• Journal of the Korean Society of Costume
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• 제27권
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• pp.27-40
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• 1996

1.It was recorded at "Dong Gook Tong Gam" of King "Jang Soo" that "Sim-Eui" in Korea was first introduced from China at the reign of King, "Moon Ja"(491,A.D), Go Goo Ryo. 2."Sim-Eui" was worn as a mourning dress during the period of "Go Ryo" and as a concanical robe of Confucian, a ceremonial dress at home and for the rules of etiquettes during Cho Sun Dunasty. 3.Several theories about the construction and the using services of "Sim-Eui" are obseved and summerized. 4.Mr. Kyu-soo Park gives a definition to "Sim-Eui" as a Fortune of Heaven & Earth, the Constellation of the Cosmic Dual Forces, the Revolution of the Four Seasons, a dignified mien & the Way of a Man of Virtue and Virtue of the golden Mean. 5.I observed the concrete measurements of the each parts of "Sim-Eui" by the construction method of Kyu-Soo Park. 6.The Symbolic Meaning following the Idea of Mr. Chung, Hyun. describes well the line of thinking in our nation, and Idea of Loyalty & Filial Piety, a Man of Virtue and the Virtue of the Golden Mean. 7.As described above, I dare insist of the fact that the Construction Theory of "Sim-Eui" by Kyu-Soo Park during the letter period of Chosun Dynasty is full of our national manners and cus-toms with symbolizing meaning, construction's exquisiteness, clothes' materials and it's size most suitable to our people, to the exclusion of the defects in "Sim-Eui" of China and Japan.

• The Journal of Korean Medical History
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• 제32권2호
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• pp.91-104
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• 2019

In this paper, the clinical records of Queen Inmok has been studied and the impact of historical events on her life has been analyzed. This paper has extracted her medical records during King Seonjo's and King Injo's period from the Annals and the Daily Records of Royal Secretariat of Joseon Dynasty, and then contemplated their medical implications consulting Donguibogam as a primary reference. Queen Inmok had been yang deficiency after national mourning. But suffering a series of misfortunes, she was ill with fire-heat (火熱) syndrome and finally passed away suffering from high fever, frequent diarrhea and profuse sweating. At that time, practitioners abused cold therapy following Jin Yuan Sia Jia (金元四大家), so they missed Queen Inmok's yang deficiency.

• Journal of the Korean Society of Environmental Restoration Technology
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• 제22권4호
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• pp.35-45
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• 2019

The objective of this study is to analyze habitat distribution on tiger, wolf, and leopard in Joseonwangjosilok. Nowaday, we only come to meet these kind of animals at the historical records because of haman-induced habitat encroachment. Historically, extinct animal became an object of game by people. So, we try to get distribution information for restoration on historical extinct animals. We made distribution map by constructing 402 counts on tiger(350), leopard(51) and wolf(1) recordsfrom 14th to Early 20th century for study. Analyzing historical materials, criteria for data analysis took into account objectivity, location information, accuracy for extinct animals. We carried out location identification of animals by using geocoding comparing with geographical name of the Joseon Dynasty period, topographic map of time under the rule of Japanese imperialism, present place name and historical materials. Database items are constructed 20 types for example appearance year of animal, population, location, damage, etc. As a result of analysis for appearance regions, tigers were recorded in capital area of higher density population intensively, and also were frequently seen at Daegu, Andong etc. Leopard and wolf were founded at regionally Gyeonggi-do and Jinju with limitation, relatively seen a few number. The reason of the appearance records like this, tiger prefer game of open and water-front area in near human residential area, there are lots of historical records such as 'Hosang'(mourning someone who killed by Tiger) and hunting. But leopard and wolf inhabit rocky area and dense forest, the reason why they made a few contact with human. Results of this are expect to be applicable restoration research for extinct animal by providing for populations, habitat environments and distribution information.

