• Architectural research
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• v.19 no.1
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• pp.13-19
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• 2017

In banquets of royal courts held in the late Joseon Dynasty, a procedure that follows the customs as well as physical components to follow that procedure were necessary. A noticeable trait of the red blinds(朱簾) is that they are seen in the naeyon(內宴) types of banquets, which is mostly centered on the queen dowager and relatives, and they function as a makeshift facility that divide the different banquet spaces according to the hierarchy of the royal family. Furthermore, the red blinds within the court played an important role in the procedure of the banquet along with the incense, as it was drawn upon the queen dowager's appearance to signal the beginning, and folded out again to signal the end. This indicates that they were of higher importance within the banquet space. The red blinds used in the playacting stage of the royal court not only segmented the space, but also upon being taken down, expanded and integrated the banquet hall, thereby maximizing the playacting stage. Once the banquet was finished, the red blinds within the court were once again folded out so as to restore dignity to the space. The red blind is a symbolic item that could open the private space of the court so as to enable communication with the public space, and also close it off to restore privacy. Also, the layout of the banquet space was divided by the red blinds into primary, secondary, and tertiary hierarchal space, according to the status of the royal family and the banquet attendants. In other words, the red blinds played an important role in its the symbolic meaning in the national precedent as well as distinguishing the hierarchy of space within the naeyon banquet in the royal court.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.118-135
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• 2023

Hanging boards of the Joseon royal court are hung on buildings related to the royal family, such as palaces and Jongmyo Shrine, to show the hierarchy and character of the building. In addition, the manufacturing method and materials are recorded in the royal protocols of the Joseon Dynasty, so it is an important material for studying the manufacturing method and material changes at that time. However, the hanging boards were restored several times due to fire or war, and it is presumed that there is a change in the original form and material of the hanging boards. In particular, many hanging boards of the Joseon royal court were written with calligraphy by kings, so there are many forms consisting of gold letters on a black background. This study tried to analyze the pigments remaining in the letters of 44 of the Joseon royal hanging boards, which are presumed to be gold letters, and to find out the changes in the hanging board production method and materials by referring to the analysis results. The letters of the hanging boards studied were classified according to the current state of the gold pigment and the detected components. As a result of the analysis of character pigments, 24 embossing techniques and 5 intaglio techniques were mainly detected with gold (Au), but 15 embossing techniques were detected with brass (Cu, Zn). Only blue-green substances, not gold pigments, remain in some of the hanging boards in which brass components were detected. A reproduction experiment was conducted because the pigments of the brass component were not recorded in the literature and were not currently used as Dancheong pigments. In the reproduction experiment, it was difficult to confirm the application and use of brass pigments due to the limitations of materials, but it is judged that research on the timing and method of using brass pigments is needed in the future.

• Sijohaknonchong
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• v.25
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• pp.145-174
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• 2006

The purpose of this study is to research the correlation of Sijo with Akjang. In Joseon Dynasty, the contact of folk music and court music was brisk. Although they had some political premises, many Jeongjaes presented in the royal court parties accepted Gagok, one of the representative folk song genres. It was an eye-opening matter. The song words sung by Gagok music accompaniment were the lyrics of Sijo. We can give Sijo that was used in diverse royal court parties as an typical example about introduction of folk music to the court music. A lot of Goryeo Dynasty's Jeongjaes were introduced to Joseon Dynasty nearly as they are. Naturally so most Sokak-gasas were. Bukjeon was sung to Jinjak tune which Jeong-gwajeong was sung. Bukjeon in the music book Akhak-Guebum is a long song, but instead Bukjeons in the music book Geumhapjabo and Yang'geum-sinbo are short. It suggests that the poetic form of Sijo was introduced to the Lyric of royal court music from a point of time in the early Joseon Dynasty. Especially, Bukjeon had been continued to the late Joseon Dynasty after exchanging to the lyric form of Sijo. Bukjeon had been used In the royal court to the first half of Joseon Dynasty It became established in the repertory of Gagok after spreading to people out of court. Turnover from the long Bukjeon to the short was a result that the folk music influenced royal court music. Bukjeon. song words praying King's longevity. was used in the diverse situations such as a small royal parties, royal archery, and King's outing. It can be a clue that the Korean song words continued to late Joseon Dynasty were used for the lyric of royal court music. In the correlation of the poetic form of Sijo and Akjang, we can find out some characteristics different from our common sense to distinguish royal court music from folk music.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.10
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• pp.1552-1563
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• 2009

