• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.1-18
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• 2015

The subject of study is about the illustrations of the round collar Po(袍類) in the Akhak-gwebeom(樂學軌範) which was published in 1493. These illustrations are painted records of what musicians and dancers in the palace were wearing during performances. While each illustration of the Po is similar in that they all have round collars, each has a different name Sam(衫), Ui(衣), Dallyeong(團領) and formative characteristics, and these features were analyze in the study. Sam refers to the Gongbok(公服) as it has long and big sized sleeves, Ui is the word used to represent the basic unit of outerwear, and Dallyeong is believed to refer to the Sibok(時服) and Sangbok(常服). In the formative aspects, Sam's auxiliary sleeve is one of the ways wearing the sleeve of innerwear shown outward and it's assumed to have been produced for visually matching the formal look as well as the convenience free to use of hands. The Mu of Dan-ui(丹衣) is less than the number of the excavated artifacts, it produced in a relatively simplified form. Also, illustration of Dallyeong corresponds to the artifacts and configuration of the 15th to 16th centuries, the costume culture of that time seems to be reflected specifically. While Hyungbae(胸背) used in the form of rectangles and circles such as petals. it tried to represent the country at the official event by borrowing the upper class in the costume that musicians and dancers wear, also showed the rank and social status symbolically by having the differences in the shape and pattern. While the costume culture at the time is reflected, it can be found that the objective of raising the country's dignity is implied by transforming the detailed structure for the practicality, borrowing the costume elements of the high social status and transformed them.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.6
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• pp.160-170
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• 2017

As a monumental building in the form of an arch, an archway has the characteristics of praise and honor. More and more historic, cultural and social connotations are given during the development of history. Four archways that are located on the middle route of the Red Gate Palace in the Mount Tai Scenic Area were chosen for research. Based on a literature review and field investigation with a visual analysis method, the physical attributes, spatial scale, perceptions and functions of the archways were discussed. The results were as follows: The archways in the research area are all made of stone. According to building location, they are classified into two types: Cultural archway and temple archway. Regarding functions, they are divided into symbolic archway, memorial archway and portal archway. From the point of view of form and scale, the Confucius Boarding Archway enjoys a higher standard than the other three. This reflects the importance of Confucian culture on Mount Tai. Regarding spatial scale, the archway becomes the focus in a restrictive linear space by an object-to-object and person-to-object comparison. Visitor experience of crossing the archways is strongly enhanced as it acts as entrance and exit, and it has the function of guiding sight since the arrangement of the archways further extend the line of sight. Couplets and inscriptions on the archways increase a sense of expectation for visitors on their way to the top of Mount Tai.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.126-144
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• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.

• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.187-197
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• 2012

The purpose of the study is to analyze and to clearly put more understanding on the current LED sky screen structures located not only in some cities of Korea but also in those of other countries which have been running the large-scaled LED sky screen, which is also called the LED canopy. In addition, this research is to also focus on the availability or possibility of the social role for the large-scaled LED sky screen to make great contributions to the local economic development of the relevant cities which are currently running their large-scaled LED sky screens, in terms of facility, contents and strategy, respectively. For this research, 4 large-scaled LED sky screens located in both domestic and foreign countries such as Suzhou Sky Screen in Suzhou city of China, Fremont Street Experience VIVA VISION in Las Vegas of the States, the Palace Sky Screen in Beijing of China, and Yeosu Expo Digital Gallery Sky Screen in Yeosu city of Korea, respectively, have intensively been dealt with for research, in terms of the features of their facility aspects.

• Journal of architectural history
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• v.17 no.3
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• pp.23-43
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• 2008

Seoul has been watched at its symbolic image which is the capital of one nation. since then Joseon was established. So, most of study about Seoul placed too much emphasis on like next; urban organization, palace, government office and public establishment. On the other hand, it is lacking in study of the individual building, the residential district, the change of building-lot. This study is to make up a deficiency from study of Gaokdohyung(家屋圖形site and floor plan). Gaokdohyung(家屋圖形) is drawings of building lots & houses existed in Hanseongbu漢城府(modem Seoul). It is possessed in Jangseogak and all 24 sheets. It is merely 24sheets but has many urban information in that. Housing of number 116 expressed in Gaokdohyung are consist on the house of Sadaebu士天王(noble class) Joongin中人(middle class) Sangmin常民(commoner), Villa(Byeolseo別墅) and connecting stores etc. Houses in Gaokdohyung has characteristic that most building lot is very specious and owners are variety of social position. The study of Gaokdohyung will progress through analyzing diachronic change of individual building lot & house. In the event, results of this study will help to find out change of urban tissue & architecture. So, i intend to seek for entity of urban tissue and urban house in Joseon Period differ from now, and to study out those have been changed continuously forward now.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.41-54
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• 2005

The purposes of this study on various headgear at the age of the Persian Achaemenes are to analyze one cultural aspect of the Achaemenes Kingdom that made a great empire about 5th century B.C. and to understand the ancient Persian culture. It is widely recognized that the Persian region was an important place for cultural exchange between the East and the West through the Silk Road and its culture affected China and Korea. Therefore, it is necessary to study ancient culture in this region for further understanding of the Korean culture. However, research activities have not been satisfactorily conducted. This study is an attempt to elevate the interest in this subject. In this study, European archeological materials covering Naqsh-e-Rostam (a tomb of Darius), Apadana stairs, Darius palace in Persepolis, and Bistun(Behistun), the relief at the age of the Achaemenes Kingdom, were collected and analyzed. From this study, the following results were obtained. For crowns at the age of the Achaemenes Kingdom, two kinds of shapes are observed; Mitra, a kind of headband, in the early period and a cylindrical one in the later period. Mitra was also worn by chiefs trusted by the king. Further, slightly different styles of cylindrical crowns were observed, which is considered that kings might wear unique crowns to symbolize new period of their reign. In addition to crowns, various styles of headgear for subjects are observed, meaning that tribes conquered by the Persian empire used their unique headgear. Further, such different styles of headgear might be a tool for social classification. Representative styles of headgear include the semicircular one worn by the Median nobles, Strophion originated from the Elam's headband, and nomadic tribes' Baschlik observed in the Median relics.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.95-109
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• 2015

