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

• Journal of architectural history
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• v.30 no.1
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• pp.33-42
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• 2021

This paper analysed the architectural images on Pleasant Gathering of Leeum, Samsung museum of art, which has been assumed as a work of the Koryo dynasty. Through the comparison between the unique wooden structure at roof edge on the building images and real architectures, it found the buildings on the painting were from China Fujian(福建), not from Korea. It also analysed the color painting on buildings, trees, themes from previous famous paintings and dresses to confirm these images were came from the early period of the Ming dynasty. It is a very unique painting containing various information on the Fujian ancient architecture, but its architecture drawing is not as skillful as typical ancient Chinese paintings.

• Journal of architectural history
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• v.16 no.6
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• pp.101-120
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• 2007

This paper aims at studying on the medium of cultural interchange regarding who did and how to introduced the new trend of architecture during the period of Koryo Dynasty. Before the era of Koryo Dynasty, Kyungjang(Sutra Pitaka, 經藏) was mainly centered in Kyeongnu with a substantial function of storage. In the early Koryo Dynasty, however, Daejangjeon(大藏殿), which was spatialized for worship, began to appear. Normally, fixed walls were installed and the Sutras were enshrined inside Daejangjeon, while Jeonryunjang (revolving wheel sutras), a type of rational bookshelf, was introduced, and a new trend became developed in Kyungjang construction. Jeonryunjang(revolving wheel sutras, 轉輪藏) is a dharma instrument with a rotational function so that one revolution gives an effect of reading the enshrined Sutra one time, and began to be created actively in the period of the Northern Song. It is considered that the introduction of Jeonryunjang(revolving wheel sutras) to Daejangjeon was resulted from Haejokuksa(慧照國師) Damjin(曇眞) who visited the Kangnam areas in the Northern Song at that time. The Kangjeol areas in the Northern Song, where Damjin concentratively itinerated three times, were the place in which Jeonryunjang was created in many temples. Since Damjin, historical materials and excavated data regarding constructing Jeonryunjang have been discovered in the Buddhist temples, which are related to his pupils and dharma lineage. The only existing Jeonryunjang of Yongmusa Temple in Korea is the one that Joeung Daesunsa, who succeeded to the dharma lineage of Haesokuksa, promoted, and supports strongly such introduction of Jeonryunjang by Haesokuksa.

• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.177-195
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• 1999

In this study, I tried to find out the diffusion and the receptive process of new culture with examining the costume of Ksitigrbha Bodhisattva Buddist drawings, which were drawn by our people in the Koryo dynasty. I classified each part of the costume of Ksitigarbha Bodhisattvas and found out overall characteristics and analyzed their meaning. The results are as follows ; First, because there were several ‘du-gun’ of peculiar types, Ksitigarbha Bodhisattvas were supposed to have ‘du-gun’ before Buddhism was diffused throughout China through the West. The type of ‘du-gun’ was deveoloed more and more through the West and appeared as the type of ‘du-gun’ of Ksitigarbha Bodhisattvas in ‘Ji-Jang Do’ in the Koryo dynasty. And the pecuilar type of du-gun was supposed to have been under the influence of the costume of Taoism in those days. Second, I think that the Buddhist defication of the costume in Ksitigarbha Bodhisattvas was a phenomenon in the process that belief in Ksitigarbha was united with popular belief and widely diffused and became to have its important meaning of its own. Third, the feminine tendency of the costume in Ksitigarbha meaning of the early goddess remained partly in the costume even though Ksitigarbha Bodhisattva was god in India. Fourth, Several found shape designs are supposed to be affected by the diplomatic relationship with the West. As mentioned above the costume ‘Ji-Jang Do’ in the Koryo dynasty was affected by china\`s, world-wide in that ga-sa was Gandira style based on Hellenistic art. Therefore, the reception if new culture was selective on the basis of the country\`s need and this new culture was changed into something peculiar to affect other countries simultaneously with reception.

