• Journal of the Korean Society of Costume
• /
• v.61 no.10
• /
• pp.55-71
• /
• 2011

Court ladies' tasks were largely divided into two. First, if there is a royal family event, such as the royal family's wedding or feast, they followed the rules and regulations of work division that was defined in "Gyeonggukdaejeon". Secondly, during normal days, they were divided into Jimil (至密), Chimbang (針房), Subang (繡房), Sesugan (洗手間), Saenggwabang (生果房), Naesojubang (內燒廚房), and Oesojubang (外燒廚房) and took charge of female work that was needed daily at the palace including serving, cooking, laundry, needlework, embroidery, cleaning, and nurturing. This organization was operated by different palaces such as the daejeon(king's palace), daebijeon(queen dowager's palace), junggungjeon(queen's palace), or sejagung(prince's palace). Court ladies were selected among female slaves of the government office or naesusa(a ministry of royal household properties). Although commoners were forbidden to be selected, they sometimes became court ladies voluntarily for financial reasons or because of the will of their parents. Court ladies had different appearances according to the division they belonged to. The court girls of Jimil, Chimbang, and Subang wore saeangmeori while court girls from other places had braided hairstyles. At Jimil, they wore all different kinds of chima(skirt) and jeogori(jacket). Usually, court ladies wore navy chima, jade jeogori, green gyeonmagi(top jacket) with the uyeomeori hairstyle. When working in the evening, they wore pink jeogori or yellow-green jeogori, navy chima with the jojimmeori hairstyle for easiness to stay up all night and work. Navy chima was worn by court ladies. If there was a royal family event upper court ladies wore uyeomi, black or green wonsam, and stewards wore garima and dangui.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.1
• /
• pp.71-89
• /
• 2011

This study was carried out to get the exact information of the physical structures and humanistic landscapes to restore the prototype of the rear garden at Changkyung Palace. In this study, various drawings and historical documents such as Donggwoldo(東闕圖) and Joseonwangzosilok(朝鮮王朝實錄) were analysed. The innate characteristics and identity being inherent of rear garden of Changkyung Palace were tried to match the presence of acting to the specific places. The rear garden at Changkyung Palace was not only the secret garden for the rest of royal family and private life for king and queens but also used as public space for the various ceremonies. At the beginning of building, the rear garden at Changkyung Palace was built for the farming and sericulture of royal family. Since then, various events were held in this place such as archery, military drill and royal plowing and meeting with vassals which were political activities. At the rear garden of Changkyung Palace, Chundangdae(春塘臺), Kwanfunggak(觀豊閣) and Kwandukjung(觀德亭) were the base of specific activities. Also function, use, form, structure, planting and water elements were related organically in these areas.

• Journal of architectural history
• /
• v.13 no.3
• /
• pp.7-19
• /
• 2004

This study is to comprehend the interior space of the Royal Palace in the 15th Century, the early years of Joseon Dynasty. The subject of this study is limited to the center of the Royal Palace, that is Jeongjeon(正殿, the royal audience chamber) and Haengrang(行廊, which encloses Jeongjeon on four sides and has many rooms). It is very important to understand the usage of the interior space because the architectural space consists of the space unified by the organic function of the interior and the exterior space. But there are few studies on the interior space of Jeongjeon and Haengrang at the Royal Palace. Therefore, the purpose of this study is to understand the interior space of those buildings. The result of this study is following. Haengrang has several uses such as a night duty room, a storehouse, a government office or a banquet hall etc. So the interior spaces were finished with various methods that were suitable for the use of each room, and the material of the floor were the ground, Maru(the wooden floor) or Ondol(the Korean traditional heating system) There were held many kinds of ceremonies in Jeongjeon, and the government officials could not enter the inside of that building and took part in the ceremony on the front court of Jeongjeon, except the men performing the ceremony. But the high ranking officials could enter the inside when King gave a banquet and there, they prostrated themselves before King. They sat down with their legs crossed on the ground floor instead of sitting on a chair. When King held tea ceremony with Chinese envoys in Jeongjeon, they sat on Gyoui(交倚, a kind of armchair). Then, the government officials performing the ceremony in Jeongjeon prostrated himself around the King and the Chinese envoys and others stood around them.

• Journal of architectural history
• /
• v.20 no.5
• /
• pp.31-45
• /
• 2011

The purpose of this study is to understand the architectural space of Seungjeongwon (承政院), the Royal Secretariat, in the early years of Joseon Dynasty. The Royal palace can be divided into three parts, political space, living space for king and his family and offices for government official in the palace. So first, we should to understand the characteristics of each space in the Royal Palace. The result of this study is following. Seungjeongwon of the Joseon Dynasty was where Seungji (承旨), Juseo (注書), Sagwan (史官), Seungjeonsaeg (承傳色), Seori (書吏) and Harye (下隷) worked together. The architectural space of Seungjeongwon was separated into Jeongwon-Cheong (政院廳) and Juseo-Cheong (注書廳). Jeongwon-Cheong was the office for Seungji, where Sagwan worked as well as Seungji and Juseo. The form of Jeongwon-Cheong (政院廳) in Kyung-bok Palace was similar to that depicted in Eundaegyecheop (銀臺契帖), which was painted the meeting of Seungjis. Juseo-Cheong was the office for Juseo and Sagwan and there was a break room. Apart from Jeongwon-Cheong there were rooms where Seungji could work or take a rest. As with the office of Seungji, the space for Juseo also had rooms for Juseo. There were also rooms for Seori and Abang (兒房) which were rooms for servants.

