• Conservation Science in Museum
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• v.8
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• pp.13-24
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• 2007

The Department of Fine Art requested the conservation science team to examine the technique of painting with gold powder on the gold painted porcelains, which were made in Korea and China, among the items possessed by National Museum of Korea in order to publish it in the research paper collection of the Exchange Exhibition of Korea and China Porcelains. Among the items possessed by National Museum of Korea, such items were included as, an item of Koryo inlaid celadon (No. Gaesung 106), called the celadon with inlaid work (Korean name: Cheongjasanggam suhawonmun geumchaepyunho), which was decorated in the layer of glaze using gold power, an items of tea cup called "Temmku da wan" (No. Bongwan 10011), which was manufactured in the time of Song dynasty of Chinese history, an items of gold cup called "Siyuchohwamun hwageumwan" (No. Bongwan 2027), and an items of a porcelain called "Siyuwan" (No. Duksoo 3322). As the result of the examination, the stabilizing method of baking the decorated porcelains is similar, after they are painted with the pigment mixed with fine gold powder and the glaze solvent, but the treatment method of the colors is a little different among them. In other words, there is a big difference between them, for example, in the case of Koryo celadon, because the gold coloring was painted carefully one by one on the splendid decorations of inlaid works, while in the case of Chinese porcelains, butterflies or arabesque designs are decorated on the layer of the glaze in the porcelains of no decoration, using the stencil skill. According to the result of this examination, the part of the porcelain, whose layer of gold color was peeled off, could be restored, and as the result of the restoration, it was confirmed how beautiful and splendid the gold porcelain had been at the time of being manufactured.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.1
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• pp.67-85
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• 2004

Four volumes of the script of the Avatamska Sutra written with golden paste on dark blue papers manufactured in Koryo Dynasty which are collected or deposited in every museum of Japan show specific features on their cover paintings. In general 3 or 4 lotus flowers are wound by arabesque patterns in zigzag on the cover paintings of Koryo scripts, whereas 10 lotus flowers painted with golden paste on the 4 volumes of these scripts are same in their style. Though there is no prayer sentences in 4 volumes of the script, it is possible to know that they should belong to a set of 80 Avatamska Sutra by the results of above studies. In this study the contents of Byunsangwha of the script of 4 volumes of the Avatamska Sutra were discussed at first and their manufactured era should be postulated by the results of style analysis of cover paintings and Byunsangwha. First thing that saint hair of Buddha was painted with cobalt color is same as that of Byunsangwha of Munsuchoisangsungmusenggebueob prayed in Tejeong 3rd year, king Chungsuk 13th year(AD 1326). Second thing that the beads in topknot of saint hair and lips were painted completely with pink color, and ears, face outline as well as bosom outline disclosed through monk's cloth were also painted with pink color, furthermore the last thing is that Buddha's face was coated with golden paste. All of these things are same as shown in the characteristics of Byunsangwha of the scripts of Kanezawa Daishoji, Matsue Tenrinji and Haga Tera collection in Japan. However, since the cloud pattern style of Byunsangwha of the script is similar to that of the Byunsangwha manufactured in reinstatement era of king Chungsuk, it is possible to say that these 4 volumes of script should be manufactured in the reinstatement era of king Chungsuk.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.6 no.1
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• pp.47-80
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• 1984

The aim of this paper is to study the classification and arrangement system, the original texts, and the bibliographic deseription of Dae-Jang-Mock-Lock. The results of this study can be summarized as followings; 1. The first carving of Dae-Jang-Mock-Lock was assumed to be completed at latest by 1087 (King Sun-Jong 4, Koryo) when the first carving of Dae-Jang-Kyong, the complete collection of Buddhist Sutra, mas finished. Henee, Dae-Jang-Mock-Lack is safely said to be the oldest catalog in Korea. 2. The major function of Dae-Jang-Mock-Lock mas to facilitate the job of printing, managing, or arranging the Sutra tablets, rather than to serve as its references. 3. Dae-Jang-Mock-Lock mas classified in accordance with the classification sys tern of Gae-Woon-Suck-Kyo-Lock, a chinese Buddhist catalog. This system classified the complete collection of Buddhist Sutra into the three categories of "Mah$\={a}$y$\={a}$na Tripitaka", "Hinayan$\={a}$ Tripitaha", and "collected Biographies of Samgha", at the first gradation. And then the Mah$\={a}$yan$\={a}$ Tripitaka mas divided into the three categories of "Mah$\={a}$y$\={a}$na Sutra", "Mah$\={a}$y$\={a}$na Uparaksa", and "Mah$\={a}$y$\={a}$na Upadesa", at the second gradation. In the same manner the "Hinayan$\={a}$ Tripitaka was divided into "Hinayan$\={a}$ Sutra", "Hinayan$\={a}$ Uparaksa", and "Hinayan$\={a}$ Upadesa". The "Collected Biographies of Samgha" was divided into Brahman Samgha and Chinese Samgha. For this reason we Can name this main classification system as a Tripitaka Classification. 4. The first carving tablets of the Buddhist Sutra from Choen Shelf (天函) to Young Shelf (英函) were the same Sutra that were included in Gae-Woen-Suck-Kyo-Lock (開元釋敎錄), except those 4 omitted sutras of 22 volumes. But the other 7 sutras of 24 volumes were included as an extra addition in "Dae-Jang-Mock-Lock." 5. The 40 shelves and 376 volumes of Buddhist Sutra from the Doo Shelf (杜函) to the Kyong Shelf (輕函) in Dae-Jang-Mock-Lock were copied from the texts of Guran Edition (契丹本) 6. The 36 shelves of Buddhist Sutras from the Bun shelf (磻函) to the Mil shelf (密函) in Dae-Jang-Mock-Lock were the same as those included in Sock-Jung-Woen-Suck-Kyo-Lock (續貞元釋敎錄), except the 3 omitted sutras.

