• Korean Journal of Heritage: History & Science
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• v.39
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• pp.191-217
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• 2006

The chief mourners do their best to carry the dead and various things related to him in the departure of a funeral procession. "Sejongsillok" and "Gukjooryeui" had already written the national funeral supplies for carriage in detail in the early of Joseon period. But they were the standard book of national ceremony. The Ilbang of Gukjangdogam made the national funeral supplies for carriage in the late of Joseon; Daeyeo, Gyeonyeo, Yoyeo, Chaeyeo, Gaja etc. "Gukjangdogamuigye" explained these in detail; size, materials, made-place etc. I used "Gukjangdogamuigye" published in the late of Joseon to explain the national funeral supplies for carriage. Because Kingdom's ceremony in Joseon was representative to the country, it couldn't depend on an individual taste. King was the symbol of a nation and the star tin point of the political power at that time. So its ceremony was to show people the representative example as a national ceremony. The national funeral supplies for carriage carried the dead of King and various things related to him. Gukjangdogam managed them carefully. People thought that the mean of these things was equal to King's authority at that time. So these weren't the mere national funeral supplies for carriage, the symbolic instruments equal to King.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.325-355
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• 2007

A national funeral was a ceremony for king symbolizing a country in Joseon. The Gukjangdogam had three practical affairs: ibang and ibang, sambag. Each practial affairs was ready for various implement and finished a national funeral very well. So various important. The Daeyeo and the Gyeonyeo which carried directly the dead from a palace to a burial in the national funeral was a chief implements to handle with careful. All people had to carry heartily him as a Daehaewang which means a previous king. But three practical affairs belonging to the Gukjangdogam made various implements directly or indirectly related in a Daehaengwang and symbolized has authority. They were related in succeeding to the throne. The departure of a funeral in Joseon was a space and a time to appear his authority. The Gukjangdogam progressed it like going in and out the palace in the life. We knew it was ready for the departure of a funeral equalizing to the life and the death. The Gukjangdogam made the best of various implements using in going in and out the palace in the departure. We saw the Confucian view about living and dying through the implements used in the departure. The Gukjangdogam assembled many technicians around the country. They had to make various implements as high-level technicians at certain hour under the supervision of officials. The Gukjangdogam payed and compensated for their labors. There is an indissoluble connection between them. The technicians belonging to three practical affairs were ready for the implements for a national funeral: newly-made and repair, existed-implements use etc. So a national funeral can be called 'the feast of techniques' as well as complexity of techniques' in the Joseon.

• Journal of the Korean Society of Costume
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• v.28
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• pp.19-30
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• 1996

This study investigate through the Balin-banchado in the Kookjangdogameuigue how the system of banchado ceremony exchanged during the middle late the Yi dynasty and in the period of introducing Wastern civilization The Balinbanchado is carry a coffin out of the house to the royal mausoleum. The characteristic in the general strucutre share banchado with rites of introduction rites of center and rites of finishing. Balin-banchado varies according to the objects and the times of a state funeral. In comparsion with Karaebanchado there are investigate the general structure cer-emonial arms and ceremonial costumes. The special feature of two banchado varies rites of center among rites of three. in the ceremonial arms aspect the characteristic of two ban-chado differ from the objects and the times. In the ceremonial costumes the peculiarity of two banchado can be divided into the guard costumes and the ceremonial arm costumes. The most formal attire of the guard costumes. were murning dress and yang-kwan-chobok and samo-danryeong In the ceremonial arm costumes the most outstanding was hongkun-hongeui baik-kun-baikeui in two banchado.

• Journal of the Korean Society of Clothing and Textiles
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• v.8 no.3
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• pp.57-65
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• 1984

This is to study some female court costumes, Jamgsam and Sooboro etc. (장삼, 수보노), which seem to had been used as ceremonial robes. There is no remaines, and only a little written materials can be used. The Kook-Chang-Dogam Eui Gues(국장도감의구) give us some know ledges on the shapes, materials, embroideries and the usages of them. After surveying the provisions of the Eui-Gues, Auther arrived at conclusions as follow; 1. Jangsam(장삼) set is the counterpart of the Myunbok(면복) set. 2. Sooboro(수보노), worn over the Sang(상), is short, divided into three parts from the middle of the length, and the peonies(목단) are embroidered at the bottom of the three parts. 3. Jangsam(장삼) is accompanied by susik(수식), which seems to be a kind of headband, and a pair of gloves(수의).