This paper investigates the color rank system of the Wonsam, ceremonial topcoat, worn as a court formal costume of the Joseon dynasty by analyzing the court costume system and the actual examples of wearing. The research shows that there were some discrepancies of the color rank of the Wonsam between the court costume system and the actual wearing examples. There were red, purple, blue, green, and black Wonsam in the Joseon dynasty. The color rank of the Wonsam is as follows: the Queen's color was red, the Crown Princess's was green and purple, the royal concubine's was usually green and blue, but they could wear purple when they won the King's favor. A prince's wife's was usually green, but she wore blue and purple if she became the mother of the King. The princess's was green, and the court lady's was green, blue, and black. In most cases, the textiles of Wonsam were made by silk with patterns, even though Joseon dynasty was ordered to use silks without patterns in court weddings and funeral ceremonies to avoid extravagance.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.521-531
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• 2019

Uigwe Banchado are paintings of court events and royal ceremonies of the Joseon dynasty. The paintings record national events and ceremonial rituals performed by the Joseon royal family, such as marriages, celebrations, enthronements, processions to royal tombs, and archery ceremonies. This record provides a combination of information about the event's appearance, including preparation, procedure, people involved, reproductions worn by the participants, and the items used at that time. Through the realistic depictions painted in the Uigwe Banchado, in particular, one can grasp the scene of events at the time and reproduce the diverse attire worn by participants in the event. Based on 31 representative Uigwe Banchado, 550 knowledge nodes were written. These include 31 royal protocols, 41 attires, 136 clothes, 8 storage facilities, 120 objects, 55 people, 33 places and 83 concepts. The meaningful relationships between each node can be explored via a network graph. Digital illustrations of the 41 attires were created to aid in the understanding of Joseon dynasty royal ceremonial ritual attire.

• Journal of architectural history
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• v.28 no.3
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• pp.29-44
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• 2019

A major performance stage carpenter, Jang Insang led performance stages from the 1719 Sukjong Royal Banquet and was confirmed by historical records to be the first craftsman. Lee Wandeuk led the Hwaseong Fortress performance stages of the Jeongjo period and Gichuk Jinchan performance stages of the Sunjo period. The carpenter techniques he used during the Jeongjo period were succeeded to the Sunjo period. Ahn Sungil was the head craftsman who led the performance stages of Jagyeongjeon Jinjak, Muja Jinjak, and Gichuk Jinchan of the Sujo period, under which the foundation for court palace performances was laid. The progression of major carpenters includes Jang Insang of the Sukjong period, Jeon Yoochu of the Yeongjo period, Ahn Sugil of the Sunjo period, Yoon Seoksin of the Heonjong period, Kim Yoonsik of the Gojong period, Lee Jongyoon, Kim Soongil, Seo Sangmook, and Han Sujoon. In addition, the Major Repair of Injeongjeon Hall (1857) of the Cheoljong period was the most important palace construction project for transferring the carpenters' skills. Through this project, Ahn Sungil of the Sunjo period, Kim Myeonggap, Yoon Seoksin of the Heonjong period, Kwon Deuknyang, and Kim Sungil of the Gojong period were able to interact with each other. That is, this major repair project of Injeongjeon Hall reflected the major carpenters' best techniques through performance stage construction, showing the progression of Ahn Sungil, Yoon Seokshin, and Kim Sungil, who led the constructions of Gichuk Jinchan of the Sunjo period (1829), Mushin Jinchan of the Heonjong period (1848), and Jeonghae Jinchan of the Gojong period (1887), the most impressive performance stages of the late Joseon period. The carpenters of the court performance stages participated in important construction projects of the royal palace, reflecting the superior technical skills of the carpenters in the construction of court palace performance stages. The carpenters who played a leading role in the construction of performance stages were able to interact with one another and transfer their excellent technical skills, providing the driving force that allowed court performance stages to blossom into splendid and high-quality court stages in the late Joseon Dynasty.

