• Journal of Korean Historical Folklife
• /
• no.45
• /
• pp.291-325
• /
• 2014

This study is about examining the changing process of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty. For this, it was compared with book of national rites. This paper will outline the differences of commemorative rites of worshiping heaven between Korea and China and its reason for changing process. Also, it shows the understanding of the historic characteristics of commemorative rites of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty through analyzing conducted religious service. Following methodological approach was used to achieve the aim of the study. The study includes historical changing process and basic ritual of commemorative rites of worshiping heaven from Koryo dynasaty to King Sejo period through various chronicles and books of rites. Understanding the trend transition of operating commemorative rites of worshiping heaven is expressed differently based on the situation in those days even though it is the same operation of commemorative rites of worshiping heaven. The existing study only primarily considered the rites of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty through the resources within the country. However, the process of settlement of commemorative rites of worshiping heaven is closely related to settlement of Confucian formality. As the problems cannot be solved if institutional changes are researched only though the resources within the nation, this following study also considered the transition of commemorative rites of worshiping heaven in China for sure. Through this approach, the study understood how China's rites of worshiping heaven settled down and formed in Korea and found differences of the rites of worshiping heaven between the two nations by comparing China's book with ornamental "seal" characters throughout many generations. Furthermore, it also illustrated historical characteristics of rites of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty by analyzing carried out religious service. Although it seems like there are many similarities of Chinese ritual procedure between Koryo dynasty and Chosun dynasty, there are existing significant differences in the context. Moreover, it is clear that there are differences of ritual between Tang, Song, Ming dynasty. These differences are directly connected to Korea and also with transition of king's power. Generally, Tang and Song dynasty show similar trend whilst Ming clarifies the differences between the two. For instance, there are differences between deep bow and superintendent of cho-hun, a-hun, and jong-hun. Transition of configuration is also one of the major differences. Changing of configuration has considerably important meaning refer to status of king's power. Analyzing specific features, such as size of altar, ancestral tablet, people who participate in sacrifices, okpye, configuration, and etc., made possible to consider the actual differences, not just examining different features of vaguely. Based on this foundation, the study closely examined the differences among the periods between the nations and gave the significance of the differences.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.3
• /
• pp.164-183
• /
• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.31-70
• /
• 2016

Jongmyo Jeryeak [Royal ancestral shrine music] is a precious cultural heritage, which has been played till now since two great kings Sejong and Sejo who made it. But going through Japanese occupation, Jongmyo Jeryeak has been changed into a music totally different from the music the two kings intended. And the changed Jongmyo Jeryeak is being played these days. The original Jongmyo Jeryeak, which was made by the two kings, remains in old music scores. Therefore there is a need to investigate the differences between the original and current Jongmyo Jeryeak by interpreting the old music scores and recovering the original. This paper recovers the origianl Jongmyo Jeryeak from the music score Daeakhubo and compares it with the current Jongmyo Jeryeak. The results are as follows. The origianl Jongmyo Jeryeak is a set of common songs made with Hyangak and Gochiak to sing the verses which extol royal ancestors' virtues. All of the musical elements are matched with the verses so that the meaning of the verses is transmitted naturally. Jangdan musical time musical structure are matched with the structure of verses, and the musical motif of the songs is matched with the meaning of the verses. The music, which is easy and expresses the meaning of the verses well, demonstrates King Sejong's talent as a musician. The current Jongmyo Jeryeak is a set of special songs in which Sigimsae is emphasized rather than the meaning of the verses. The melodies are broken into pieces inconsistently, the meaningless word 'ae' is added thoughtlessly, and Jangdan musical time musical structure are unrelated to the verses. Therefore the meaning of the verses is not transmitted at all. These changes, which were made during the period of Japanese occupation, seem to desecrate the verses of the original songs. The melodies, which are broken into pieces inconsistently, revive into the current mysterious ritual music through Sigimsae. But in order to be a proper ritual music, some corrections have to be made to convey the meaning of the verses.