• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.138-153
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• 2018

The purpose of this study was to analyze , which was made in the late Joseon Dynasty to specify the vegetation landscape of the Donhwamun Gate area in Changdeokgung Palace. The study results can be summarized as below. First, based on "Jieziyuan Huazhuan(芥子園畵傳)", the introductory book of tree expression delivered from China in the 17th century, allowed the classification criteria of the trees described in the picture to be established and helped identify their types. As a result of the classification, there were 10 species and 50 trees in the Donhwamun Gate area of . Second, it was possible to measure the real size of the trees described in the picture through the elevated drawing scale of . The height of the trees ranged from a minimum of 4.37 m to a maximum of 22.37 m. According to the measurement results, compared to the old trees currently living in Changdeokgung Palace, the trees described in the picture were found to be produced in almost actual size without exaggeration. Thus, the measured height of the trees turned out to be appropriate as baseline data for reproduction of the vegetation landscape. Third, through the Rubber Sheeting Transformation of , it was possible to make a ground plan for the planting of on the current digital topographic map. In particular, as the transformed area of was departmentalized and control points were added, the precision of transformation improved. It was possible to grasp the changed position of planting as well as the change in planting density through a ground plan of planting of . Lastly, it was possible to produce a three-dimensional vegetation landscape model by using the information of the shape of the trees and the ground plan for the planting of . Based on the three-dimensional model, it was easy to examine the characteristics of the three-dimensional view of the current vegetation via the view axis, skyline, and openness to and cover from the adjacent regions at the level of the eyes. This study is differentiated from others in that it verified the realism of and suggested the possibility of ascertaining the original form of the vegetation landscape described in the painting.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.207-241
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• 2007

This paper investigates the royal collection of paintings and calligraphy during King Gojong's (高宗) reign (1897~1907) based on the function of the Jipgyeong-dang Hall (緝敬堂), situated at "sleeping realm (寢殿)," Gyeongbok Palace. Using the surviving palace records and art works this study argues that the date of building the hall is approximately confined to the year of 1890. Not being matched with the general opinion that the Jipgyeong-dang Hall was used for the official meeting with envoys, this hall functioned as the main place for royal audience and the storehouse for archives. The role of Gojong as collector and patron was essential not only to the maintenance of the collection but also to the strengthening of royal authority just before the Japanese annexation in 1910. The specific titles of the collection at this hall can be verified through the Catalogue of the Books, Paintings, and Calligraphy Exposed to the Sun at Jipgyeong-dang Hall (緝敬堂曝曬書目) dating to the nineteenth century. The records of the catalogue inform us that more than 1,000 paintings and pieces of calligraphy, inkrubbings from old steles, manuals for painting, and encyclopedia concerning art theories from Korea, China, and Japan were preserved there. The collection of Jipgyeong-dang Hall resulted from Gojong's policy to foster the collection of contemporary Chinese and Japanese art works and various catalogues. Standing behind the Gyeongbok Palace, the Jibok-jae Hall (集玉齋) also preserved the diverse sources of practical learning, as did the Jipgyong-dang Hall for Gojong. The enormous royal collections by Gojong might have been constructed in accordance with the royal artistic taste and the artistic milieu of the late Joseon period. The surviving royal catalogues confirm this assumption as documentary evidence.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.244-257
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• 2020

State-designated rain gauge pedestals, including a rain gauge support, were installed in front of the "Imunwon" at Changdeok Palace, made from various rock types. Some of those pedestals provide exact information on their production dates. These rain gauge pedestals are highly valuable as scientific instruments; however, there has been insufficient scientific research carried out on them. Therefore, precise analysis and conservative consideration are required. As a result of petrographic character analysis, the Changdeokgung rain gauge pedestal has been classified as marble. Furthermore, comparison of the results of P-XRF analysis with GSJ reference samples (JLs-1, JDo-1) has determined it to be dolomitic marble. Applying the same analysis to other state-designated rain gauge pedestals, it was presumed that the rain gauge supports at Gyeongsand-do Provincial Office and Gwansanggam were each made from aplite, pinkish medium-to-coarse biotite granite. Results confirmed that only the Changdeokgung rain gauge pedestal was made from marble. Marble is viewed as having an identity specificity rooted in a certain historical background. According to the tendency towards stone figures being made from marble, especially dolomitic marble, it is necessary to further studies whether particular rocks were used to make royal stone figures in Joseon Dynasty.