• Journal of the Korean Society of Food Culture
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• v.33 no.4
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• pp.382-393
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• 2018

This study investigated Balgis (the record of the court)in the Joseon Dynasty pertaining to table settings for Sangsik (the meals for the dead). Sangsik are the records of daily meals for kings and key figures. In this study,14 pieces of Sangsikbalgi from 1890 to 1920, including two pieces from an unspecified period, were investigated to determine the composition and types of daily meals in the court. Meals consisted of a minimum of 10 dishes to a maximum 21 dishes, which basically included rice and soup. 'Jochi' was the term to refer to jjigae (stew) in the court. In Sangsikbalgi Bokgi, Gamjang, Jochi, Jjim, Suk, and Cho were all considered Jochi, which were recorded before Jeok or Jeon, where the side dishes were listed after rice and soup. This corresponded with the record of the royal tables in Wonhaeng-Ulmyo-Jeongri-Uigwe (圓行乙卯整理儀軌), in which Jochi included Jabjangjeon, Bokgi, Jabjang, and Cho. Whitebait and fruit, which are used as ingredients for Tang (soup) and Jeon, showed seasonal characteristics however, no other observed dishes showed seasonal variability. Additionally, beef and internal organs of animals were frequently used,regardless of seasons. When dishes in Sangsik were classified into basic dishes and additional cheop dishes (side dishes) based on Siuijeonseo (are recipe book of unknown authorship written in the late Joseon Dynasty), from five to nine Cheop dishes were set on the table, with seven being most common. Further comprehensive study needs to be conducted through undisclosed documents and private collections. Moreover, additional study of Judarye (anestral rites during the day for the royal) and cooking methods that were not investigated in detail in this study are needed.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.55-71
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• 2011

Court ladies' tasks were largely divided into two. First, if there is a royal family event, such as the royal family's wedding or feast, they followed the rules and regulations of work division that was defined in "Gyeonggukdaejeon". Secondly, during normal days, they were divided into Jimil (至密), Chimbang (針房), Subang (繡房), Sesugan (洗手間), Saenggwabang (生果房), Naesojubang (內燒廚房), and Oesojubang (外燒廚房) and took charge of female work that was needed daily at the palace including serving, cooking, laundry, needlework, embroidery, cleaning, and nurturing. This organization was operated by different palaces such as the daejeon(king's palace), daebijeon(queen dowager's palace), junggungjeon(queen's palace), or sejagung(prince's palace). Court ladies were selected among female slaves of the government office or naesusa(a ministry of royal household properties). Although commoners were forbidden to be selected, they sometimes became court ladies voluntarily for financial reasons or because of the will of their parents. Court ladies had different appearances according to the division they belonged to. The court girls of Jimil, Chimbang, and Subang wore saeangmeori while court girls from other places had braided hairstyles. At Jimil, they wore all different kinds of chima(skirt) and jeogori(jacket). Usually, court ladies wore navy chima, jade jeogori, green gyeonmagi(top jacket) with the uyeomeori hairstyle. When working in the evening, they wore pink jeogori or yellow-green jeogori, navy chima with the jojimmeori hairstyle for easiness to stay up all night and work. Navy chima was worn by court ladies. If there was a royal family event upper court ladies wore uyeomi, black or green wonsam, and stewards wore garima and dangui.