• Journal of the Korean Society of Clothing and Textiles
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• 제12권1호
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• pp.1-11
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• 1988

This study dealt with the Dopo, one of the representative ceremonial dress that acclasical scholar used after the middle of the period of the Chosun dynasty. This study represents the period of Dopo's formation and its origin, and the characteristics of the weary of Dopo in Young Dong Province Area is arranged by folkloric method on the base of the exisitng facilities. Dopo has worn since the middle of the period of the Chosun dynasty. It is the kind of Jig young Po that its back is cuffed for convenience and has another cloth as a ceremonial dress. It is thought to be one of the national customs pos formed by the mixture of the big sleeve type which is influenced by confusion life feeling. It seemed that the name of DoPo comes from the Jigchal, an ordinary dress of a high official in China, which is call Dopo. This Dopo is changed and received and so disappeared but it is still used such as ceremonial dress, the necessary articles for marriage of the bride, a bridegroom's liturgical vestments of a memorial service held on the anniversary of the death of a person, mourning dress and a shroud grave clothes. This area has different characters on wearing customs. It is changed into the kind of Dopo, with its back not cutting. The hemp sack is almost used as its subject matter. It doesn't have collar strip for the classification of one's family in any case, and Dopo which is prepared for necessary articles for marriage can not be taken tack after seperating by divorce.

• Journal of the Korean Society of Costume
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• 제64권1호
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• pp.152-164
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• 2014

Korean people have revered the white color and enjoyed wearing white clothes. Various kinds of white clothes have been worn by the Korean people, ranging from everyday wear(便服), and scholar's robe(深衣) for the upper class, to religious costumes like Buddhist monk's robe(僧服), shaman costumes(巫服) and costumes for ancestral rites(祭服), or mourning(喪服). There have been many differing opinions by historians regarding the background of this Baekeuihosang(白衣好尙, the preference for white clothing) tradition and even now, it is frequently being discussed. This study aims to consider and discuss the background of this Baekeuihosang tradition, focusing on Chang-seon Yoo's Baekeuigo(白衣考, the consideration of white clothing), which was published in Dong-A Ilbo in 1934. The purposes of studying literature such as the Baekeuigo is to analyze the arguments on the origin of Baekeuihosang, to analyze Chang-seon Yoo's claim of its origin, and to discuss the culture of Baekeuihosang. Chang-seon Yoo claimed that the existing discussions on the background of Baekeuihosang based on the lack of dyes, or undeveloped technique, economic privation and national control strayed from historical facts, according to literature review. It is not worth discussing the farfetched arguments such as the use of costumes for ancestral rites as everyday wears, or the nation of sorrow. Baekeuihosang tradition mostly originated from the effects of many religions and the taste for innocence, or naturalness. White clothes were infused with the sorrow and emotion of Korean people and were also worn to show resistance to foreign power as symbols of ethnicity. Therefore, there should be a new view of the discussion of white clothes and Korean aesthetic sense, away from the logic distorted by the Japanese colonial view of history.

• Journal of Fashion Business
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• 제22권4호
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.

• Conservation Science in Museum
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• 제22권
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• pp.53-68
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• 2019

Two lime-soil mixture barrier tombs were excavated from the tomb complex of the Woo Family of the Danyang Wu clan dating to the Joseon dynasty in Godeung-dong, Seongnam-si, Gyeonggi-do. Relevant records offer information for more precisely dating these tombs and identifying their occupants. Tomb No. 4, in which a married couple was interred, has a corbeled square ceiling and inscriptions and paintings on its outer walls. The conservation treatment and an infrared inspection revealed that they were intended to express mourning. Tomb No. 6 has a corbeled rectangular ceiling and a single individual interred within. As the basic structure of the tomb was partially damaged in the process of disassembling it while moving the burial site, it was planned to exhibit the tomb outdoors after the remains and relics are collected. However, as the conservation treatment revealed the presence of funeral fans and pitch, and since the remaining structure clearly demonstrates the features of lime-soil mixture barrier tombs from the Joseon dynasty, the plan was changed following a meeting of an advisory council that decided in favor of presenting the tomb indoors. According to the analysis, the pitch is assumed to be resin of a rather low purity due to the immixture of foreign substances. The two tombs are expected to serve as important materials for related research, such as changes by period in the forms of Joseon-era tombs.

