• Journal of Conservation Science
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• v.30 no.1
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• pp.39-53
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• 2014

The decorative painting at court was practical and functional role by decorated the inside and outside of palace. Especially, the type of the Painting of sun, moon and five peaks and Heavenly peach were the one of representative decorative paintings, produced for authority of king and longevity wish. However, there are not clarify verification of production period and installation place in the Painting of sun, moon and five peaks and Heavenly peach, that made before $19^{th}$ century, in present. Therefore, this study has a meaning on find production period, installation place and techniques of paint through conservation scientific research of the Painting of sun, moon and five peaks and Heavenly peach that introduced the first time in National Museum of Korea. Double side paintings in two-panel folding screen style and tortoise shell shape of window is the first time research in the decorative painting at court. This study also explain that they were installed in Hamin Jeong from ChanggyeongGungyeonggeon Dogam Uigwe(1834) through research of the original measurement, contrast of palace in present and Uigwe record. It will be contributed to a study of the Painting of sun, moon and five peaks and Heavenly peach in the early $19^{th}$ century.

• 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

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.182-205
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• 2023

The use of royal artificial flowers was finally found through schematics and records in Wonhaeng Eulmyojeongri Uigwe, which organized the procession to Hwaseong in 1795. The results of classifying the uses of artificial flowers in the brthday banquet at Bongsudang Hall in 1795 and considering the shape, user, and usage are as follows. According to literature records, artificial flowers were made with high-quality materials such as gold, silver, and silk thread in the early period, but were mainly made of paper in the later period. Artificial flowers were used for decorating official hats, Bongsudang Hall, and banquet tables. The Sagwonhwa was used for decoration of the official hats of members of the royal family, and the one on the top was called Eosam-Sagwonhwa. At the birthday banquet inBongsudang Hall, King Jeongjo and Hyegyeonggung used the Eosam-Sagwonhwa and put it on the right side of the official hats. Officials put peach blossom with two petals on the left side of the official hats for decoration. The artificial flowers for decoration of the official hats of musicians and dancers were more expensive and flashier than the officials' ones. Depending on the dance, several artificial flowers were inserted into the official hats. When measuring the size of artificial flowers, the scale used was when making a ceremonial article. For artificial flowers for decoration of the banquet hall, red and white peach blossoms were placed in two jars with dragons painted on them and them placed on two red-painted tables, respectively. The table and jar with flowers were tied together with a red cotton string and fixed so as not to fall over. The artificial flowers for decoration of the banquet table of King Jeongjo, Hyegyeonggung, and the king's sisters were a large lotus, medium-sized lotus, peony, rose, and specially made peach flowers. The artificial flowers for decoration of the banquet table of guests and officials were small lotuses and peach blossoms. The artificial flowers used in the birthday banquet at Bongsudang Hall the most were peach blossoms, and peaches had the meaning of longevity and exorcism. It is expected that the above research results will be helpful in understanding the characteristics and usage of artificial flowers in the period of King Jeongjo and use in reproducing royal feasts and producing traditional cultural contents.

• The Journal of the Korea Contents Association
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• v.11 no.4
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• pp.186-195
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• 2011

Historically, Korea has made and weaved beautiful jewelry based on delicate metal craft technique. Especially jewelries in Chosun dynasty among these jewelry shows practicality, fanciness and social symbolism at the same time, which is one of representative cultural origins to express characteristics of Korean culture. Since jewelry of imperial princess YEONG, an object of a study herein, was made for a court ceremony although it is an artifact of the end of Chosun dynasty after the time of enlightenment, it is expected be made based on traditional shape and standard in accordance with strictly respected court dress code in Chosun dynasty. It is also an important data of research for a court style and system as well as its artistry in its diversity of type, preservation condition similar to original form and its producers who are master craftsman parted in Sang-Uiwon (an institute in charge of dress and accessaries of court) at the end of dynasty. Thus, a study herein aims to research formatively valuable 11 selected jewelries among jewelries of imperial princess YEONG used at the end of Chosun dynasty, and search for industrial application method with digitalization of the shape and design and preservation of original form of traditional culture. Moreover, in accordance with proposing design data through review of traditional women jewelry, it aims to suggest possibility of application into modern jewelry design and cultural industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.9
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• pp.1681-1692
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• 2001

