• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.5
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• pp.343-353
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• 2021

Historical dramas are changing in response to the public who wants more dramatic development, and historical costumes are also expressed in a modern sense. The purpose of this study is to examine the modernization of historical costumes in historical dramas and how the modernization of historical costumes in historical dramas is fostered from the learner's point of view with suggesting implications. As a result of this study, first, the essential problem with the modernization of historical costumes was the excessive modern transformation that undermines historical facts in historical dramas. Second, the negative perceptions of the modernization of historical costumes in historical dramas included the loss of the unique Korean identity, decreased immersion in drama, and the educational influence of media. Positive perceptions focused on the increased interest through raising awareness of traditional culture, compromises on changes in the times, and increased visual play of the public. Third, the implications of the modernization of historical costumes in historical dramas require the awareness improvement of participants in historical drama and a thorough preliminary investigation by the costume designer on the historical costume, an in-depth study of traditional costumes, a systematic educational approach, viewers' attention, and government effort.

• Korean Journal of Heritage: History & Science
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• v.43 no.2
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• pp.4-39
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• 2010

The purpose of this study is to examine the archetype of the Gyeongju Castle walls and the facilities around it to bring together previous studies and identify the specific scale and structure of the archetype. The findings can be summarized as follows. First, we verified the exact location and dimensions of the castle through an over-lay of land registration maps from the Japanese colonial period, land registration maps from the present day, cadastral maps, and excavation records. Second, the dimension of the rampart and fort of the castle were discovered by combining and analyzing historical evidence, modern research data, historical site studies from the Japanese colonial era, and maintenance records. Third, the historical records related to the yeojang (rampart sub-wall) formats in the Joseon Dynasty were used to examine the archetype of the yeojang. This study led to the discovery of the archetype of the Gyeongju castle yeojang in the early stage of King Munjong's reign (1451), and the archetype created after the Japanese Invasion (16th century). And finally, although most of the rampart is not present, the structure of the castle can be estimated based on historical research, and research materials modern and contemporary(excavation conservation field survey). In addition, this study presented a archetype restoration plan for each site, to be used as foundational data for future restoration projects.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• KLA journal
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• v.14 no.3
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• pp.3-5
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• 1973

• KOREAN POULTRY JOURNAL
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• v.18 no.6 s.200
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• pp.50-53
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• 1986

• KOREAN POULTRY JOURNAL
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• v.18 no.1 s.195
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• pp.46-47
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• 1986

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.682-697
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• 2018

The purpose of this study is to examine the characteristics and functions of radio media and its imprecations. In doing so, the researcher attempted to analyze the text of the radio documentary, which illuminated "Seosan Sim's Sorigil," Pansori Jung-go-je. The analysis showed that radio, a broadcasting medium, functions as a sound storage medium by utilizing elements such as sound, narration, and dramatic reenactment. Second, the radio media enabled to record the upbringing of a person through an oral interview. Finally, the radio medium plays a role in promoting the sound of Pansori academically. This study confirms that the radio medium functions as a means of recording and ascertaining Pansori, a traditional art culture and an intangible cultural heritage, by utilizing the unique characteristics of sound storage media.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.90-111
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• 2021

Seojangdaeyajodo is a drawing of Jangyongyoung's military night training on February 12 (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the positions and roles of the low-ranking soldier belonging to Jangyongyoung, and the composition and characteristics of military uniforms for each role were examined. The results ascertained by the historical research on the military uniforms are as follows. Deungronggun, noeja, sunryeongsu and daegisu who were placed in front of the king's Seojangdae were the low-ranking soldiers belonging to Jangyongyoung. The soldiers who escorted the king around Seojangdae were lowranking soldiers belonging to Jangyongyoung. The military uniform of the deungronggun was consisted of a jeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon and black shoes. The low-ranking soldier's heopsu suggested that it could also be a sochangui. He carried a sword and a red lantern. Noeja were divided into a sinjeonsu and a jujangsu. The military uniform of the noeja was consisted of a Jujeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon, and black shoes. Sunryeongsu were divided into a sinsigisu and a younggisu. The military uniform of the sunryeongsu was consisted of a jeongeon, a black heopsu, red gweja, indigo jeondae white haengjeon and black shoes. He carried a sword and a red lantern. The military uniform of the daegisu was consisted of a jeongeon, a black heopsu, blue gweja, indigo jeondae, white haengjeon and black shoes. He carried a sword and a flag. The soldiers surrounding Seojangdae and the seongjeonggun defending the fortress were the Chogun. The military uniform of the chogun was consisted of a jeolrip, a black heopsu, houi, indigo jeondae, white haengjeon and straw shoes. Houi was applying the five directional colors: the east is blue, the west is white, the south is red, and the north is black. He carried a sword and a gun. It was presented as an illustration of costumes that could produce contents by reflecting on these historical results. The basic principle of the illustration was to present the standards for 3D content production or actual production. Samples of form, color, and material according to the times and status were presented. The front, the side, and the back of each costume and the feature were presented, and the colors were presented in RGB and CMYK.

• Journal of the Korean Society of Costume
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• v.2
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• pp.1-8
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• 1978

• The Science & Technology
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• v.34 no.8 s.387
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• pp.40-42
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• 2001