• The Korean Journal of Archival Studies
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• no.34
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• pp.165-219
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• 2012

Folklife archival science(folklife: Folklore is generally used in Engish-speaking countries but it has a strong meaning as remnants of former times. That's why I am useing the term-folklife instead of folklore in this paper. I think folklife is more appropriate term for expressing studies on daily life culture and also my intention to unite the both word in this paper) is a new academic movement, I propose, which is intended on convergence of advantage of folklife and archival science. In other words, taking advantage of the two branches of study(folklife, archival science), it becomes a practical studies which systematically organize records, preservations and application on living culture in any community. It demonstrate deeply on archiving and archive and It conducts a probe into records, preservations and applications. It is a method of technical study in order to record communities like village, rural society and modern city. In the mean time, there is no well defined and established methodology for archival science and for folk-area or community archiving. And therefore, It needs a research methodology in a folklife. In the other hand, there is a lack of a theoretical basis, methodological strategy and clear vision over folklife and field survey or method of survey. Therefore, converging advatage of the two studies(folklife, archival science), we can combine professionalism of community archiving and methodological strategy together.

• Journal of Korean Historical Folklife
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• no.45
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• pp.127-160
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• 2014

조선은 의례를 국가통치수단으로 적극 활용한 국가였으며, 이는 "세종실록" "오례" 와 "국조오례의"로 대표된다. 그런데, "세종실록" "오례" 와 "국조오례의"에서 국왕 상장례 절차는 모두 수록하고 있는 반면 세자의 상장례에 대해서는 언급하지 않고 있다. 때문에, 조선의 세자 상장례는 조선 최초의 세자 상장례인 의경세자 상장례를 참고하여 진행되었다. 의경세자 상장례의 기본 절차는 국왕 상장례를 따르고 있었으나, 같은 국상이라 하더라도 세자는 왕위계승자의 신분이었기 때문에 국왕과 차별을 두어야 했다. 따라서 세자 상장례는 국왕 상장례에서 한 등급 낮추어 진행되었다. 의경세자의 상장례는 비록 국상 차원에서 이루어졌지만 그 절차 속에 일반 종친 혹은 대부 상장례의 요소들이 확인된다. 이것은 세자의 지위가 사망을 통해 변하고 있음을 시사하는 것으로 국왕과 세자의 차별을 부각시켜왔던 세조대의 고민이 반영된 것으로 보인다.

• Journal of Korean Historical Folklife
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• no.52
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• pp.197-250
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• 2017

Many kinds of ritual manual books for the four ceremonies (coming-of-age, wedding, funeral, and ancestral rites) were published and transcribed during the Japanese Colonial Period. The ritual manuals are classified by 5 different types: 'ritual standards', 'ritual books for the four ceremonies', 'ritual books for the written prayers', 'religious ceremonial books', and 'general manners books'. All of them contributed much to the formation of folk rituals and religions, even though the purpose and contents of each book were different. The ritual manuals were not intellectual results of elites, but rather compilations of pre-modern ritual books and contemporary manners. These were widely spread among the people with the help of modern printing techniques. The ritual manuals aimed at common readers who wanted to look for ritual references easily. They were not just made for the special upper class. We can understand the contexts and characteristics of folk ritual and religion of the $20^{th}$ century by comprehending the ritual manuals of the Japanese Colonial Rule.

• Journal of Korean Historical Folklife
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• no.45
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• pp.7-50
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• 2014

This study focuses on the funeral rites for Queen Wongyeong during the early Joseon period as part of a review of the changes in the state funeral system and ceremonial procedures. Conducted by the king in his role as chief mourner, the state funeral for King Taejong's wife Queen Wongyeong that emerged during the 2nd year of King Sejong marked the first example recorded in the sillok (Annals of the Joseon Dynasty) of the three year-mourning rite being applied. In terms of the clothing for the state funeral, the significance of Jolgok (a rite conducted on the 100th day following the day of death) was emphasized, while the existing yeokwolje (period of wearing mourning clothes, one month was equated with one day) was abandoned. The existing temporary office system for state funerals was reorganized into a three-office system consisting of the Binjeon dogam (Office for Chapel of Rest), Gukjang dogam (Office for Funeral Rites), and Salleung dogam (Office for the Establishment of Royal Tombs). Buddhism-related rites greatly decreased and were increasingly regulated. The ceremonial procedures were also modified in accordance with the rites directly conducted by the king during the three-year mourning period. The basic pattern of the ceremonial procedure consisted of kneeling / wailing - salute - kneeling/ wailing, and, based on the wuje (rites to console the deceased), was divided into 'make offerings to the deceased' (奠, jeon) and 'hold a memorial service for the deceased' (祭, je). This reflected the differing perceptions of jeon (奠) and je (祭) following the establishment of auspicious rites (gillye) during the reign of King Taejong. In short, the state funeral for Queen Wongyeong provides materials with which to analyze the establishment of the funeral rites and ceremonial procedures designed based on the actual three-year mourning period observed by the king, study the ritual ceremonies conducted during the ancient period, as well as foster an understanding of ancient systems.