• Journal of the Korean Society of Food Culture
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• v.34 no.5
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• pp.508-533
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• 2019

This study investigated the Sachanbalgi, which record the royal feasts given by the royal family of the Joseon Dynasty of Korea. These records are contained within the Gungjung Balgi, which recorded the types and quantity of items used in royal court ceremonies. The Eumsikbalgi is the general name for the records of food found within this document. Using these Eumsikbalgi, and in particular the Sachanbalgi, this study investigated the food eaten and bestowed by the Joseon royal family. The Sachanbalgi describes four categories or occasions of feasts: royal birthdays, childbirth, royal weddings, and funerals. These records allow us to reconstruct who the attendees were and what the table settings and food were for instances not directly indicated in oral records, books, or other documents. The food at these Sachan (feasts) was diverse, being related to the specific event, and its contents varied based on the position of the person who was receiving the food. Usually, Bab (rice) was not found at a Sachanbalgi, and only on two occasions were meals with Bab observed. Specifically, it was served with Gwaktang (seaweed soup) at a childbirth feast. There were seven kinds of soups and stews that appeared in the Sachanbalgi: Gwaktang, Yeonpo (octopus soup), Japtang (mixed food stew), Chogyetang (chilled chicken soup), Sinseonro (royal hot pot), and Yukjang (beef and soybean paste). Nureumjeok (grilled brochette) and Saengchijeok (pheasant), and Ganjeonyueo (pan-fried cow liver fillet) and Saengseonjeonyueo (pan-fried fish fillet) were eaten. Yangjeonyueo, Haejeon, Tigakjeon (pan-fried kelp) and other dishes, known and unknown, were also recorded. Boiled meat slices appeared at high frequency (40 times) in the records; likewise, 22 kinds of rice cake and traditional sweets were frequently served at feasts. Five kinds of non-alcoholic beverages were provided. Seasonal fruits and nuts, such as fresh pear or fresh chestnut, are thought to have been served following the event. In addition, a variety of dishes including salted dry fish, boiled dish, kimchi, fruit preserved in honey, seasoned vegetables, mustard seeds, fish, porridge, fillet, steamed dishes, stir-fried dishes, vegetable wraps, fruit preserved in sugar, and jellied foods were given to guests, and noodles appear 16 times in the records. Courtiers were given Banhap, Tanghap, Myeonhap, wooden bowls, or lunchboxes. The types of food provided at royal events tracked the season. In addition, considering that for feasts food of the royal household was set out for receptions of guests, cooking instructions for the food in the lunchbox-type feasts followed the cooking instructions used in the royal kitchen at the given time. Previous studies on royal cuisine have dealt mostly with the Jineosang presented to the king, but in the Sachanbalgi, the food given by the royal family to its relatives, retainers, and attendants is recorded. The study of this document is important because it extends the knowledge regarding the food of the royal families of the Joseon Dynasty. The analysis of Sachanbalgi and the results of empirical research conducted to reconstruct the precise nature of that food will improve modern knowledge of royal cuisine.

• Journal of architectural history
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• v.29 no.6
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• pp.79-88
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• 2020

During the Joseon Dynasty, the rituals that were celebrated in the palaces were mainly held inside the palace and in the courtyard of the palace. Mats were spread on the floor of the place where the ritual was held. The mats spread in the Joseon Dynasty rituals divided the space in various ways, and in particular, they were spread in a certain form in the spaces of royal wedding, customs, and court banquet. Mats were the primary physical element that divided the royal ritual space of the Joseon Dynasty, and functioned to elevate the general space to the ritual space. In the ritual space, mats were spread inside the palace, and divided the courtyard of the palace into left and right in a symmetrical form to distinguish the hierarchy of the participants. Mats with special and white patterns were spread in the external ceremonial space and mats with flower and colorful patterns were spread in the internal ceremonial space. This was the subdivision of the Confucianism's male-female division through the mat. The pattern of the mat that divided the space of the royal family elders also meant longevity to reflect the filial thoughts of the Confucianism through the mat. Mats were a physical element for subdividing the royal family and the participants in the hierarchy of the space where the ritual is held, and it also performed a subdividing function between the royal participants. In other words, in the Joseon Dynasty ritual space, mats were temporarily spread while the ritual is being celebrated and functioned to elevate the space to a ritual space. It is confirmed that the fact that the mats were temporarily spread to divide the space into the hierarchies according to the status and were subdivided into colors and patterns to perform the function to reflect the subdivision of the royal family according to Confucianism and the statue of filial piety in the ritual.