• 제목/요약/키워드: Joseon Dynasty period

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The Royal and Sajik Tree of Joseon Dynasty, the Culturo-social Forestry, and Cultural Sustainability (근세조선의 왕목-사직수, 문화사회적 임업, 그리고 문화적 지속가능성)

  • Yi, Cheong-Ho;Chun, Young Woo
    • Journal of Korean Society of Forest Science
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    • 제98권1호
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    • pp.66-81
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    • 2009
  • From a new perspective of "humans and the culture of forming and conserving the environment", the sustainable forest management can be reformulated under the concept of "cultural sustainability". Cultural sustainability is based on the emphasis of the high contribution to sustainability of the culture of forming and conserving the environment. This study extracts the implications to cultural sustainability for the modern world by investigating a historical case of the culturo-social pine forestry in the Joseon period of Korea. In the legendary and recorded acts by the first king Taejo, Seonggye Yi, Korean red pine (Pinus densiflora) was the "Royal tree" of Joseon and also the "Sajik tree" related intimately with the Great Sajik Ritual valued as the top rank within the national ritual regime that sustained the Royal Virtue Politics in Confucian political ideology. Into the Neo-Confucian faith and royal rituals of Joseon, elements of geomancy (Feng shui), folk religion, and Buddhism had been amalgamated. The deities worshipped or revered at the Sajik shrine were Earth-god (Sa) and crop-god (Jik). And it is the Earth god and the concrete entity, Sajik tree, that contains the legacy of sylvan religion descended from the ancient times and had been incorporated into the Confucian faith and ritual regime. Korean red pine as the Royal-Sajik tree played a critical role of sustaining the religio-political justification for the rule of the Joseon's Royalty. The religio-political symbolism of Korean red pine was represented in diverse ways. The same pine was used as the timber material of shrine buildings established for the national rituals under Neo-Confucian faith by the royal court of Joseon kingdom before the modern Korea. The symbolic role of pine had also been expressed in the forms of royal tomb forests, the Imposition Forest (Bongsan) for royal coffin timber (Whangjangmok), and the creation, protection, conservation and bureaucratic management of the pine forests in the Inner-four and Outer-four mountains for the capital fortress at Seoul, where the king and his family inhabit. The religio-political management system of pine forests parallels well with the kingdom's economic forest management system, called "Pine Policy", with an array of pine cultivation forests and Prohibition Forests (Geumsan) in the earlier period, and that of Imposition Forests in the later period. The royal pine culture with the economic forest management system had influenced on the public consciousness and the common people seem to have coined Malrimgat, a pure Korean word that is interchangeable with the Chinesecharacter words of prohibition-cultivation land or forest (禁養地, 禁養林) practiced in the royal tomb forests, and Prohibition and Imposition Forests, which contained prohibition landmarks (Geumpyo) made of stone and rock on the boundaries. A culturo-social forestry, in which Sajik altar, royal tomb forests, Whangjang pine Prohibition and Imposition forests and the capital Inner-four and Outer-four mountain forests consist, was being put into practice in Joseon. In Joseon dynastry, the Neo-Confucian faith and royal rituals with geomancy, folk religion, and Buddhism incorporated has also played a critical humanistic role for the culturo-social pine forestry, the one higher in values than that of the economic pine forestry. The implications have been extracted from the historical case study on the Royal-Sajik tree and culturo-social forestry of Joseon : Cultural sustainability, in which the interaction between humans and environment maintains a long-term culturo-natural equilibrium or balance for many generations, emphasizes the importance that the modern humans who form and conserve environment need to rediscover and transform their culturo-natural legacy into conservation for many generations and produce knowledge of sustainability science, the transdisciplinary knowledge for the interaction between environment and humans, which fulfills the cultural, social and spiritual needs.

Study of King Gojong's Costumes in His Excursion on a Royal Carriage -Focused on the "Dongga Painting of the Korean Empire (大韓帝國動駕圖)"- (고종의 동가(動駕)시 복식에 대한 연구 -「대한제국동가도(大韓帝國動駕圖)」를 중심으로-)