• Journal of Korean Historical Folklife
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• no.44
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• pp.7-37
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• 2014

The people of Silla was described as the descendants of Hwagwan(official of fire) on the tombstone of King Munmu(文武王), and Gim Yusin(金庾信) was described as the descendants of Shaohao Jintian(少昊 金天) and Huangdi Xuanyuan(黃帝 軒轅) on his tombstone. It says that the royal households of Silla and Gaya had common ancestor. Hwagwan was the official who took charge of fire management and the ritual for Antares(${\alpha}$ Sco) in ancient China. Hed founded State Ra(羅國). The name of Silla(新羅) means new State Ra, so he could become the ancestor of the people of Silla. He was the son of Zuanxu Gaoyang. State Gaya(加耶), the fatherland of Gim Yusin had been called Geumgwan-gug(金官國) which means the state of official of metal. Geumgwan was the son of Shaohao Jintian. Silla was the state of Hwagwan and the Gaya was the state of Geumgwan. Hwagwan, the founder of the royal household of Silla was the son of Zuanxu and Geumgwan, the founder of the royal household of Gaya was the son of Shaohao. Zuanxu and Shaohao was the descendants of Hwangdi, so Hwangdi was the common ancestor of Silla and Gaya. Finally Hwangdi became the same ancestor of Gim Yusin and King Muyeol(武烈王) who was the father of King Munmu. The tombstone of King Munmu and Gim Yusin manifests the union of the blood of Gim Yusin and King Muyeol. But it was not the fact but the rhetorical fiction.

• Journal of Korean Historical Folklife
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• no.30
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• pp.7-41
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• 2009

In this studying we could look that the rites for fortress under the rule of Silla's national rites was the one background which made Seonghwang religion in China was accepted in our nation. In Silla's national rites, fortress was the objects for rites and they were such as Bukhyeong fortress, Galim fortress, and Toseo fortress. These were belonged under Silla's national rites together with rites for famous mountains and big streams but differed from rites for mountains and streams. The fortresses which were belonged under Silla's national rites played a role as governing place during three nations era, but their prestigious position grew lower after provincial systems were consolidated. Fortress was the protectional building to protect the territory from the enemies. Silla's experiencing the war of three nations made them consider much the role of fortress as the important military location. And Silla included the rites for fortress into their national rites and governed the territory. The Galim fortress among them was got rid of Silla's national rites, and the rite seemed to be succeeded by provincial influentials. And this seemed to be the foundation for the provincial influentials in lateral Silla period to accept Seonghwang religion of China. And the fortress belonged to Silla's national rites was Kunhyeon fortress. Seonghwang-sa in Gorye was located in the fortress had governing place. Galim-fortress, Bukhyeong fortress, and Toseo fortress were also the important military locations. Seonghwang-sa in Gorye was the military strategic position, too and the deity for Seonghwang had the power to deal with the victory and defeat. From this, the background that the rite for Seonghwang in Gorye could be belonged to national rites comparatively early differed from China's was searched in the rites for fortress belonged to Silla's national rites.

• Journal of Korean Historical Folklife
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• no.44
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• pp.39-70
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• 2014

"Seonweon Bogam" was made for the purpose of delivering information on the tomb of members of the royal family of the Joseon Dynasty. Accordingly, it covered all of Sando making a pictorial expression of the tomb. But its value has been doubted as it is roughly expressed and different from the picture of the actual scene. But "Seonweon Bogam" is the only book that covers Sando of all the kings of the Joseon Dynasty but contains the elements making it possible to estimate the possibility that the original Sando might be used in making Sando. Accordingly, it is a high time to make an in-deep study of this. This study attempted to investigate Sando included in "Seonweon Bogam" with a focus on the expressive style. For this purpose, it sought to analyze seven elements such as the exposure, the legend, locational information, direction, waterway and road, expression on water and Fengshui(風水) terminology. As a result, the following conclusion was drawn: Sando concerning the tombs of members of the Joseon Dynasty was continually made. It was made in two ways such as the way of drawing the scene on spot and the way of imitating the existing made material. And it could be estimated that there is a possibility that Sando of "Seonweon Bogam" might be copied by the figure with only a little expertise about Sando but on the basis of several materials about the existing Sando of the royal family.

