pile of stone walls and a flat ceiling. There was a coffin stand in the middle of floor, and traditional bricks were around them. The wall side and ceiling had been whitewashed and painted pictures. These are general characteristics for the tomb construction style of the Goryeo Dynasty. By the way, we can notice a number of features except those general things with inspection in detail. In early days, we confirmed 1step-parallel fulcrum ceiling, coffin stand of all in one stone, bier of burial artifact, and mural of plant material as a set, but they were changed as flat ceiling, Red-stone wall with rectangular stone, coffin stand set as stone pillar through the period of transitional form as of in the late 12th century. In case of several royal tombs, the fragments of king's epitaph which were confirmed from tombs could be defined owners clearly, and there were considerable timing difference between the large numbers of celadons which were excavated with the fragments of king's epitaph and recording chronologically of stone chamber structure. The reason for timing difference is that posterity artifacts were buried through repairing courses by occasion of destruction caused by robbing of the royal tombs. Meanwhile I inferred the existing hypothesis about owners of royal tombs and autonym ones in comparison the burial spot direction of hypothesis ones and outcomes of excavation. Therethrough, some hypothesis about owners of royal tombs such as Myung-neung which was assumed as tomb of the King Choongmok were not correct.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.