• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.222-239
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• 2019

This paper studied Joseon royal incense, Buyonghyang, focusing on the case of Sunjo Sunwonwanghoo Garyedogam Uigwe. Incense was introduced to Korea in the period of the Three States with Buddhist cultures. Buyonghyang is an incense that represented the royal family and was used in various rituals. Civilians also burned this incense in front of a bride's palanquin at a wedding ceremony. Buyonghyang had various uses-ceremonial uses, as a fragrance, to mothproof, and medical uses. Buyonghyang is a combined incense with ten different ingredients. This study tracked the supply and demand of the incense ingredients through Takjijunjeol, Sejong Shilok Jiriji, and The Annals of the Joseon Dynasty. This paper identified properties of the ingredients and studied recipes using ancient medical books-Jejungshinpyeon, Donguibogam, etc. Then the cooperation and treatment of incense by craftsman were examined using the records of The Annals of the Joseon Dynasty, and Seungjeongwon Ilgi. The significance of Buyonghyang during the Joseon dynasty was studied by examining its use at a royal wedding ceremony. This study considered Sunjo's wedding ceremony based on Sunjo Sunwonwanghoo Garyedogam Uigwe which is highly regarded as a well-organized system compared to other Uigwe. Buronghyang was burned during all of the ceremonies which took place in the palace. Conversely, it is considered that Buyonghyang was burned only during the Bisuchekui ceremony (investiture), which took place in the bride's place, according to the record of the mobilization of court ladies for various incense burners for the Bisuchekui ceremony. Since the incense was able to be used only after Bisuchekui, it is considered that only the royal family could use the incense, and it was a symbolic incense of the Joseon Royal Family.

• Journal of the Korean Society of Clothing and Textiles
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• v.15 no.1
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• pp.15-27
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• 1991

This study is to investigate the royal wedding garments found out in Gn-Rs-Do-Gam-Eui-Gue during Yi Dynasty. The results are as follows: 1. The wedding garments for kings and princes, as well as for queens and princesses, had a tendency to increase in their kinds and number 2. The number of' Sang-bok (상복)' for queens and princesses was decreased about $50\%$ after the publication of Jeong-Re (정리). 3. Casual wears for queens and princesses were decreased to the halves in kind, and its number was decreased about $60\%$ .4. Clothings for court ladies showed changes in kind. 5. Documents about clothings for parents of queen's in wedding ceremony cannot be found in the literatures, such as Guk-Hon-Jeong-ke(국혼정예), Sang-Bang-Jeong-Re(상방정예). and Eui-Cue published in the 35th and 38th year of King Yeongjo's reign, respectively. 6. The number of ornamental bars including wigs was decreased about $50\%$ after the publication of Guk -Hon -Jeong- Re.

• Journal of architectural history
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• v.29 no.1
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• pp.65-76
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• 2020

This paper attempts to study on the substantial characters of the sangryang-muns written for the constructions of Sudara-jang and Beopbo-jeon at Haein-sa in the years of king Gwanghae and king Injo. On that basis, it also attempts to declare the first time that the Buddhist Order firstly used long sangryang-mun, and to presume the backgrounds of the constructions. The results are as follows: First, the queen, Mrs. Ryu and court ladies of king Gwanhae had participated as donators to the constructions. Therefore, it is supposed that the constructions had been promoted by the queen's Buddhistic beliefs as well as the commemoration of the 6th award of eulogistic posthumous title to king Gwanghae. Second, throughout the history of Korean Buddhism, long sangryang-mun was firstly used in the construction of Sudara-jang. Therefore, we can see the fact that long sangryang-mun was introduced to the Buddhist Order, as donation by royal families. But the long sangryang-mun couldn't be suitable for the traditional customs of Buddhism, the monks wrote additionally the Balwon-mun, so to speak, the pryer address. Third, the sangryang-mun of Beopbo-jeon was written in the mixed format of long sangryang-mun and traditional Balwon-mun. It is supposed that the Buddhist monks wanted to keep the traditional customs. Four, in the late period of J oseon dynasty, the same formats as the sangryang-muns of Sudara-jang and Beopbo-jeon have been widely used in the various Buddhist buildings. Consequently, it is supposed that these three sangryang-muns were the embryonic formats for the major types of the late Buddhist building sangryang-muns.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.357-374
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• 2001

