• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.80-97
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• 2023

By taking wallpaper specimens from Gyeongbokgung Palace, Changdeokgung Palace, and Chilgung Palace preserved from the late Joseon Dynasty to the present, we planned in this study to determine the types and characteristics of the paper used as wallpaper in the Joseon royal family. First, we confirmed the features of paper hanging in the palaces with old literature on the wallpaper used by the royal family based on archival research. Second, we conducted a field survey targeting the royal palaces whose construction period was relatively clear, and analyzed the first layer of wallpaper directly attached to the wall structure after sampling the specimens. Therefore, we confirmed that the main raw material was hanji, which was used as a wallpaper by the royal family, and grasped the types of substances(dyes and pigments) used to produce a blue color in spaces that must have formality by analyzing the blue-colored paper. Based on the results confirmed through the analysis, we checked documents and the existing wallpaper by comparing the old literature related to wallpaper records of the Joseon Dynasty palaces. We also built a database for the restoration of cultural properties when conserving the wallpaper in the royal palaces. We examined the changes in wallpaper types by century and the content according to the place of use by extracting wallpaper-related contents recorded in 36 cases of Uigwe from the 17th to 20th centuries. As a result, it was found that the names used for document paper and wallpaper were not different, thus document paper and wallpaper were used without distinction during the Joseon Dynasty. And though there are differences in the types of wallpaper depending on the period, it was confirmed that the foundation of wallpaper continued until the late Joseon Dynasty, with Baekji(white hanji), Hubaekji(thick white paper), jeojuji(common hanji used to write documents), chojuji(hanji used as a draft for writing documents) and Gakjang(a wide and thick hanji used as a pad). As a result of fiber identification by the morphological characteristics of fibers and the normal color reaction(KS M ISO 9184-4: Graph "C" staining test) for the first layer of paper directly attached to the palace wall, the main materials of hanji used by the royal family were confirmed and the raw materials used to make hanii in buildings of palaces based on the construction period were determined. Also, as a result of analyzing the coloring materials of the blue decorative paper with an optical microscope, ultraviolet-visible spectroscopic analysis(UV-Vis), and X-ray diffraction analysis(XRD), we determined that the type of blue decorative paper dyes and pigments used in the palaces must have formality and identified that the raw materials used to produce the blue color were natural indigo, lazurite and cobalt blue.

• (The)Study of the Eastern Classic
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• no.73
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• pp.119-151
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• 2018

This paper is a study of the historical significance of The water and land ceremony performed by Bongeunsa temple in the Joseon Dynasty. The Bongeunsa temple was originally a hermitage named Geungseongam, which was located in the Hakdang-dong, Gwangju County, Gyeonggi Province. After that, Geungseongam was named as Geungseongsa temple. Geungseongsa temple was left in that position and acted as the Temples belonging to Royal Tombs(陵寢寺, TRT) of the King Sungjong, later the name of the temple was changed to Bongeunsa Temple. As a result of movement of the royal tomb of the Joongjong(靖陵) next to the royal tomb of Sungjong, the Bongeunsa was also used as a TRT of the Seonjeongneung royal tomb. After that, the grandson of the King Joongjong, crown prince Soonhoe early passed away, Buddhist shrine (願堂) was set in Bongeunsa temple. Bongeunsa temple remained as a royal prayer place, serving as a Buddhist shrine for crown prince Soonhoe and serving as a Jopo temples for Seonjeongneung royal tomb until the end of the Joseon Dynasty. From the time when it was called Geungseongam to the time after when it was renamed as Bongeunsa Temple, this temple performed The water and land ceremony. But the characters changed little by little. From the King Sejo to King Sungjong, The water and land ceremony characterized Consolation ceremony for the spirit of the dead for prince Gwangpyeong, King Sejong, Queen Soehan and served as the Buddhist memorial praying for the well being of the royal family and people. From the time of the King Yonsan to the time of King Myeongjong, The water and land ceremony had strong characters for Consolation ceremony for the spirit of the dead for King. In the late Joseon Dynasty, Bongeunsa Temple served as the royal party of The water and land ceremony. On the other hand, after the Manchu war of 1636, Bongeunsa Temple also served as the national water and land ceremony for the victims who were killed in the mountains of Namhan. In the Joseon dynasty, The water and land ceremony performed by Bongeunsa Temple was strongly directed for Consolation ceremony for the spirit of the dead for royal family members, and Bongeunsa Temple was maintained as a royal prayer throughout the Joseon Dynasty.