• Journal of Korean Historical Folklife
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• no.33
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• pp.359-384
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• 2010

The studies on Daedonggye(大同契), by this time, have been mainly researched focusing on the ruling system of country villages related to 'King(王)-local governor(守令)-noble family(士族)' in Chosun Period. The result of it is that it made a great contribution to reveal the operation of country society and substance of the ruling class but made it wholly lacking studying on the organization of Daedonggye in fishing villages especially and the social structure after the opening of ports. The residents in Noryeokdo have operated Daedonggye for about 80 years from 1925 up to now. Anyone who is a householder in Noryeokdo has been a participant in a member of it. The reason is that the participation in Daedonggye is the most basic requisite to lead the community life of the fishing village. It was investigated in this study that the residents operated their Daedonggye in what way in the 20th century and what motive made them keep it prolonged for a long time up to the 21th century.

• Journal of Korean Historical Folklife
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• no.28
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• pp.113-142
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• 2008

The purpose of this script is to understand general issues related to production of visionary drawing and correct the fault of previous research by examining the data on visionary drawing featured on Ok So Kwon-Seop's anthology, "Oksogo(玉所稿)" the summary of its contents are as follows. First by analyzing the status of visionary drawings, in among "Oksogo(玉所稿)" which is Ok So's manuscript collection, there are 56 pieces in Je Chun Bon (edition) and 47 in Moon Kyoung Bon(edition). And recorded dreams in visionary drawings are centralized when Ok So was in his late 50's to 70's. And it is estimated that the visionary drawings are the collection of work done by many artists in long period of time. It was confirmed that Kwon Seop himself did not participated in drawings but were done by his brother Kwon Young, his grandson Kwon Shin Eung and Cho Se Gul, the artist from Pyoung Yang. Also visionary drawings were produced in youth years and among the visionary drawings that can be ascertain about the produced year and the oldest is by Cho Se Gul which was estimated to be done in 1695. And the last one to be completed was which was a dream in 1756 turned into a drawing and this was produced between 1756 to 1759 which was a year Ok So passed away. Production of Ki Seung Chup (album) or Mong-Wha Chup (album) was accomplished as follows. When Ok So records his dream in writing he receives response poem from a person he was in dream with and ask artist to draw the vision in dream, then the drawing and scripts were compiled and made into an album. With this some of the issues on visionary drawings featured on "Oksogo(玉所稿)" would have been settled. Recently, 2 more volumes of Ok So's anthology were photo-printed and published and hopefully those issues that was unable to settle in this script will have more detailed answers by discovering new and undisclosed data.

• Journal of Korean Historical Folklife
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• no.57
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• pp.197-228
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• 2019

This study was conducted under the judgement that there was a need to make several mentions by reference to studies about the spatial composition of the traditional village. The judgement was not about the dimension that there was a problem about the spatial composition of the existing village but that it would be effective to make a fresh reorganization of it in a little more detail. As a result, this study presented seven spaces in the spatial composition of the traditional village. It attempted to analyze it by dividing it into four spaces such as ① natural space, ② residential space and work space, ③ moving space and boundary space and ④ play space and ritual space to fit its basic nature. First of all, it made a pictorial presentation of the basic form of the spatial composition of the traditional farming village in the late Joseon Dynasty which was most general and whose form has been handed down up to the present. And it described the composition of each space accordingly. It was not intended for a specific village. So it presented the historical change, the behavior of the members surrounding the village and a difference according to the nature of the village, which were judged to be very important in explaining the items of the composition of each space. As a result, it was found that the spatial composition of the traditiona Korean village well embodied the framework of their life in terms of their view of nature, lifestyle and worldview. The view of nature acted on the spatial composition of the village as a whole and is well reflected in the natural space in particular. Their lifestyle is reflected in the residential space, farming space, moving space and play space, and their worldview is spcifically mirrored in the boundary space and ritual space. In particular, this study focused on how to take a look at the element of Feng-Shui in discussing the spatial composition of the village.