• Journal of the Korea Convergence Society
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• v.11 no.6
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• pp.15-21
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• 2020

E-commerce live broadcast is a new online shopping model that has gradually emerged in China in recent years. In the e-commerce live broadcast, the audience gathered into a buying group by watching and participating in virtual interaction, and obtained stable emotional energy from it. Closely following the concept of emotional energy, with the help of the interaction ritual chain model, the components of e-commerce live broadcast can be clarified. And the paper shows how individuals can form a buying group in social interaction. I will take the interaction behavior in e-commerce live broadcast as the research object and observe the phenomenon based on the theory of interaction ritual, then come up with the interaction ritual chain model of E-commerce live broadcast group.

• Journal of the Korean Society of Costume
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• v.19
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• pp.83-103
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• 1992

This thesis researched the ritual dress of Korean new religions such as Suungyo, Mirubulgyo, Taejonggyo and WonBuddhism, According to kind, color, cloth and shape this thesis analyzed the ritual dress of them on the basis of its literatures. I. The results of the ritual dress of them through its literatures are as follows: 1. In case of Suungyo, there are Songwansonbok, Togwandobok, Pulmogwan, Ch'onui, Chap'ae , Yukhwangang, Pobdae, Hakp'yo and Kyonjang in its kind. In its color there are Huk, Cha, Hoe, Chahwang, Hong, Paek, Hwang, ROk, and Nam. Chemical fiber with one layer is used in its cloth. Its shape is made by a comprise between the feature of Korean dress, chuui and that of the existing dress of Confucianim, Buddhism and Taoism. 2. In case of Mirukbulgyo, Inhwag-wan, Chongbok, P'oui, Tae, Moson, Yomju and tanju are systematized in its kind. In its color there are Paek, Huk, ch'ong,Chok, Ok and Rok, Kongdan and chemical fiber with one layer are used in its cloth. Its shape has a symbolic form of Yu'Pul and son based upon Korean dress, Chuui. In its symbol Inhwagwan symbolized Confucianism and Chongbok Taoism and P'oui Buddhism. 3. In case of Taejonggyo, there are Chusabok, Sjhobok, Yewonbok, Chusamo, Yewonmo, Tae and Hwa in its kind. In its color there are Paek(main one), Nam, Huk, Chaju, Chok, Hwang and Hoe. Kongdan with both sides is elaborately used in its cloth. Its shape thken from Korean dress means the succession of the national spirit of the white-clad folk. 4. In case of won Buddhism, there are kybok and Pobrak in its kind. In its color there are Paek, Huk and Hoe---especially, both Hwangt'o and Hwang are used in Pobrak, Anyone can use cloth at his will. In its shape Kyoblk for man is Yangbok and Kyobok for woman is Tongch'ima and Chogori, a style of Korean dress. Pobrak is a form Tanryong worm with Rakja.

• Journal of architectural history
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• v.24 no.5
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• pp.21-32
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• 2015

Sajik, the altar of land and grain was treated as one of the most important national ritual facilities by the Joseon dynasty and the Ming dynasty because it symbolized the legitimacy of a dynasty, and its architectural ordonnance was arranged strictly by the government. But when the Joseon government considered to reconstruct its national Sajik altar in Hanyang during the Sejong period, they found the new architectural ordonnance for local Sajik altars recorded in "Hongwulizhi(洪武禮制)" had been published by the Ming government was hard to adopt, because it was too narrow and totally different from the traditional style. Above all things, they doubt of there was other architectural ordonnance for kingdoms, not for local governments. King Sejong ordered to investigate the origin form and former examples, and tried to get other ritual documents of authority published by the Ming government such as "Damingjili(大明集禮)". After several academic researches and intense debates, they decided to create a new architectural ordonnance for their national Sajik altar, its form was in accord with the traditional style and its size was in accord with the new ordonnance. But they did not know there had already been the architectural ordonnance for the kingdom in the Ming dynasty. Because the first emperor of the Ming dynasty had changed its Sajik ritual system several times, even the whole country of the Ming dynasty also had gone through chaos on this issue even after his death. Consequentially, the official documentation works had been made partially, there was no a complete document on this issue even in the Ming government.

• Journal of architectural history
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• v.11 no.4 s.32
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• pp.129-142
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• 2002

The Kyeongbok Palace was completely renewed during the reign of King Sejong, the fourth King of the Joseon Dynasty(1392-1910). The repair was done for the two main purpose; one was to obtain the dignity of the main palace of the dynasty, the other was to make the palace suitable for the performing of the various ritual ceremonies. It was under the reign of King Sejong that every detail of the procedure of the royal ritual ceremony. The procedure of ritual ceremony changed the buildings of the palace. The quarter of Sajeong-jeon, King's office, was changed remarkably from the original form as the building became the beginning and ending point of King's moving during the ritual ceremonies. The site of the palace had ill reputation from the point of geomancy since its establishment. King Sejong ignored the rumor and kept the palace as usual. In his later year's, Sejong had tried to build a detached quarter and a Buddhist shrine in the palace. But he had to give up his plan because of the retainer's strong opposition. The original layout of the Kyeongbok Palace could be remained as the King renounced his controversial personal wish. King Sejong deserves a full credit for the establishment of the Kyeongbok Palace as the main palace of the Joseon Dynasty.