This study analyzed the trends of fashion market in 15 branch stores of 3 major department stores in Seoul. The purposes of this study were to classify fashion zone and brands in each floor of the department stores, and to analyze the rate which a fashion brand was located department store. The results were as follows : 1. There were sundry goods on main floor, women\`s clothings on 2-4th floor, sports & golf wears and infants & children\`s clothings from 6th floor to the top in most department stores. 2. Lotte Chamshil branch had the largest number of fashion brands in it, the nest was Lotte Main store and followed by Hyundai Chunhoe branch, Shinsegae Gangnam branch, Hunndai Shinchun branch, Lotte Gangnam branch, Hyundai Main store, Hyundai Muyeuk-Center branch, and Lotte Youngdeungpo branch, etc. 3. The fashion categories of the Lotte Department stores were segmented as the Casuals (character, young, young basic, career, town, jean, city), Young worlds, Imported beautique, Madams, Designers(beautique), Intelligences, Unisex, Ladies formal wears, the Seasonables, and the Formals, Missy Careers. This was the most various fashion market segments among 3 major department stores. This store had 667 Women\`s fashion and Casual brands. The Chamshil branch and Main store were intensified the Casual & sundry goods on 5th floor. 4. The fashion categories of the Hundai Department stores were segmented as Women\`s wears, Women\`s casuals, Young-Adult, Young live, Women\`s former wears, Royal beautique and Young characters. It was less segmented than other Department stores. Total number of Women\`s fashion and casual brands were 471 brands. The market segmentation of fashion zone was well done at Chunho branch and Shinchun branch. It was intensified that Fashion sundry goods at Muyeuk-Center branch and The Women and Young fashion zone at Chunho branch. 5. The fashion categories of the Shinsaegae Department stores were segmented as Casuals (young, young character, X-, missy, career, character), Imported beautique, Designer\`s characters, Young basics, Elegance, Missy, Young weave, Original brands. This store had 304 Women\`s fashion and Casual brands. Shinsaegae has also developed it\`s own brand(PB items) and classified as the Original zone which differentiated it from other Departments. 6. The Deco was the most popular brand in the department stores, the next were Micha/Botticelli, and followed by Darks/System/lzzat Baba, Givy/Obzee/Lee won jae/Kim yeon Joo, and so on. The target of 6 out of 10 brands which were included in here were career women of age 20 to 30 ages. The price rate were from 200,000 won to 300,000 won.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.140-170
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• 2021

This paper investigates the Wooden Seated Tri-kaya Buddha Images(三身佛像) of Vairocana, Rushana, and Sakyamuni enshrined in Daeungjeon Hall of Hwaeomsa temple(華嚴寺) in Gurae, South Cheolla Province. They were produced in 1634 CE and placed in 1635 CE, about forty years after original images made in the Goryeo period were destroyed by the Japanese army during the war. The reconstruction of Hwaeomsa was conducted by Gakseong, one of the leading monks of Joseon Dynasty in the 17th century, who also conducted the reconstructions of many Buddhist temples after the war. In 2015, a prayer text (dated 1635) concerning the production of Hwaeomsa Tri-kaya Buddha images was found in the repository within Sakyamuni Buddha. It lists the names of participants, including royal family members (i.e., prince Yi Guang, the eighth son of King Seon-jo), and their relatives (i.e., Sin Ik-seong, son-in-law of King Seonjo), court ladies, monk-sculptors, and large numbers of monks and laymen Buddhists. A prayer text (dated 1634) listing the names of monk-sculptors written on the wooden panel inside the pedestal of Rushana Buddha was also found. A recent investigation into the repository within Rushana Buddha in 2020 CE has revealed a prayer text listing participants producing these images, similar to the former one from Sakyamuni Buddha, together with sacred relics of hoo-ryeong-tong copper bottle and a large quantity of Sutra books. These new materials opened a way to understand Hwaeomsa Trikaya images, including who made them and when they were made. The two above-mentioned prayer texts from the repository of Sakyamuni and Rushana Buddha statues, and the wooden panel inside the pedestal of Rushan Buddha tell us that eighteen monk-sculptors, including Eungwon, Cheongheon and Ingyun, who were well-known monk artisans of the 17th century, took part in the construction of these images. As a matter of fact, Cheongheon belonged to a different workshop from Eungwon and Ingyun, who were most likely teacher and disciple or senior and junior colleagues, which means that the production of Hwaeomsa Tri-kaya Buddha images was a collaboration between sculptors from two workshops. Eungwon and Ingyun seem to have belonged to the same community studying under the great Buddhist priest Seonsu, the teacher of Monk Gakseong who was in charge of the reconstruction of Haweonsa temple. Hwaeomsa Tri-kaya Buddha images show a big head, a squarish face with plump cheeks, narrow and drooping shoulders, and a short waist, which depict significant differences in body proportion to those of other Buddha statues of the first half of 17th century, which typically have wide shoulders and long waists. The body proportion shown in the Hwaeomsa images could be linked with images of late Goryeo and early Joseon period. Rushana Buddha, raising his two arms in a preaching hand gesture and wearing a crown and bracelets, shows unique iconography of the Bodhisattva form. This iconography of Rushana Buddha had appeared in a few Sutra paintings of Northern Song and Late Goryeo period of 13th and 14th century. BodhaSri-mudra of Vairocana Buddha, unlike the general type of BodhaSri-mudra that shows the right hand holding the left index finger, places his right hand upon the left hand in a fist. It is similar to that of Vairocana images of Northern and Southern Song, whose left hand is placed on the top of right hand in a fist. This type of mudra was most likely introduced during the Goryeo period. The dried lacquer Seated Vairocana image of Bulheosa Temple in Naju is datable to late Goryeo period, and exhibits similar forms of the mudra. Hwaeomsa Tri-kaya Buddha images also show new iconographic aspects, as well as traditional stylistic and iconographic features. The earth-touching (bhumisparsa) mudra of Sakymuni Buddha, putting his left thumb close to the middle finger, as if to make a preaching mudra, can be regarded as a new aspect that was influenced by the Sutra illustrations of the Ming dynasty, which were imported by the royal court of Joseon dynasty and most likely had an impact on Joseon Buddhist art from the 15th and 16th centuries. Stylistic and iconographical features of Hwaeomsa Tri-kaya Buddha images indicate that the traditional aspects of Goryeo period and new iconography of Joseon period are rendered together, side by side, in these sculptures. The coexistence of old and new aspects in one set of images could indicate that monk sculptors tried to find a new way to produce Hwaeomsa images based on the old traditional style of Goryeo period when the original Tri-kaya Buddha images were made, although some new iconography popular in Joseon period was also employed in the images. It is also probable that monk sculptors of Hwaeomsa Tri-kaya Buddha images intended to reconstruct these images following the original images of Goryeo period, which was recollected by surviving monks at Hwaeomsa, who had witnessed the original Tri-kaya Buddha images.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.281-304
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• 2022