• Journal of architectural history
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• v.32 no.6
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• pp.23-32
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• 2023

Based on the experience of building 'Waegwan(倭館)' in Busan, Japanese paper wallpapering, the use of square rafters, and the installation of sliding windows were used in the construction of Joseon palaces from the 17th century onwards. Elements that could be applied through observation alone were applied first, and sliding windows that required precise skill acquisition were installed later. 'Yeongchang(影窓)', which refers to a sliding window that brightens an interior, has spread rapidly, and its types and structures have also become more diverse. Gradually, 'Yeongchang' came to refer only to additional windows installed by attaching grooves to the lintel of existing casement windows. The sliding window that is installed independently and acts as an interior partition was renamed 'Chujangja(推障子)'. Japanese architectural elements such as 'Yeongchang' and 'Chujangja' have become an element of traditional Korean architecture.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.184-205
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• 2019

Buddhism was introduced to Gyeonggi-Do early on and thus created various types of Buddhist culture there. Since the introduction of Buddhism into Gyeonggi-do, the there has been continuous construction of stone stupas. More stone stupas were built in southern Gyeonggi than in northern Gyeonggi-do. In particular, Anseong, Icheon, Yongin, and Yeoju were centers of construction. Looking at the characteristics of each period, stone stupas remain from the Unified Shilla Period to Joseon, indicating that stone stupas were steadily built during this period. The stone stupa corresponding to the Unified Shilla Period is meaningful in that it shows the northern limit of Shilla Buddhist culture. Since then, the stone stupas of the Goryeo Dynasty were actively constructed in the southern part of Gyeonggi-do in the early Goryeo Dynasty. By the late Goryeo Dynasty, the stupas were built throughout Gyeonggi-do, indicating that the construction of the stupa was active. In the Joseon Dynasty, stone stupas were built in temples near Hanyang and deeply related to the royal family. Stone pagodas were erected mainly on major traffic routes. Stone stupas built in Gyeonggi-do have a variety of artistic and historical significance.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.20-33
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• 2018

This study aims to illuminated landscape of Joseon Dynasty in the end of 19th century when Joseon dynasty began to modernize through the perspective of Westerners. Historical meaning to Western people's landscape records has been preceded. And landscape typology and their perception were analyzed. The results were as follows. First, the Westerners who visited Joseon dynasty at that time were involved in the historical and political situation of the Joseon Dynasty or understood their culture through traveling for so long. And record of Westerners is a significant data to analyze scenery at that time because common contents appear in various books. Second, the landscape of Joseon dynasty that appears in Western records was mainly recorded in small towns and villages, natural environments, scenic sites, historic sites, modern facilities, and cultivated areas. Small towns and villages are mainly mentioned with shabby alleys and dense houses. And natural landscape were identified to mountain landscapes and diverse geomorphological landscape that surrounding vegetation along the coast and rivers. The palaces, fortress and temples were recorded as main objects of scenic sites and historic site. And western-style buildings such as foreign legations and settlements, churches and schools were mentioned in the modernized facilities. A cultivated land was confirmed to be underdeveloped and neglected, but as range of view became wider, it was seen to a peaceful and prosperous rural landscape. Third, Westerners' landscape perception of Joseon dynasty at that time can be deduced from positive or negative perceptions. The residential environment was perceived as negative because it was unsanitary and backward. On the contrary, outstanding natural landscapes, scenic sites and historic sites, and upper class gardens were perceived as positive. For modernized landscapes, positive and negative perceptions were similarly mentioned. Positive perceptions were formed in improvement of civilized landscape, and appeared negative perception because damaged traditional landscapes and heterogeneity.