• Journal of the Korean Society of Costume
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• v.61 no.5
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• pp.147-163
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• 2011

King Jeong-jo (正祖) was the 22nd king of Joseon dynasty (朝鮮王朝), who led the golden age of Korean culture during his ruling. This study is on the burial dressing of King Jeong-jo based on the publications during his ruling; such as "Gukjo Sangrye Bopyeon (國朝喪禮補編)", "Chungwan Tonggo (春官通考)", Jeong-jo "Gukjang Dogam Euigwe (國葬都監儀軌)", "Jeongjo Binjeon Honjeon Dogam Euigwe (正祖殯殿魂殿都監儀軌)" and "Jeong-jo Sillok (正祖實錄)", "Gukjo Sangrye Bopyeon (國朝喪禮補編)" was published in 1758. It compiled the funeral protocols of royal court, complementing the shortcomings of protocol documents published till then. "Chungwan Tonggo" was published in 1788, compiling all the protocols and customs practiced during Joseon dynasty in an organized manner. "Jeong-jo Gukjang Dogam Euigwe" and "Jeongjo Binjeon Honjeon Dogam Euigwe", record the burial dressing and the state funeral of King Jeong-jo in detail based on the contents of above protocol publications. In addition, the 'Daeryeom Euidae ', 'Soryeom Euidae', 'Seup Euidae' and 'Mokyok Euidae' that had been actually practiced were studied in detail based on the records in June/July, 1800 in Book 54 'Jeong-jo' of The Annals of the Joseon Dynasty. The timing of King Jeong-jo's state funeral was when the most elaborated and complete protocol books of Joseon dynasty had been published. Therefore, it was possible to explore the solemn and magnificent funeral culture and King's burial dressing in late Joseon dynasty by way of King Jeong-jo's burial dressing.

• Journal of the Korean Society of Costume
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• v.7
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• pp.115-126
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• 1983

Myun Bok originated in China was introduced into Korea in ancient times. Some evidences show that it had settlled down as our own official robe already under Koryo Dynasty. And Koryo made her own regulations on Myun Bok. Kook Cho O Rye Eui(國朝五禮儀) of Choson Dynasty has comparatively detailed explanations on the way of cutting and shapes and materials. And the regulations are modeled after those of Ming China. But it has been impossible to know whether the regulations of Kook Cho O Rye Eui were strictly kept or not, because we have not enough remains through which to see it. And then we got very useful materials, Eui kue(儀軌), which are well known but have not been used in studying the history of costumes. Every Kook Chang Do Gam Eui Gue(國葬都監儀軌) have the provision of the so-called Pok Wan(服玩) set which includes the imitations or the full set of Myun Bok. And the provisions show us the illustrations colored in detail which help us understand the real shapes and the transformations of Myun Bok. After surveying the Pok wan provisions, author arrived at conclusions as follow; 1) Myun Boks are not always made in the same shape and colors. 2) The Provisions of Kook Cho O Rye Eui were not always kept strictly due to the lack of detailed directions.

• 보존과학연구
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• s.32
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• pp.53-60
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• 2011