본 연구는 광복 이후 현재까지 첫돌 복식 변화를 시대적으로 고찰, 그 변화 양상과 영 향 요인을 규명하는 것을 목적으로 하고 있다. 연구 방법은 문헌 고찰과 사진 자료를 통한 내용 분석을 주로 하였다. 더불어 자료의 보충을 위해 첫돌 의례와 관련된 주변 인물들-가족, 기성 아동 한복 유통 상인, 상업적 사진사 등-의 면접 조사도 병행하였다. 이상의 연구를 통해 다음과 같은 결과를 얻었다. 1940년대 중반∼50년대 초에는 해방 이후 혼란과 전란으로 인한 물자의 부족으로 첫돌 의례의 명분은 남아있으나 복식 문화는 공백기를 맞는다. 1950년대 중반이후 60년대 전반기는 미국의 경제 원조와 섬유 공업 활성화로 의료의 공급이 원활하여 전기에 비해 의례적 의미를 지닌 첫돌 복식의 착용이 가능해 졌다. 전통 한복을 기본으로 한 위에 서양식 복식 품목들이 섞여서 나타나고 있다 60년대 후반에서 1970년대의 두드러진 양상은 기성복 산업 의 발달로 전문적 인 기성복 시장이 형성되었고 이는 기성복화 된 첫돌 복식의 일습 개념을 등장시키게 하였다. 또한 한복이 예복화 되는 경 향이 두드러지게 나타났던 시기로 70년대 후반의 칼라 필름의 보급은 금박과 자수와 같은 다양한 재료와 재단 방법을 사용한 장식화 된 첫돌 복식의 사용을 가속화 시 켰다. 특히 70년대 중반에 소수의 일반에게 입혀졌던 궁중복식의 하나인 당의가 소매없는 당의로 바뀌어 여아의 돌옷으로 입혀지기 시작하였다. 1980년대 전반기는 칼라 TV의 보급, 비디오 촬영의 보편화로 한복이던 양복이던 일습화 된 첫돌 복식이 대중적으로 정착하게 되었다. 후반기에는 국내의 국제적인 행사의 유치와 전통 복식 소개를 위한 전시들을 계기로 왕실 복식에 대한 관심이 고조되었다. 이로 인해 여아에게 소매없는 당의를 입히고 남아에게 용포를 입히는 유행이 가속화되었다. 또한 서양식 예복을 입히는 유행이 시작되었다. 90년대에 들어와 아기 전문사진점의 등장은 1 회적인 첫돌 의례에 한복과 서양식 예복, 일상복 등을 다양하게 착용시키는 계기를 가져오게 하였다. 이상과 같은 다양한 변화 양상에도 불구하고 첫돌을 기념하기 위해 특별한 옷을 마련하고자 했으며, 그 복식의 구성 이 전통적인 일습 개념을 꾸준히 지향해 온 경향을 보여주고 있다. 반면 최근 과열된 아동 산업은 보다 다양한 복식을 입혀서 촬영한 사진으로 특별하게 꾸민 상업적인 기념물들을 남겨주게 하고 있다. 비록 특별한 옷을 준비하여 아동에게 입히는 행위는 유사한 표현 양태이나 지나치게 많은 옷을 갈아 입히는 표현 방식은 지양되어야할 것이다

• Journal of the Korean Society of Food Culture
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• v.8 no.2
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• pp.139-146
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• 1993

The predeccessor of Danjanjinja was Myorak temple which is built in the 7th century. At that age, the Buddhist culture of Japan had highly prospected by transmitting Buddhism to Japan from Han peninsular On the other hand, the private god of Fujiwara family in Danjanjinja is Uchigami which is one of typical Japanese popular belief like Dangshin of Korean's. Through these historical background, it could by presumed that the Kakitsisai might be the original form of Korean Buddhist sacrificial offerings from ancient age. So this study on Kakitsisai what had handed down from generation to generation about for 1300 years help us to study and estimate the ancient dietary culture of Korean and Japanese. 1. Kakitsisai performed high filling method in the sacrificial offerings like Kasuga, Horyuji and Korea. 2. The patterns and colors of high filling offerings are various in Korea and Japan. 3. They used unpolished rice by ancient rice, and called red and black one. We can guess both of countries ate unpolished rice at that age. 4. They used many kind of ancient wild fruits and vegetables. We could recognize what the ancients had eaten the foods.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.258-277
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• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.