• Journal of architectural history
• /
• v.21 no.5
• /
• pp.7-18
• /
• 2012

On behalf of the royal women, SangGung(尙宮:The head of female servants in the palace) and NaIns(內人: Female servants caring for royal families in the palace) were dispatched in order to attend a funeral at the royal tomb. The NaInGaGa(內人假家) is the temporary building for SangGung and NaIns in the royal tomb. It is comprised of lodgings for them and also workrooms and warehouses to prepare ritual offering for the dead King or Queen. In the early Joseon dynasty, the NaInGaGa was utilized until a funeral at the royal tomb. Since 1674, NaInGaGa for the 3 years-period lamentation was started constructing separately. At these processes, the plan and placement of NaInGaGa was changed. This study based on the SanReungDoGam-EuiGwae (山陵都監-儀軌: The report on constructing royal tomb). The SanReungDoGam-EuiGwae written since 1800 have illustration about NaInGaGa. The illustration and explanation about NaInGaGa become a important clue that make suppose detailed space of NaInGaGa.

• Journal of architectural history
• /
• v.26 no.6
• /
• pp.67-76
• /
• 2017

Royal banquets under the reign of King Sunjo saw developments in the playacting stage, which exhibited characteristics unique to the transitionary period between Jeongjo and Gojong this period established the framework of the Joseon Dynasty's playacting stage construction. Starting with the Jagyeongjeon-Hall banquet and continuing into the Year of the Golden Rat banquet, the next-day banquet by the Crown Prince demonstrates a renewed format, with the stage also changing accordingly. This change was substantiated by more assertive use of the Red Blind and gabjang. Previously, the Red Blind has been installed in the palace hall and around the royal courtyard, to form three sides, but as next-day banquets became more frequent under Sunjo, the Red Blind developed and came to be installed in accordance with the hierarchy within the royal family. In the Year of the Golden Rat banquet, the Red Blind was lifted and the throne of the crown prince was situated in the palace hall. In the banquet of the following year, however, the Red Blind was let down and the crown prince's throne was placed outside, in palace court yard. This seems to have been a gesture to reorient the crown prince's political standing and restore Sunjo's sovereignty the following year. Hence, the installation of the Red Blind developed in accordance with the royal hierarchy and ranks under Sunjo's reign. The gabjang provided the second layer of protection for the playacting stage. The hongjeongju gabjang surrounded the stage in multiple layers and served as a partition. The gabjang from the Year of the Golden Bull banquet, in particular, boasted a unique installation, where it dangled from both sides of the royal palace's facade. Hongjeongju gabjang, lapis lazuli gabjang, red gabjang, and yellow curtains were installed in the stated order to reflect Sunjo's 40th birthday as well as the 30-year anniversary of his coronation. The Red Blind and gabjang from Sunjo's years were positioned in creative ways to reinstate the royal authority, and demonstrated many improvements from those of Jeongjo's reign.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.41 no.3
• /
• pp.407-419
• /
• 2017

Based on clothing prohibition modelling characteristics, this paper studies historical costumes through the traditional Chinese historical dramas of the 'Kang-Qian' heyday during the 'Qing Dynasty'; represents the research object as a representative Chinese historical drama. This paper systematically analyzed the utilization and reflection of royal women clothing prohibition. The results of the study are as follows. The royal women clothing prohibition of this drama shows three aspects of characteristics found in traditional Chinese costume modeling. First, some special colors that integrated ancient and modern styles were mainly used in this drama such as champagne color, wine color, and macaron color. Second, it mainly utilized the modelling of modern artificial pigments and floral patterns that are different from Chinese traditional female costumes of the 'Qing Dynasty'. Third, stage costumes for this drama are focused more on using a personality method to reflect the beauty of each actress by the application of individual elements. This study analyzed and studied the clothing prohibition of female costume from to show the traditional Chinese costume prohibition in a Chinese historical drama as well as reveal a few aspects of traditional female costume characteristics in the 'Kang-Qian' heyday during the 'Qing Dynasty'. This study examined traditional female costumes characteristics in modern historical dramas based on different figures and dynasties as well as discussed the factors at a deeper level and from varied aspects.