• Journal of Conservation Science
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• v.37 no.2
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• pp.101-119
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• 2021

Korea's National Treasure No. 229, the Jagyeongnu (clepsydra) of Changgyeonggung Palace, is a scientific and cultural property representing the pinnacle of science and technology in the Joseon Dynasty. Currently, only the large, mid-sie, and small Pasuhos (bronze jars) remain. During a nearly two-year conservation project by the Cultural Heritage Conservation Science Center (CHCSC) that began in 2018, conservators identified the contaminants on the surface of the water clock's components. It turned out that the contaminants had been caused by the exposure of squalane and silicone oil, used in an earlier preservation treatment, to the elements. The CHCSC conducted experiments to determine the most effective method to remove the contaminants. First, the conservators tried using an organic solvent, a poultice, and the application of toluene and bentonite, which yielded excellent reactivity and significant color difference changes (𝚫E). However, the reactivity was insufficiently effective to warrant the health hazards to the conservators and the environment (toluene is toxic). Although organic solvents required considerably more effort, time, and human resources, the conservators confirmed that their use achieved a true color difference variation (𝚫E) that was within the same range as the toxic hydrocarbon. Thus, they confirmed that using an organic surfactant was the best method for removing the contaminants.

• Journal of Conservation Science
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• v.38 no.2
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• pp.87-95
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• 2022

This aimed to species identification and tree-ring dating of wooden elements used in the Myeongjeong-gate of the Changgyeong-palace, Seoul, Korea. Of the 79 wooden elements evaluated, 78 were confirmed to be hard pines and one belonged to Abies spp.. Cores of the wooden elements were collected using a drill for tree-ring dating, and ring-width plots of individual samples were constructed using the TSAP software. The tree-ring dating results for the outermost ring of 58 hard pine wooden elements revealed the following felling dates: early spring of 1604-late fall of 1615, late fall of 1706-early spring of 1707, and late fall of 1828-late fall of 1834. The obtained felling dates of the 1600s and 1800s were found to be consistent with those in the construction and repair records of the Annals of Joseon Dynasty, Gwanghaegun's Diary and Changgyeonggung Yeonggeondogam Uigwe. However, the obtained felling dates of the 1700s were not consistent with those in the construction and repair records. Therefore, additional confirmation of repairs that were not included in the records was possible using tree-ring dating.

• Journal of the Korean Society for Library and Information Science
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• v.56 no.3
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• pp.213-239
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• 2022

This study attempted to organize the transition process of Royal Library (Gyujanggak) in chronological order, analyze the flow and find diachronic meaning during Gojong period, the most confused time at home and abroad prior to modernization. For this, first, the total status quo of King Gojong's library and book storage which played role of Royal Library and a personal library in Gojong period was investigated. Second, based on the current status of the investigation, the transition process from the Royal library in the early days of King Gojong to the Imperial library during the Korean Empire and its meaning were considered with the Annals of the Joseon Dynasty, Seungjeongwon diary, various catalogs and historical records. Third, the changes of space-time and aspect of Royal library through the palace of Gyeongbokgung, Changdeokgung, and Gyeongungung were examined to draw a sociopolitical meaning by schematizing each palace. As a result, first, King Gojong conjugated Kyujanggak as a device to strengthen the royal authority and accommodate Western culture in the process of modernization. Second, the crucial spaces containing the political orientation of King Gojong, such as the present king's portrait storage place, library(book storage), and office, formed a separate hall across Gyeongbokgung, Changdeokgung, Gyeongungung, and gradually changed into a Western architectural style.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.1-14
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• 2021