  • Gu, Young Mi;Hong, Na Young
    • Journal of the Korean Society of Clothing and Textiles
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    • 제44권3호
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    • pp.441-451
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    • 2020
  • This study examined the characteristics of the royal progress and regulations on costumes in the king's excursion by a royal carriage and then investigates King Gojong's costumes in "Dongga Painting of the Korean Empire". To examine the regulations on costumes in the king's excursion by a royal carriage, there are unique costumes, 'Ikseongwan and Gangsapo' for the great memorial service for ancestors during the Korean Empire period. 'Ikseongwan and Gangsapo' are not provided in the code during the Joseon Dynasty period. Thus, it was not provided in the regulations, in the actual execution of the ritual, the king put on 'Ikseongwan and Gangsapo,' so entering the Korean Empire period, it was legislated as 'Ikseon-gwanbok' in Daehan-yejeon. There is a scene in the "Dongga Painting of the Korean Empire" in which the king pays a visit on Yeon, holding 'Gyu' in 'Ikseongwan and Gonryongpo'. However, holding 'Gyu' on Yeon in 'Ikseongwan and Gonryongpo' can be seen in King Gojong's royal procession to hold Jongmyo Chunhyangdaeje in the year of Gabo (1894). This study showed that there was a compromise for the ritual despite not being regulated by law.

The Joseon Confucian Ruling Class's Records and Visual Media of Suryukjae (Water and Land Ceremony) during the Fifteenth and Seventeenth Centuries (조선 15~17세기 수륙재(水陸齋)에 대한 유신(儒臣)의 기록과 시각 매체)

  • Jeong, Myounghee
    • Korean Journal of Heritage: History & Science
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    • 제53권1호
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    • pp.184-203
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    • 2020
  • The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

Research on the utilizing the history materials of east-west exchanges in history class (동서 교류 역사 자료를 활용한 역사 수업)

  • Jang, Yun Hye
    • Korean Educational Research Journal
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    • 제38권2호
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    • pp.143-164
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    • 2017
  • The purpose of this study is to know how to utilize foreigners such as Weltevree and Hamel who visited Korea in the pre-modern period, during history class. Both Weltevree and Hamel were Dutch men, and the first person who visited the Joseon Dynasty was Weltevree. He was a sailor of the Dutch East India Company, landed on Jeju Island in 1627, and since then, he did not return to his country. He played a major role in the execution of weapons. Hammel, the merchant catcher of the Dutch East India Company, traveled to Joseon in 1653 and contacted several kinds of people in various parts of the country for 13 years, and was able to survey the scenery and customs of Joseon. It can be difficult for students to understand the overall trends of the world history and the views of the East and the West because students learn from Western history, East Asian history, and Korean history, separately. Learning characteristics associated with East-West exchanges will enable students to understand the Western and Eastern history of the West, and understand the history of the world.

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A Study on the Methods of Mounting the Five Peaks Screen - With the focus on green bordering silk and gilt ornamentation (궁중 의례용 일월오봉도 병풍의 장황에 관한 고찰 - 초록색 회장 비단과 금박 장식을 중심으로 -)

  • PARK, Yoonhee
    • Korean Journal of Heritage: History & Science
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    • 제55권1호
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    • pp.243-263
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    • 2022
  • The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

A study on Mohun(慕軒) Gang, pil-shin(姜必愼)'s life and Literature (모헌(慕軒) 강필신(姜必愼)의 생애와 문학연구)

  • Maeng, young-ill
    • (The)Study of the Eastern Classic
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    • 제69호
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    • pp.205-232
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    • 2017
  • In the former half of the 18th century, For this period the literary people who led the literature of Nam'in were Sadaebu named the so-called Munoepa. There were Gang Pak(姜樸), Lee In-bok(李仁復), Lee Jung-hwan, Oh Gwang-un(吳光運), and Gang Pil-shin(姜必愼) in Munoepa(門外派). All these people as Sadaebu of Nam'in kept company with families of each other, had close relations from early childhood, and shared with same opinions in various ways like politics, culture, etc. They had intimate relationships not only in politics but also in literature, and primarily acted their part regarding the development of literary circles in the first half of the 18th century. Many individual poets who achieved the outstanding literary accomplishment appeared in the late period of Joseon Dynasty, especially in the eighteenth and nineteenth centuries. They actively made progress in their literary works with Sisa. The poets in similar positions had the Sisa to show their literary ability and check on their view about the literature. They briskly tried to express their own literary intention in activities of Sisa. Gang Pil-shin is a literary representative of the late period of Joseon Dynasty Nam'in. Through the exchange relationship of Gang Pil-shin, we can confirm certain aspects of his literary world. People who have tied up with Gang Pil-shin are largely divided into three. First, it is a literary person in Geungi Nam'in literati, typified by Backryeonsidan, Jinju Gang family, Gyeongsang Provinces area that was a place of residence. The exchanges of Gang Pil-shin were done via a poetry club. a poetry club was basically conducted mainly on relatives such as Gang Pak. However, the members of a poetry club changed according to the area where you live. Gang Pil-shin made a poetry club while coming back and forth between Seoul and Gyeongsang Provinces. This means that Gang Pil-shin also had special attention as Geungi Nam'in (近畿 南人), but also had a positive nature as Yeongnam south person. A closer look at what linguistics of Gang Pil-shin Geungi Nam'in and Yeongnam Nam'in had special characteristics late period of Joseon Dynasty It is possible to confirm the special characteristics of Seoul and the local literary exchange. For this reason, it seems that more detailed examination of the literature of Gang Pil-shin is necessary.