• Journal of the Korean Society of Costume
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• v.22
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• pp.205-224
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• 1994

It was aimed to study the costume of Koryo dynasty based upon the thirty pictures of Bud-dha to hang on the wall among the existing Buddist paintings. The costume to study were made about 64 years during the King Chung-yol(1286) to the King Chung-jong(1350) which style was mostly related in Won Dynasty. 가) Men's wear ; 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan Kun and Mo. The young boys binds his hair up one, two, and three knot-s, and tied up with a hair ribbon, A kinds of Kuan-mo were Mine-lu-kuan Yuan-yu-kuan, Nong-kuan, Hae-chi-kuan Pok-du Yun-wha-kuan Yip-mo- and Tu-ku(Helmeto) 2. clothes ; 1) Colour of Koryo King's Mien-ku Kuan costume was not agree with blue and reddish black colour which was used in Yo, Song, Kum and Won Dynasty, however black and greenhish blue colour was agreed with. 2) The king wore T'ung-t'ien-kuan(Yuan-yu-kuan) and the government officials wore Chin-hien-kuan Hae-chi-kuan and Nong-kuan as a court dress. In general the king and the Crown Prince wore a hats which was used in T'ung-t'ien system however sometimes they wore small hats which was cited in literature. 3) Gate guard and upper garment wore colourful costume figured gold colour pattern which was distin-gtive costume system of Koryo. 4) A monk wore big sleeve long skirt big sleeve long jacket long skirt and shoulder scar-f full shoulder scarf or right hand shoulder opened scarf. 5) The Soldiers wore helmet shoulder or scarf pee-back hung-kap, pok-kap, yang-dan-g-kap we-yu-kap kun-kap, and boots and they carried arms. 6) The young boys wore scarf, loin cloth, long skirt, belt neckless, wan-silk, boots and foots wear and wristless. 나) Women's wear ; 1. Hair style and hairs and tied up with a hair ribbon and wore precious ston decorated hair dress wheel shape hair dress pan shaped head dress handkerchif covered hair dress decorated precious stone hair pin silk chippon made of head dress muf-fler shaped hairdress. Boots mocasin hae lee, suk and sandle wored as a shoes depends on the classes. They wore neckless, earing wres-tless and wan-pu-sik. 2. Closthe 1) High rank lade's wore un-kyun attached jacket and jacket sleeves decorated pleats and pleats decorated long skirt apron back apron knot belt, scarf this type is the same with Dang Dynasty five dynasty of china Song, Kum Won, Myung Dynasty and our cos-tume of Poe-hae, and Shilla Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.57-64
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• 1994

This study investigates the costumes of the Most Reverend Priest, which shows a portrait of the Buddhist monk in Koryo dynasty, owned by SONG KWANG Temple. A surplice and a long sleeved Buddhist robe was chiefly shown up a portrait of a Buddhist monk. The purpose of this study find out the color, form, pattern, material, adornment of the costumes which is appeared a portrait, and also seek to changing process according to the times. the finding in this paper are ; * A surplice - color : red, green, yellow etc. form' big size surplice, provision surplice. pattern : no. material : unstriated silk. adornment' bolt, ribbon. * A long sleeved Buddhist robe- color : grey, blue, dark blue, pink, green, chestnut .etc. pattern : no. In comparison with a survery of previous studies of Buddhist comstumes, the color and type of the Koryo dynasty are more brilliant various color. In other words, the social status of monk in the Koryo is higher than present day.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.8
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• pp.1161-1169
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• 1999

This research was aimed to identify the artifact type and their characteristics of the textile related materials excavated from Koryo Dynasty tombs of Hyungok-ni Danyang. Microscopy solubility test energy dispersive X-ray spectroscopy(EDS) and fourier transform infrared spectroscopy (FT-IR) fabric density test were used for the identification and when necessary standard samples were made in order to compare its characteristics with hose of the original artifact, the result indicated that the artifacts included both textile and paper. Artifacts from Burial 14 were comprised of textile fragments FT-IR and the solubility test conducted on the artifact indicated that the textiles were made with ramie woven with plain weave technique in a fairly loose fabric density. Rest of the artifacts were all comprised of paper.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.70-80
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• 2006

