• Journal of Families and Better Life
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• v.21 no.5
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• pp.155-170
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• 2003

This paper will provide a basic analysis of traditional wedding artifacts as they appear on museum websites and their value for scientific research. The results of this study are as follows: 1. There were a total of 115 wedding artifacts(72 written documents related to weddings, 43 marital items) on the website of a museum. Most of them were related to the latter half of Cho-sun Dynasty. From these artifacts, we may understand the culture surrounding wedding during the transitional period from the Cho-sun Dynasty to modem time. 2. By analyzing such wedding artifacts, we can supplement existing methods of study such as literature research and case histories. In this way, we may better understand the history and culture of weddings. 3. In order to gain a deeper understanding of the culture of weddings we need to adopt a more interdisciplinary approach of wedding artifacts.

• Journal of the Korean Home Economics Association
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• v.50 no.6
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• pp.13-32
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• 2012

This study surveyed features of weddings in the main family by selecting 10 families in which the grandnephew and grandnephew's wife dwell in the head house, have a shrine, and hold a memorial service for Bulcheonwi (不遷位). A case survey through in-depth interview was carried out from April 9, to October 8, 2011. It surveyed the contents and the wedding artifacts in Uihon (議婚), Napchae (納采), Nappye (納幣), Daerye (大禮), Hyeongugorye (見舅姑禮), which are the procedures of traditional wedding that have been kept in the wedding ceremony of the main family. As a result, in deciding on marriage, the marriage was formed on the basis of similar Gagyeok (家格) and on ancestor's common scholastic mantle or origin. As for wedding furnishings, wedding presents, and wedding gifts, 9 out of 10 families were indicated to give and take weakly. Also, 6 out of 10 families held a traditional wedding ceremony in the yard of the bride's house. Hyeongugorye (見舅姑禮) was indicated to be held by all of the 10 families. A continuous effort in academic circles and industries is demanded for preserving the living culture of the main family, which proceeds with following the traditional elements even amid a rapidly-changing historical flow as today.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.