The aim of this study is to investigate the traditional manufacturing technique of lacquering by comparing and analyzing materials used for wooden lacquerware artifacts with focus on the Joseon dynasty Eugye, and to apply the manufacturing technique to the conservation treatment of the lacquerware. artifacts. This study conducted the documentary survey focusing on "Yongjo Jeongsun Queen Consort Garye Dogam Eugye",and "Jeongjo Gukjang Dogam Eugye." The royal lacquering is roughly classified into three categories-scarlet lacquering, quality black lacquering, and terra rosa lacquering- according to materials used for lacquerware. The bean flour was mostly used for under lacquering of the articles which was offered to the king and in case of other articles, bean flour was used mixed with bone ashes. In some cases, burned pine soot was added to under lacquering. Japanese scarlet lacquering was applied by mixing maechil-main coat, in inverted commas- with Japenese scarlet after lacquering jeonchil-base coat, in inverted commas-. In case of Chinese scarlet lacquering, part of terra rosa was used mixed with red clay. For quality black lacquering, basically jeonchil and maechil were used, but sometimes part of burned pine soot was added. In addition, terra rosa lacquering was applied by basically using terra rosa mixed with red clay. Lastly, gloss was given by using perilla oil. It is expected that the traditional materials and technique examined through both documentary and relic research will contribute to advanced result of the conservation treatment of wooden lacqueringware artifacts.

• Journal of Korean Historical Folklife
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• no.45
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• pp.7-50
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• 2014

This study focuses on the funeral rites for Queen Wongyeong during the early Joseon period as part of a review of the changes in the state funeral system and ceremonial procedures. Conducted by the king in his role as chief mourner, the state funeral for King Taejong's wife Queen Wongyeong that emerged during the 2nd year of King Sejong marked the first example recorded in the sillok (Annals of the Joseon Dynasty) of the three year-mourning rite being applied. In terms of the clothing for the state funeral, the significance of Jolgok (a rite conducted on the 100th day following the day of death) was emphasized, while the existing yeokwolje (period of wearing mourning clothes, one month was equated with one day) was abandoned. The existing temporary office system for state funerals was reorganized into a three-office system consisting of the Binjeon dogam (Office for Chapel of Rest), Gukjang dogam (Office for Funeral Rites), and Salleung dogam (Office for the Establishment of Royal Tombs). Buddhism-related rites greatly decreased and were increasingly regulated. The ceremonial procedures were also modified in accordance with the rites directly conducted by the king during the three-year mourning period. The basic pattern of the ceremonial procedure consisted of kneeling / wailing - salute - kneeling/ wailing, and, based on the wuje (rites to console the deceased), was divided into 'make offerings to the deceased' (奠, jeon) and 'hold a memorial service for the deceased' (祭, je). This reflected the differing perceptions of jeon (奠) and je (祭) following the establishment of auspicious rites (gillye) during the reign of King Taejong. In short, the state funeral for Queen Wongyeong provides materials with which to analyze the establishment of the funeral rites and ceremonial procedures designed based on the actual three-year mourning period observed by the king, study the ritual ceremonies conducted during the ancient period, as well as foster an understanding of ancient systems.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.18-37
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• 2019

This study derived a method for establishing the chronology of cloud patterns by examining the arrangement of the treasure motifs in the cloud pattern used in the relevant pattern-decorated book covers of 89 Oegyujanggak Uigwe books, which are currently housed in the National Museum of Korea. The cloud pattern with a treasure motif was used in the covers of a total of 89 books from King Hyojong Gukjangdogam Uigwe (1659) to Sadoseja Garyedogam Uigwe (1744), spanning 86 years. First, to analyze the cloud pattern, it should be broken down into smaller parts to the extent that the different shapes of treasure motifs can be recognized. Secondly, the method of decoding the pattern is as follows: First, check whether the pattern is arranged in one or two directions from the vertex of the cloud's head, and determine the direction of the cloud tail. Then, decode the treasure motif's arrangement starting from the vertex of the cloud's head toward the direction the tail of manja is headed. Record the findings of this decoding process by categorizing them. Thirdly, as a result of the analysis, a total of 28 types of cloud patterns with treasure motifs were identified in 89 books. There were 45 types of treasure motifs used in such patterns. Finally, we have concluded that applying the method of decoding the treasure motif in the cloud pattern to portraits, excavated costumes, and various relics can be useful to establish the chronology of cloud patterns in the late Joseon period. The method suggested in this study is called 'The Reading Method of Chronology in Cloud Pattern with Treasure Motifs' (also 'Jeung-ha Cloud Pattern Reading Method').