• Journal of Hospice and Palliative Care
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• 제19권1호
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• pp.34-44
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• 2016

Purpose: The purpose of this paper is to identify a theoretical basis of end-of-life care by examining attributes of the concept of the nurses' acceptance of patient deaths. Methods: Walker and Avant's approach to concept analysis was used. A literature study was performed to check the usage of the concept. To identify the attributes of the concept and come up with an operational definition, we analyzed 16 qualitative studies on nurses' experiences of death of patients, published in a national science magazine from 1999 to 2015. Results: The nurses' acceptance of death of patients was identified as having four attributes: acceptance through mourning, attaining insight on life and death while ruminating life, facing with fortitude and practicing human dignity. Antecedents of the concept were experiences of patient's death, confusion and conflict, negative emotions, passive responses, denial of patients' death. The consequences of the concept were found as the holistic end-of-life care and active pursuit of life. Conclusion: This study on the attributes of the concept of the nurses' acceptance of death of patients and it's operational definition will likely lay the foundation for applicable end-of-life care mediations and theoretical development.

• Korean Journal of Heritage: History & Science
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• 제49권4호
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• pp.180-195
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• 2016

Since being designated as an important Intangible Cultural Property, Yeongsanjae has become recognized as a unique representation of Buddhist rituals in Korea. Following vigorous research in recent years, however, Suryukjae(水陸齋) was found to have been performed for a longer period and on a larger scale than Yeongsanjae, and under state leadership. This allowed researchers to move beyond the previous perspective that Yeongsanjae(靈山齋) lay at the center of many rituals. This study aims first to examine the origin and development of Yeongsanjae in Korea based on the literature, and then to discuss the meaning it holds today. Yeongsanjae was recorded as a ritual in Jineongwongong -published in 1496 during the early Joseon Dynasty- and also appeared in Yeongsandaehoejakbeopjeolcha -published in 1634(the 12th year of Injo's reign) in the mid-Joseon Dynasty and it was called Yeongsandaehoejakbeopjeolcha. It continued into the late Joseon Dynasty and it was called Yeongsanjakbeop or Yeongsandaehoejakbeop in the Ojongbeomeum collections(1661), CheonjimyeongyangSuryukjaeuiBeomeumsanbo collections(1721), and Jakbeobguigam(1826). In modern times, it has been called Yeongsanje in newspaper articles of TongnipSinmun (The Independent) and Yeongsanjae in Seokmunuibeom(1935). Nevertheless, the difference between the early Joseon Dynasty and subsequent periods is whether mourning of the spirit(唱魂) is added. In this regard, Yeongsanhoe in the early Joseon Dynasty mainly concerned Buddhist teachings realized through rituals such as sermon scenes of the Buddha. On the other hand, it was combined with Buddhist masses for the dead(追薦) from the mid-Joseon Dynasty and performed alongside with Buddhist teachings and prayers for the dead. Taking into account the seven-day Suryukjae, however, Yeongsanjae was performed daily during the day and mainly dealt with Buddhist teachings, while Buddhist masses for the dead were included when Yeongsanjae was performed independently.

• Journal of the Korean Institute of Landscape Architecture
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• 제45권3호
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• pp.66-79
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• 2017

In 2014, a Donghak Peasant Revolution Memorial Park design competition was held with various forms and techniques to convey mourning. This is a process of the reconsideration of memorial projects that are used to stimulate the collective memory and it is a meaningful resource for examining the consciousness of contemporary designers in regards to the memorial designs that are currently under planning in Korea. This study investigated the background of the Donghak commemorative projects that took place at the same site in a timely manner and analyzed the design competition through the existing literature research. Through this, it was seen that the memorial, which was formed by means of past political purposes, has changed into a way to collect various opinions and forms through open design competition. A framework of analysis prepared through multi-layer analysis is daily use, interaction and spontaneity, abstraction, temporality, locality, integration and harmony with surroundings. The results of this study are as follows. First, in order to convey memorial commemoration in everyday life, the projects organized scattered memorial spaces with special characteristics and linked them with daily activities program. Second, the projects used direct participation and emotional experiences to interact with monuments. Third, color, vertical elements, clustering, and park frame manipulation were used for abstract reproduction. Fourth, the projects introduce architecture and furniture that can be changed and plants for temporal change. Fifth, the previous terrain was restored and the setting of the scene was reproduced in order to make the site a space with place. Sixth, to improve the connection with existing monuments, the projects used techniques such as relaxation and the reinforcement of circulation lines and axes. Seventh, a path and a building conforming to the terrain were arranged for harmony with the surroundings.