The purpose of this study is to investigate types and formative characteristics of 'Seon' represented of costume in Water-moon Avalokitesvara of the late Koryo Dynasty. The results were as follows; 'Seon' has two main types, Standard and Decoration types. In the former type, Seon has not any decoration. While, in the latter, Seon is added with decorations. Here, Seon of decoration type can be reclassified into two types, same color and pattern and different color and pattern. Seon most appeared in the Water-moon Avalokitesvara had the type of Decoration, especially different color and pattern. Patterns used for Seon were complex in its composition type and filling in its arrangement style. Seon was mainly used to Guneui(裙衣) and Samkaksika(僧脚崎). For the color combination of Seon, the combination of similar colors was most often used and that of same color was somewhat frequently done. Regarding costumes aesthetic characteristics in accordance with the type of Seon, those costumes appeared natural and elegant when their Seon was Standard in type, natural and brilliant when same color and pattern in type and artificial and brilliant when different color and pattern.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.1 s.41
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• pp.111-122
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• 1992

Studying the dress style of the Buddhist Goddess of Mercy SU WOL KWAN EUM DO (Drawings on the Buddhist Goddess of Mercy who is watching the Moon reflected in the still water), it is composed of a splendid, jewel crown with five colors, a light and flimsy, non-colored veil with many kinds of gold·plated patterns. This gold·plated carapace figures on a scarlet ground are drawn on the veil and the oval-type flower figures mixed with a scarlet lotus blossom ard arranged. An arabesque pattern of BOSANGHWA (an imaginary, Buddhistic flower figure) is mainly used for both line decorations and necklace. Like this, various kinds and types of figures are in harmony in spite of many changes in figure design. The SU WOL KWAN EUM DO in Koryo dynasty is full of colorful, subtle, harmonious figures which are unique style, which cannot be found in japan, China, and so on. In other words, most of most of dress patterns which are shown in SU WOL KWAN EUM DO are China ink paintings with mountains and waters as its setting. In case of color painting, figure designs are seldom used. The dress pattern in SU WOL KWAN EUM DO of koryo dynasty is characteristic of its variety and magnificent colors.

• Journal of Korean Library and Information Science Society
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• v.27
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• pp.485-572
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• 1997

The purpose of this study is to investigate the textual and physical bibliography of these books that were printed from Koryo to Chosun Dynasty and written by the Kukyul system. This study is concerned with the Kukyul written in the transformed Chinese characters which representing their sino-Korean sound values only. The Kukyul is the Korean function word inserted to a written Chinese sentence for an easier understanding of the meaning by the Koreans. Until the present, most of these studies on the Kukyul are mainly concerned with the Korean linguistic characters. But this mentions to present the basic bibliographical information in order to presume the written period of the Kukyul system. 2The analysis of each book is made in the respect of: 1) historical aspect of the book 2) physical form and publishing date 3) transcription period of the Kukyul 4) the category of presenting Kukyul 5) historical change of transcribing Kukyul system The results of the study are as follows : First, the Kukyul system was divided into Sokdok and Sundok Kukyul according to the translation and recording format. Second, the Sokdok Kukyul is a kind of writing system for translated Chinese into Korean. Third, the Sundok Kukyul was frequently used Buddhist publications from later Koryo Dynasty to Middle Chosun period. Fourth, through the analysis of physical bibliography for that books, we rearrange the chronological oder of Sokdok Kukyul system as Hwaum-kyung, Hwaum-kyungSo, Kumkwngmyu ngkyung, Kuyeukinwang-kyung, Yukasajiron. Fifth, the characters of Sundok Kukyul systems were gradually decreased from eighty numbers to fifty numbers. This change is caused by the unification trends of sound value in morphological aspect.