• Journal of the Korean Society of Costume
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• v.4
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.

• Journal of Astronomy and Space Sciences
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• v.26 no.4
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• pp.621-634
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• 2009

We investigated the formation of Pochonka (Song of the Sky Pacers) and Chonmun yucho (Selected and classified writings on astrology) of the early Choson dynasty. We recognized that the songs in these books were deeply influenced by those in a Chinese book Tong-zhi published in 1161 A.D., based on the following facts; the contnts of both treatises are described in the same order; the first phrase of the song for Thai-wei-yuan has composed of five words rather than seven words; in particular, Choson's Pochonka has the song that describes the position of the Milky Way relative to asterisms, which was supplemented by the author Zheng Qiao. Since Tong-zhi were brought into Koryo in 1364 A.D., Choson's Pochonka must be formed after that time. In particular, compared with Chinese Pu-tien-ko, Choson's Pochonka stresses the colors of asterisms in order to represent the origin of each asterism with respect to the astronomers, Shih-shen, Kan-te, and Wu-Hsien. We also find that the star-charts in Pochonka and Chonsang-yolcha-punyajido (Chart of the asterisms and the regions they govern) published in the early Choson dynasty are significantly similar in names, number of stars, and shapes of asterisms in them. This fact means that the star-charts in Pochonka originated from either the parent chart of Chonsang-yolcha-punyajido or Chonsang-yolcha-punyajido itself. The parent rubbing was reappeared in 1392 A.D. and carved on stele in 1396 A.D., and so the publication of Pochonka can be dated back to A.D. 1392. Chonmun yucho is a book that was formed by footnoting Pochonka with astrological descriptions in Chinese treatises. The formation period of Chonmun yucho is estimated to be 1440-1450 A.D. from the facts such as the biographical survey of the author Yi Sunji. Furthermore, Pochonka was adopted as a textbook of the government service examination for the astronomy division in Soungwan or the Royal Bureau of Astronomy in 1430 A.D.. We inferred from these facts that Choson's Pochonka was formed between 1392 A.D. and 1430 A.D. as a part of establishment of the cultural and political foundation of the Choson dynasty by adopting the advanced system of the Song dynasty.

• (The)Study of the Eastern Classic
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• no.37
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• pp.33-61
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• 2009

In the late Koryo period, until 14th century, there had been at least two groups of Manchurians who were conferred citizenships; one group was living as an original inhabitant in the coastal area of north­eastern part of Korean peninsular, long time ago, and they were over one thousand households. The other was coming down from inland, eastern part of Yoha River, to the area of Tuman River to settle down and they were at least around one hundred and sixty households, including such tribes as Al-tha-ry, Ol-lyang-hap, Ol-jok-hap and others. They were treated courteously, from the early days of Choson dynasty, with governmental policies in an economic, political, and social ways. They were given, for instance, a house, a land, household furniture, and clothes. They were allowed to get marry with a native Korean to settle down. They were educated how to cultivate their lands. It was also possible for them to be given an official position politically or allowed to take a National Civil Official Examination. The fact they could take such an Examination, in particular, means they were treated fairly and equally, because they also had a privilege to improve their social positions through the formal system as much as common people. Two typical families were scrutinized, in this paper, family Chong-hae Lee and family Chon-ju Ju. All of them were successful to settle down with different backgrounds each other. The former were from a headman, Lee Jee-ran, who controlled his tribe, over five hundred households. He was given three titles of a meritorious retainer at the founding of Chosun dynasty, at the retrieval of armies, and an enshrined retainer. His son, Lee Wha-yong, was also given a vassal of merit who kept a close tie successfully with the king's family through a marriage. Upon the foundation of their ancestors, their grandsons, family Lee Hyo-yang and family Lee Hyo-gang, each, had taken solid root as an aristocratic Yang-ban class. The former became a high officer family, generation by generation, while the latter changed into a civil official family through Civil Official Examinations. They lived mainly around Seoul, Kyong-gi Province and some lived in their original places, Ham-kyong Province. Chu-man, the first ancestor, was given a meritorious retainer at the founding of the dynasty and Chu-in was also given a high officer position from the government. They kept living at the original place, Ham-heung, Ham-kyong Province, and then became an outstanding local family there. They began to pass the Civil Official Examinations. After 17th century on the passers were 17 in Civil Official Examinations and 40 were passed in lower civil examinations. The positions in government they attained usually were remonstrance which position was prohibited particularly to North­Western people at that time. The Chosun dynasty was open to Machurians widely through the system of envoy, convoy, and naturalization. It was intended to build up an enclosure policy through a friendly diplomatic relation with them against any possible invasion from outside. This is one reason why they were supported fully that much in a various way.