A Study on the Naming of the Hidden Gates in Namhansansung by Records (기록에 근거한 남한산성 암문의 명칭 설정에 관한 연구)

  • Lee, CheonWoo;Kim, SukHee
    • Journal of the Korean Institute of Rural Architecture
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    • 제21권4호
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    • pp.53-60
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    • 2019
  • The purpose of this study is to investigate the change of Hidden gates form with the times. Fortresses position is constructed on the Korea mountain ranges. Hidden gate, one of facilities to construct fortress among various factors, represents as route of supplies way, ask for rescue, or counterattack plan to come in. The shape of hidden gate changes depend on land form, function, and time period. Previous research partially based on archeology or history. This research analyze Namhan mountain Namhansansung, one of the highest hidden gates count in Korea, distributive by main fortress, Bong-am fortress, Hanbong fortress. Nahhan Mountain fortress repeatedly affected by King Injo in Joseon Dynasty. As a result, Nahhan Mountain fortress consist of hidden gates alternation depend on the time of establishment or extension which makes different shape or size.

Implementation of Environment Education Software using the Ruins Original Form Restoration Technique (유적원형 복원 기법을 이용한 환경교육용 소프트웨어의 구현)

  • Lee, Gi-Sung;Lee, Keun-Wang
    • Journal of the Korea Academia-Industrial cooperation Society
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    • 제12권3호
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    • pp.1367-1372
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    • 2011
  • This paper designed 3D animation in consideration of human characteristics to stimulate their interest and to be more understandable to them. It was also confirmed that, using the 3D animation contents, general people came to recognize the problem of environment pollution and developed desirable attitude and behavior for protecting the environment. Furthermore, this paper suggested the ruins original form restoration technique of the residential environment and the natural environment of Hanyang in the Joseon Dynasty period using the 3D virtual reality digital recovery techniques.

A Study on the Change of Space Organization of Nagan Eupsung (낙안읍성의 공간구성 변화에 관한 조사연구)

  • Kil, Jong-Won;Shin, Woong-Ju
    • Journal of the Korean Institute of Rural Architecture
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    • 제12권2호
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    • pp.1-12
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    • 2010
  • The results of Change of Space Organization of Nagan Eupsung are as follows. There was no castle when Nagan folk village was built and it was merely small village arranged centering around road, but as it was emphasized as a point of strategic importance, castle wall was built and the government office and military facilities were established. In the late period of the Joseon Dynasty, as central power was weakened and its importance as a strategic point was declined, private houses outside the folk village were extended to the inside of castle. The whole structure of the village was not greatly changed through the modern society, but disappearance of village components and change of its basic structure like destruction of the castle were continued not to be restored to the former condition spontaneously. It was considered that it was caused by social demographic characteristics of the folk village which was deteriorated and environmental factors that it was changed into sightseeing place.

Graphonomy research of wooden member terms in Yeonggeon-euigwe (영건의궤(營建儀軌)의 목부재(木部材) 용어(用語)에 관(關)한 문자학적(文字學的) 연구(硏究))

  • Kim, Jae-Ung
    • Journal of architectural history
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    • 제18권1호
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    • pp.67-89
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    • 2009
  • This study examines the examples of wooden member terms of architecture terminology used in Yeonggeon-euigwe(營建儀軌) in the era of Joseon Dynasty. It is to trace the period of their appearances and changes and also to illuminate coinage characteristics and method of architectural terminology used in Yeonggeon-euigwe through graphonomy research and system and structure of wood member terms. By analyzing the meaning of a word, it was found that there was much Insineui, difference of word meaning by country was shown although it was the same shape of character. In particular, the specialty of double language system of Korean language is combined with that of wood terms. Operation of type unrelated to word meaning was found and Korean unique Gachaeui(假借義) like Bo(褓) was generated. This study draws separate systems: one is that can indicate coinage characters of architectural terminology in Yeonggeon-euigwe. The other is to obtain coinage method as a result of reclassifying terminology based on it.

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