This study attempted to examine the loving pigeon culture practiced in traditional gardens and to illuminate the aspect of pigeons as a landscape animal material. In order to understand the culture of enjoying old garden through pigeons, the contents were analyzed for the translated version of the old literatures and paintings. Pigeons have been used as Jeonseo-gu(傳書鳩) and also for medicinal purposes and food. Pigeons have various symbolic meanings such as abundance, hospitality, and longevity. From the Goryeo Dynasty to the early Joseon Dynasty, pigeons were raised in the palace and private garden. In the late Joseon Dynasty, temporary trend of ornamental pigeon culture occurred. Pigeons were synesthesia materials that enriched the forest. Various beautiful pigeons created a variable landscape of the primeval forest as a moving landscape material. The bell sounds that appear differently depending on the pigeon's movement led to a rich auditory experience of the landscape. The pigeon house was an ornamental element that enriched the old garden along with the pigeon. The owners of garden were involved in gardening through the act of buying a pigeon house and placing it in the garden or making a pigeon house themselves. In addition, the writers planted plum trees, peach trees, apricot trees, and hawthorn trees as a symbol of spring and a source of food for pigeons, and expressed them in poems and paintings. This study has a limitation in that the translation of the old text was used as an analysis data. The follow-up studies on specific cases of raising pigeons in the old garden, in modern and contemporary landscape spaces are urged.

• Journal of the Korean Society of Food Culture
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• v.34 no.5
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• pp.495-507
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• 2019

This study investigates the Gabo Jaedong Jemuljeongnyechaek, which is the recording of the darye executed over a period of a year in 1834 ($34^{th}$ year of reign by King Sunjo) in the latter part of the Joseon Dynasty, two years after the death of Princess Bokon, the $2^{nd}$ daughter of King Sunjo. Accordingly, we examined the types of darye (tea ceremonies) and the characteristics of the composition of foods at ancestral rites of the royal families of Joseon. Moreover, we also analyzed the cooking methods and characteristics of food terminologies used in the darye. This includes 39 categories of food and ingredients used for tea ceremonies held for one year, on behalf of the deceased Princess Bokon in 1834. The darye for the monthly national holiday was held along with the darye on the $1^{st}$ and the $15^{th}$ day of every month. The darye for rising up and the birthday darye were held on May $12^{th}$ and October $26^{th}$ of the lunar calendar, being the anniversaries of the death and the birth of Princess Bokon, respectively. The birthday darye and the darye for New Year's Day, Hansik ($105^{th}$ day after winter solstice), Dano ($5^{th}$ day of the $5^{th}$ month of the lunar calendar), and Thanksgiving "Chuseok" were held in the palace and at the burial site of the Princess. During the darye for rising up in May and the Thanksgiving darye at the burial site in August, rituals offering meals to the deceased were also performed. The birthday darye at the burial site of Princess Bokon featured the most extensive range of foods offered, with a total of 33 dishes. Foods ranging 13~25 dishes were offered at the national holiday darye, while the darye on the $1^{st}$ and the $15^{th}$ of the month included 9~11 food preparations, making them more simplified with respect to the composition of foods offered at the ceremony, in comparison to the national holiday darye. The dishes were composed of ddeok, jogwa, silgea, hwachae, foods such as tang, jeok, jjim, hoe, and sikhae, and grain-based foods such as myeon, mandu, and juk. Foods offered at the burial site darye included 12~13 dishes comprising ban, tang, jochi, namul, chimchae, and jang. Meals offered at the darye had a composition similar to that of the daily royal table (sura). Darye recorded in the Jemuljeongnyechaek displayed characteristics of the seasonal foods of Korea. Jemuljeongnyechaek has detailed recordings of the materials, quantities, and prices of the materials required for preparations of the darye. It is quite certain that Jemuljeongnyechaek would have functioned as an essential reference in the process of purchasing and preparing the food materials for the darye, that were repeated quite frequently at the time.

• Industry Promotion Research
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• v.8 no.3
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• pp.125-136
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• 2023

This study tried to establish a system of service paradigm by re-examining the Korean play culture through the people who play in the era of King Jeongjo and revealing the integration of modern service culture. The results of this study are as follows. First, King Jeongjo inspired the autonomy and creativity of the participants through the patronage of Changdeokgung Palace and led the renaissance era of Joseon as a creative play. The creative play of the service industry is reborn as a place of innovation that realizes development through a communicative intellectual network. Second, the 60th birthday Jin Chan-yeon and the aesthetics of slowness that evoke artistic play are the language of innovation that transcends language and culture. Artistic play becomes a channel of communication to share happiness with people around the world based on absolute beauty and aesthetic sensibility. Third, Jeongjo was a humanist in Joseon. This humanistic ideology leads to humanistic religion. K-service, which uses religious play as a medium, has a turning point towards healing and happiness as all participants in the service experience sacredness. There is an implication in that it pioneered a service culture by presenting a new paradigm by combining play and service, and laid the groundwork for building a unique area in global business.