• Journal of the East Asian Society of Dietary Life
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• v.25 no.4
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• pp.549-564
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• 2015

This study was conducted on the head family house of Panseogong coterie of Andong Kwon clans in Daksil village, Bongwha gun, Kyungbuk: historical sources survey and field visit over four rounds were conducted from March to June 2014. In-depth interview, storytelling, and nutrition facts were used as methods of research using 49 participants, and the potentials of trend goods were the main purpose of this research. The specialties of bongwha prefecture in the Chosun Dynasty were pine nut, manna lichen, ginseng, sweetfish, and wild honey. Ritual food bulcheonwi's offerings a feature in Choongjae Kwonbeol's head family - were sacred wine, me, gang, otang, myun, myunjeok, pyunjeok, pyunchung, pyun, po, chungpomook, dojeok, sookchae, ssam, chimchai, sikhye, chogwa, silgwa, soojunggwa, etc. The ritual foods of bulcheonwi's head family house Choongjae Kwonbeol were commercialized through storytelling. Choongjae Kwonbeol's ritual ceremonies, recognized for their national royalty, were reorganized as the traditional Korean table settings, so that the Korean people could easily access them. The special meal called "Geumgyeporansang" represented the head family house foods' essence to share and serve others through the Dacshil village's natural beauty, Bonghwa's local ingredients, and festivities after the "Chungjae Gwunbal Bulchun" rituals. The ritual foods called "Cheongamjungsang", utilizing "Chungjae Gwunbal Bulchun" rituals, were represented in the form of a lunch box: such foods illustrate the classical scholar's mindset that enjoys the nature and arts through education and virtue.

• (The) Research of the performance art and culture
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• no.22
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• pp.63-92
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• 2011

This paper intends to clarify the characteristics of Seoul Ginoguigut in ritual form. This paper points out three characteristics; materialization of the journey to the world of the dead, direct communications with the dead, inclusive blessings for the dead and the living. Firstly, the journey to the world of the dead is materialized through various ritual processes of Seoul Ginoguigut. This characteristic is prominent in the context of comparisons with the death rituals of Confucianism and Buddhism, and of shamanism in other regions of Korea. Secondly, in Seoul Ginoguigut the communications of the dead and the living are made through direct dialogues between them through shaman's possession. The communications by direct dialogues between the dead and the living make it easy to accept death as a real fact, and have an effect of recognizing the individuality and uniqueness of each death. Thirdly, the blessings of Seoul Ginoguigut are so inclusive that they cover the dead's safe journey toward the world of the dead as well as the happiness of the living. This characteristic is related to the understanding of death of Korean shamanism that does not separate death and living. These three characteristics are perceived in the context of comparisons with the death rituals of Confucianism and Buddhism, and of Seoul Ginoguigut. And they give a clue to understand how the death rituals of Korean shamanism have persisted in Korean society.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.45-57
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• 2017

The royal tombs of the Joseon Dynasty are divided into the entrance space of the inner and outer spirits in accordance with the characteristic of the ritual act. In each space, the ritual facilities are arranged and managed according to the characteristics of ritual acts and space. In the case of the Joseon royal tombs listed in the World Heritage List in 2009, further conservation and management of the original form is required, and the need to restore the original form is required. Especially, Yungneung and Geolleung requires landscape management in accordance with the World Heritage site management regulations, for example, management of horizontal 60 degrees view. This study aims to propose a prototype verification, preservation and restoration plan for the landscape around the core area of the damaged source. Through the verification of the old literature and field investigation, conservation and restoration plan is proposed for the landscape of the ridge, the water system, the scenery around the ridge line, and the historical scenery.

• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.

• Conservation Science in Museum
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• v.14
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• pp.13-22
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• 2013

The Nectar Ritual Painting(Jeung7551) in National Museum of Korea is estimated to have been produced in the 16th century. Ezimagodo who is the head priest of Ruganji in Kyoto, Japan donated this painting in 2010. Overall, damages were serious, such as missing, staining, folding, insects of the face and mounting silk, therefore, it need to conservation treatment. The treatment of conservation in painting was removing surface stains and repairing missing area. It was mounted by following the original form. The analysis result of textile in mounting and support fiber used silk and hemp in microscope. Pigments in paint were divided into six color types. This painting was used that vermilion(cinnabar) and red lead for red color, litharge(massicot) and gold for yellow color, lead white for white color, malachite for green color, azurite for blue color, and carbon black(chinese ink) for black color.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.98-112
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• 2010

This study is on the 18th-century man's clothing excavated from Mr. Kim(1683-1766)'s tomb in Cheongju, Chungbuk in 2003. There are more than 100 pieces of excavated costumes from the tomb of Won-taek Kim. The excavated costumes have the value of genuine materials. Among them, 36 garments in good condition were investigated. As a result, there are several kinds of the excavated coats with different sizes, depending on the type of coats-Simui(深衣), Danryeong(團領), Sagyusam(四揆衫), Daechang, jungchimak(中赤莫), and Sochangui. These different-size coats reveal the degree of ritual; the length of the ritual costume is longer than that of the daily one. We can see two kinds (large and small) of coats, jackets, and pants. The large-size clothing is for the dead, the small size one as daily clothing was used for filling the empty space of the coffin. Among the excavated clothing from Mr. Kim's tomb, clothing for the dead(shroud) is bigger than man's daily costume. Concerning the form, color, and materials of the costumes, clothing for the dead is similar to daily clothing, while there is the difference in their size. The oversized costumes of coats, jackets, and pants are also different in size, matching the structure of clothing.