• The Korean Journal of Archival Studies
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• no.17
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• pp.3-37
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• 2008

In this article, I outlined the archival management system in Early Joseon Dynasty and examined the characteristics of the system. At first, I explained the three aspects of the archival management; the memory of the past, the documentation of the contemporary, and the vision of the future through the documentation. Secondly, I tried to understand the character of the Veritable Record and its compilation by the concepts of archival science such as 'authenticity', 'reliability'. In the memory of the past, the History of a Dynasty(Koryo-Sa) and the Comprehensive History of Eastern Kingdom were included. The arrangement of the past was accompanied with the systematic study of the domestic and foreign histories. At the beginning of the state building, there was many practical need to the experiences of government and social re-construction. It was also the process of the legitimacy establishment of the new dynasty. And the Bureaucracy promoted the development of the records and archival management system because it needed the continuity and evidence of business. The dualistic structure of the records and archival management system was the most unique character of this age. The management of general administrative records was not different from the modern one. But the historical drafts and the compilation of Veritable record were different. Here, I had to examine the characteristics of these procedures by the concept authenticity, reliability, and custodianship. In doing so, I suggested the need of conceptualization of the historical terms such as 'the primary sources' and 'the secondary sources' in historical study. The archival concepts will be the most useful means to that issue. Through the memory of the past and the documentation of the contemporary, they made visions of the future, new vision of the Literati Governance. In this tradition, in spite of the revision of the Veritable records by the new changed political party, both the orignal and the revised remained as the comparative evidence for the future generation in the name of the Black-Red Revised History.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.76-101
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• 2013

In this article, we examine the Taeshil of King Jungjo, the 22nd King of the Joseon dynasty located in Yongwol, Gangwondo. The Jangtae culture - burial of the navel cord - is a unique Royal ritual which began during the Shilla dynasty and continued to be carried out for a long period until the Koryo and Joseon dynasties. Until today, about 300 Taebong sites have been discovered, most of which are the Taebong of the decedents of the royal family of the Joseon Kingdom. Most Taeshils built for Kings of the Joseon dynasty were destroyed during the Japanese colonial period, among which only a few have been recovered and managed across the nation. The Taeshil of King Jungjo is one of the leading examples among existing Taeshils in Korea which has managed to preserve well enshrined relics as well as literature documents including stone relics in perfect sets. Thus, in order to examine the Taeshil of King Jungjo comprehensively, first of all literary materials related to the construction of King Jungjo's Taeshil such as the Josunwangjosilrok - "Annals of the Choson Dynasty (朝鮮王朝實錄)". "Jungjongdaewang Taesilgabong Euigwe (正宗大王胎室加封儀軌) - Royal activities related to Taeshil, and local historic documents etc were searched and put together, while a focus was placed on examining the geographical location and state of the Taebong, including the specific style of each part of the Taeshil stone and characteristics of enshrined relics. Such materials are believed to have important utility in the future as a basic material to be used for research, maintenance, and restoration of Taeshil relics. So far, Taeshil relics is a field that has not been able to attract much attention from the academic world, however attention has begun to be paid to Taeshil relics due to recent archaeological excavations as well as an approach to artistic history. Academic research results are expected if Taeshil relics are able to be examined comprehensively in future covering various areas such as literature history, archaeology, and artistic history etc.

• (The)Study of the Eastern Classic
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• no.54
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• pp.319-348
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• 2014

This paper examines the centered on the Ritualized of Royal archery as a national event led to the demonstration of military rites was settled during the early Chosun Dynasty. And aims at considering of traditional of archery a Royal family and high position military people's. It was maintained as an system for both stability of royal family and centralization of government authority. As we know, since ancient times, the performance number of shooting arrows had been reduced in the early Chosun Dynasty. And one more reason is, traditionally Royal family liked shooting archery. For example, King Taejong was very openly shooting archery to inside palace and outside field. He says the archery is a principal element of military persons. Anyhow, to the King Jungjong, many Kings played shooting archery. However, at that time, the Royal archery came from ancient Korea and Kingdom of Koryo. In this historical background, Military rites will be established not just from ancient China. It specially called five manner of rituals. However, the rule of Confucianism to be Government police, archery ritual was declined. It's involved Curriculum of education. And this is related to the who got the new group of government authority. They are young confucianist. From there, the Confucianism manners, were to change of traditional of archery in Early Chosun Dynasty.