• Journal of architectural history
• /
• v.18 no.4
• /
• pp.43-62
• /
• 2009

No.87 Sogong-dong where is the Chosun hotel stand. There was the Nambeol-gung(south ern royal villa) which had been a reception hall for enboys of the toadied country before Hwangudan圜丘壇 being set up in the year 1897. The site of the Nambeol-gung was Gyeongjeong慶貞 princess's a lot for house in the early 15th century. But after princess's death, it occurred property dispute between her son and four daughters. As a result of the dispute, a lot and a house of all the princess's properties reverted to the government. At reverted this lot was established a big royal villa in the year 1583 and that royal villa was granted to Uian prince. The villa reverted to the government again when the Uian義安 prince was dead in 12 years old by an epidemic. After the Imjin Invasion壬辰倭亂, another houses and buildings got to be role as a palace because of all the palace in the capital was burnt down to ashes. Among others Nambeol-gung was brought into play as the royal audience chamber. As well as, the villa became brought out role as a reception hall for enboys of the toadied country instead of a damaged reception hall the Taepyong-gwan太平館. In period when the envoy didn't come, the Nambeol-gung was used to extraordinary office of government like Dogam都監. This situation is to mean that the Nambeol-gung is not the royal villa any more. Because of the Nambeol-gung was built as a royal villa, that spaces were composited like space of house and palace. But this spatial composition and spatial name were not fit to hold a ceremony of government office. After all, Nambeol-gung was used change only the spatial name conform to ceremony of office keep up the spatial composition.

• Journal of architectural history
• /
• v.29 no.6
• /
• pp.101-112
• /
• 2020

This study focuses on the construction of Gyeongbokgung Palace in the second year of King Gojong's reign, which has been spotlighted for political and economic history. The author analyzed the contents of wood procurement with the Yeonggeon Diary, which records each day of construction site. The results are as follows: First, the 2nd year of King Gojong's reign, Yeonggeon of Gyeongbokgung Palace, was a new building that reflected the old system and 270 years of changed environment on the existing site. Despite the poor economic conditions, it began with years of effort and voluntary volunteer work and dedication. Second, the priority of timber transport was recruiting people in the whole process and the supply and demand of transportation tools. Carrying lumber from the mountains to the riverside and floating it at the right time were all a matter of manpower. Soldiers and carts were used to carry timber that arrived in Hangang River to the construction site. The cart was a consumable product, so it was necessary to continuously use the wood to make cart at the site. Third, fire and flood were the biggest obstacles to the Yeonggeon schedule of Gyeongbokgung Palace. Especially the fire was fatal. It was difficult to extinguish the fire in temporary structure, where was the storage for wood to construct. These disasters greatly affected the construction cost and construction period. Wood procurements of Gyeongbokgung Palace were based on public offerings. At the same time, recycled materials from other palace wood and nearby houses, nationwide buying of private mountain wood, the logging of royal tombs and some of the buildings of Gyeonghui Palace and Changgyeong Palace were relocated.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.80-97
• /
• 2023

By taking wallpaper specimens from Gyeongbokgung Palace, Changdeokgung Palace, and Chilgung Palace preserved from the late Joseon Dynasty to the present, we planned in this study to determine the types and characteristics of the paper used as wallpaper in the Joseon royal family. First, we confirmed the features of paper hanging in the palaces with old literature on the wallpaper used by the royal family based on archival research. Second, we conducted a field survey targeting the royal palaces whose construction period was relatively clear, and analyzed the first layer of wallpaper directly attached to the wall structure after sampling the specimens. Therefore, we confirmed that the main raw material was hanji, which was used as a wallpaper by the royal family, and grasped the types of substances(dyes and pigments) used to produce a blue color in spaces that must have formality by analyzing the blue-colored paper. Based on the results confirmed through the analysis, we checked documents and the existing wallpaper by comparing the old literature related to wallpaper records of the Joseon Dynasty palaces. We also built a database for the restoration of cultural properties when conserving the wallpaper in the royal palaces. We examined the changes in wallpaper types by century and the content according to the place of use by extracting wallpaper-related contents recorded in 36 cases of Uigwe from the 17th to 20th centuries. As a result, it was found that the names used for document paper and wallpaper were not different, thus document paper and wallpaper were used without distinction during the Joseon Dynasty. And though there are differences in the types of wallpaper depending on the period, it was confirmed that the foundation of wallpaper continued until the late Joseon Dynasty, with Baekji(white hanji), Hubaekji(thick white paper), jeojuji(common hanji used to write documents), chojuji(hanji used as a draft for writing documents) and Gakjang(a wide and thick hanji used as a pad). As a result of fiber identification by the morphological characteristics of fibers and the normal color reaction(KS M ISO 9184-4: Graph "C" staining test) for the first layer of paper directly attached to the palace wall, the main materials of hanji used by the royal family were confirmed and the raw materials used to make hanii in buildings of palaces based on the construction period were determined. Also, as a result of analyzing the coloring materials of the blue decorative paper with an optical microscope, ultraviolet-visible spectroscopic analysis(UV-Vis), and X-ray diffraction analysis(XRD), we determined that the type of blue decorative paper dyes and pigments used in the palaces must have formality and identified that the raw materials used to produce the blue color were natural indigo, lazurite and cobalt blue.