Heungdeokjeon was the first pavilion built on the site of Sueocheong during the expansion of Gyeongungung. In this study, we tried to clarify the specific construction process of Heungdeokjeon, which was used for various purposes such as the copy location for Portraits of ancestors, temporary enshrinement site, and the funeral building for the rest of the body, which is Binjeon. In addition, we tried to confirm the historical value based on the characteristics derived by the history of the building and the rituals performed. Heungdeokjeon began to be built in the second half of 1899, and is estimated to have been completed between mid-February and mid-March 1900. It was a ritual facility equipped with waiting rooms for the emperor and royal ladies as an annex. The relocation work was planned in April 1901 and began in earnest after June, and it was closely linked to the construction of attached buildings of Seonwonjeon. In addition, comparing the records on the construction and relocation cost of Heungdeokjeon with those related to the reconstruction of Seonwonjeon, it was confirmed that annex buildings of Heungdeokjeon were relocated and used as annex buildings of Seonwonjeon. The characteristics identified in the process of Heungdeokjeon used as a place to copy portraits are as follows. First, it was used as a place to copy portraits twice in a short period of time. Second, it was the place where the first unprecedented works were carried out in relation to the copying of portraits. Third, the pavilion, which was specially built for imperial rituals, was used as a place to copy portraits. Since then, it has been used as a funeral building for the rest of the body, and features different from those of the previous period are identified. It was the building dedicated to rituals for use as Binjeon, and was also a multipurpose building for copying portraits. In other words, Heungdeokjeon, along with Gyeongbokgung Taewonjeon, is the building that shows the changes in the operation of Binjeon in the late Joseon Dynasty. Characteristics are also confirmed in portrait-related rituals performed at Heungdeokjeon. The first is that Jakheonlye was practiced frequently in a short period of time. The second is that the ancestral rites of Sokjeolje and Bunhyang in Sakmangil, which are mainly held in the provincial Jinjeon, were identified. This is a very rare case in Jinjeon of the palace. The last is that Jeonbae, jeonal, and Bongsim were implemented mutiple times. In conclusion, Heungdeokjeon can be said to be a very symbolic building that shows the intention of Gojong, who valued imperial rituals, and the characteristics of the reconstruction process of Gyeongungung.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.