• The Journal of Korean Philosophical History
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• no.50
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• pp.269-303
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• 2016

There are two ways of viewing the Taoism of the Joseon dynasty. One is to view it from the point of view in Joseon, another is to view it from the outside of Joseon, i.e. foreigners' point of view. Maurice Courant(maurice courant,1865~1935)'s Bibliographie Coreenne is the Korean first bibliography(書誌) recorded from the latter's point of view. This research examined the Taoist scripture in Maurice Courant's Bibliographie Coreenne. Maurice Courant classified the Taoist scripture of the Joseon into three: '1. Sacred books(經書類)', '2. Worship of Gwanseongjegun(關聖帝君), Munchangjegun(文昌帝君), Buwoojegun (孚佑帝君)', '3. Various works'. Through this category, it was determined that the belief in three gods (Gwanseongjegun Munchangjegun Buwoojegun) was widely prevalent in the Joseon dynasty in the late 19th century. In the chapter 1, he composed the books of representative Taoist scripture as Lao-tzu and Chuang-tzu, 'God(太上)', and 'King of heaven(九天上帝)'. Maurice Courant determined in chapter 2 that 1890s' Joseon Gwanwoo (關帝) belief was activated, and mentioned 'Musangdan(無相壇)', namely, Joseon's first religious organization. However, he could not determine that the scriptures relevant to three gods were recorded to be divine revelations uttered by gods. 19th century's 'Musangdan' was not introduced by being imported with Chinese Taoist scripture, but was published with the Joseon Taoist scripture through Gangpil(降筆: recording divine revelations uttered by gods). Also, through Maurice Courant's Bibliographie Coreenne, the point that 'belief in three gods' was prevalent in the social leader group during that period could be determined. The reason how such research could be possible seems, because Maurice Courant had Korean assistants who were good at Chinese classics. In chapter 3, Maurice Courant arranged the books based on Taoist ethic and the scriptures on Taoist social practical movement. Through the interpretation of Taoism bibliographies included in Maurice Courant's Bibliographie Coreenne, first, it could be determined that belief based on the three gods(三聖信仰) was prevalent during the 19th century, second, there were lots of the Taoist scriptures made in the late Joseon, third, the first Taoist religious organization and Taoist social movement form could be investigated.

• Journal of the Korean Society of Food Culture
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• v.36 no.1
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• pp.1-27
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• 2021

Eumsikjeoljo (integrity with food) originally came from the Andong district, where the Goseong Yi clan inherited a cookbook from their ancestor Lee Jeong-Rong (1798~1871). The cookbook was written in an antiquated style and is estimated to have been written around the year 1865. Details of the era and authorship are seldom available for the extant ancient cookbooks. The authors of these books and the period during which these books were precisely written were studied through the Eumsikjeoljo which is a repository of 46 cooking disciplines. Of these 10 deal with the practice of traditional Korean crispy snack making, 4 with rice cake making, 3 of the yeonbyeong kind, 19 examples of Korean side dish making, 6 recipes of the kimchi variety, 2 examples of paste-based recipes, and 2 instances of instructions on how to make vinegar-based extracts. Also, in Eumsikjeoljo, there are descriptions of 29 different ways to brew rice wine. Of these, Danyang wine among the Leehwa wines and 13 others account for over 44% of the content. Leeyang wine and Sogok wine are represented by 10 different varieties and constitute around 34% of the entries. Samyang wine and Baek-il wine, along with 6 others, constitute 21% of the entries. The secret recipes of the Goseong Yi clan in the Andong district were recorded so that they could be transferred to the descendants of the clan. An inspection of the recipes and wine brewing techniques recorded in Eumsikjeoljo provides a clearer picture of the mid-1800s Andong noble family's traditional food habits and simultaneously sheds light on the late Joseon dynasty's food culture.

• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.61-92
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• 2019

We attempted to find the style of flower arrangement from the drawings of Uigwe and paintings of folding screens for the royal ceremonies of the late Joseon dynasty. In the pictures of the Uigwe and folding screens, we could see the linear, circular, and oval types Junhwa used to decorate the left and right sides of the throne placed in the center of main parish at the national banquet. There were also identified the Sanghwa which was used to decorate food on it, Jamhwa which was used to decorate head to be worn on the caps or hats, and Hwaga which was used to decorate the style supporting the large awnings at the national banquet. Hwaga was found, in the Musin Jinchan Dobyeong. In 1795, it was found that decorations on the floor, which are quite similar to the table decorations and modern space decorations, and flower shoot presented by king and flower decorations which were bound to the stick which was presented by king to country old men from Wonhaeng Eulmyo Jeongri Uigwe and Hwaseong Reunghaengdobyeong

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.11
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• pp.135-144
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• 2018

During the Late Joseon dynasty, abandoned mountain fortresses were urgently repaired for the operation of foothold mountain fortresses in Gyeongsang-do, during the Japanese Invasion of Korea in 1592 and immediately after the Qing Invasion of Korea in 1636. Immediately after the Qing Invasion of Korea, an external fortress wall was built and added to each of Cheonsaeng Fortress and Geumo Fortress to establish a system of protecting locals inside a fortress at important locations for border defense against Japan in the Yeongnam region. Cheonseng Fortress, however, did not have sufficient geographical and protection conditions as a mountain fortress for protecting people inside it; thus, Gasan Fortress was newly built to replace Cheonsaeng Fortress. Geumo and Gasan Fortresses were used in border defense against Japan during the period from King Injo's reign to the end of Joseon Dynasty, because the fortresses served the purpose of defending Nakdonggang River and middle roads located at important roads along the border in the Yeongnam region and because it was possible to quickly repair and use their existing fortress walls and internal facilities, such as middle fortress walls and ponds, that were constructed for long-term protection of locals inside the fortress. In addition, it was found, in this study, that a continuous discussion on how to supplement fortresses led to the reinforcement and improvement of fortress facilities and fortification technology through the application of major strengths of Chinese (Ming) and Japanese fortress systems.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.51-70
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• 2010

The ritual to change the hairstyle holds the same meaning as the coming of age ceremony. The ceremony was performed throughout three times including choga, jaega, and samga. The garment and hairstyle attuned to the ceremony formalities. Women in the royal family had 'su-siK when they were fully grown up during choga, 'gwang-sik' during Jaega, and 'keun-meo-ri (big hairstyle)' during samga. 'su-sik' is the noblest hairstyle according to social status, which is allowed to be worn only by spouse of king and prince, regardless of adult or not. During jaega, 'gwang-sik' which was 'u-yeo-meo-ri', is made by winding 'darae (wig)' around a jjok-jin-muri (bun) [Jo-jim-meo-ri]? which distinguished the hairstyle of unmarried women, who did not go through a coming of age ceremony yet. Unmarried women maintained a hairstyle which is mostly twisted into one string, but they had 'saeang-meo-ri' when they were prepared for ceremonial costumes. Also, they had 'ga-raemeo-ri' when growing further. keun-meo-ri during samga is an addition of keun-meo-ri chaebal(wig) onto u-yeo-meo-ri. Women in the royal family made geo-du-mi by adding keun-meo-ri, which is formed by twisting wig, and oimyeongbu (noble ladies) and sanggung (court ladies) added a wooden wig called u-yeo-mi. Also, yeoryeong wore ga-ri-ma. In this way, the types of hairstyles were distinguished according to hierarchy. As the coming of age ceremonial dress. Wonsam was worn. During choga. wonsam was worn as a formal dress and during jaega and samga wonsam was worn as a full dress.