The purpose of this Study is to understand Supsin (shoes for dead) in late Chosun dynasty through records and excavated relics. The research records in this study were two types which one was official records as The Annals of The Chosean Dynasty(朝鮮王朝實錄), Dairy of the Royal Secretariat(承政院日記) ets and the other was private records as Korean literary collections of confucian scholars in classical chinese(文集) ect. as for relics use two types of materials that one is the excavated supsins and the other is Research Reports of Excavated Costumes published from museums. Through the Collections, we can notice that shoes were several types which Wunhae(雲鞋), Danghae(唐鞋) Onhae(溫鞋) Wunli(雲履), Taesahae(太史鞋) in Chosun dynasty. these were worn in different ways according to wearer's gender, the social status, daily life or rituals, inside or outside in palace. Wunhae and Wunli was the most ceremonial shoes for man and Onhae was the most ceremonial shoes for woman. the dead man worn the Wunhae or Wunli for Supsin and the dead woman worn Onhae. we could see they use the most ceremonial shoes for supsin. through the records, we could see the change that Women's Supsin was written for the first time in 18th Saraepyenram(四禮便覽). men's Supsin was recorded as '履', while Women's Supsin was recorded as '鞋' in Saraepyenram. the reason for making difference between man and woman in costumes(男女有別). and the excavated Supsin showed that the dead worn more ceremonial shoes than records. these changes mean one of the results for making korean style rituals from chinese style(國俗化).

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.7-21
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• 2001

This study is to analyze site layout traditional government office building focused on Chonui-hyon(全義縣) in Chungchong province with Chungchong-do regional maps(忠淸道地方地圖) and Eupjis(邑誌, topography) being compiled in the late Chosun dynasty. The conclusion of analysis can be summarized as follows; 1. Chonui-hyon(全義縣) in Chosun dynasty is gone with a planning principle of the capital city(Han-Seong, 漢城) with disposing Sa-Ji-Dan(社稷壇) and Gaek-Sa(客舍), which are placed to the left and right of Eupchi(邑治), and it is followed in the wake of the spatial structure of Chosun dynasty palace with disposing Dong-Heon(東軒) in front, Nae-A(內衙) at the back of it, or from side to side, also by the Dong-Heon of the center, with organizing each facility around it. 2. Dong-Heon and Gaek-Sa of Chonui-hyon is passed through three step gate, Mun-Ru(門樓), Woi-Sammun(外三門), Nae-Sammun(內三門), from Hong-Salmon(紅門), and are shown hierarchy by haying been placed at the end of approach axis. 3. Dong-Heon can be disposed by Feng-Shui(風水) which have influence on the southeast direction with Jin-San(鎭山) and An-Dae(案對), on the other hand, Gaek-Sa can be disposed by symbolic of the authority of a king. 4. Site layout by function of provincial government office is provided into four ferrite, Dong-Heon, Gaek-Sa, Nae-A, practical business territory, and eve territory is organized by official institution on a social position to radiation, by the compositive axis to be made Woi-Sammun Nae-Sammun Dong-Heon Nae-A 5. Approach process of Chnui-hyon government office is three door system similar to Kam-Young(監營) in a different way two door system in most provincial government office, also approach axis is formed by bending.

• Journal of architectural history
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• v.15 no.2
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• pp.77-94
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• 2006

"Mixed construction of platform" means the platform which was constructed by mixing heterogeneous materials such as roof tiles or bricks with divided stone of trimmed stone. This kind of construction technique was not known or found from the building sites of Goguryo or Silla so far and therefore it used to be understood as a unique platform construction technique or the product of technology and creativeness of Baikje's craftsman. The mixed construction of platform of Baikje came to position itself as one of the patterns of platform mainly used over Sabi period and we found the pattern from the sites including Imryugak site in Gongju, temple for royal tomb in Gwanbuk-ri, Wangheungsa Temple site, building site in Keumseong Mountain, Ohapsa Temple site in Byryeong. From the fact that they used a variety of materials which they could easily get around them such as roof tiles or bricks in addition to stones for the construction of platforms, we can see the feasibility and decoration characteristics of their material supply at that time. On the other hand, this mixed construction of platform was not popular in Goguryo and Silla, the major reason for which is judged to be non-existence of platforms to construct using bricks or roof tiles which could be constructed together with platform using divided stones. This is supported by the results of excavation of Hwangryongsa Temple site, Bunhwangsa Temple site, Heungryunsa Temple site of Silla which gave us comparatively abundant excavation data, and Jeongreungsa Temple site, Cheongamsa Temple site, Toseongrisa Temple site and building site in Daeseong Mountain castle and Anhak Palace site of Goguryo. For further progressive study on the mixed construction of platform of Baikje in the future, we will have to review more on the social background and technical background with the linkage with archeology and architecture at that time which led to the creation of such platform.