• Journal of architectural history
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• v.18 no.3
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• pp.45-59
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• 2009

This thesis mainly deals with what is th Gurodae, recorded of the YeonggeonUigwe and the SanleungUigwe. Gurodae makes diverse appearance In Uigwes.(久老代, 仇老代, 求路代, 仇老臺, 仇露臺, 求露臺, 仇累臺, 九累臺) It seems that Gurdae was an architectural member used on the roof. Especially that was a member of the eaves. Gurodae looks like a Pyeonggodae, located on the end of the rafters. But it differs in the shape compare to that of Pyeonggodae, Gurodae has the shape of combined members, Pyeonggoaed and Chakgo. Chakgo is a member covering the spae, between two Buyeons So Gurodae has the shape of prominence and depression. The result obtained by surveying the Uigwes is the Gurodae is the Gurodae used until 1789. After the publication of HyeonlyungwonUigwe in 1789, that member was no longer existed on the other Uigwes. In 1794, the making Hwaseong fortress, Gurodae divieed into two members, Chopyeonggodae and Chakgo. Since then Chopyeonggodae and Chakgo never combined again.

• Korean Institute of Interior Design Journal
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• v.14 no.2 s.49
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• pp.12-19
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• 2005

After an important construction work in Chosun dynasty, the appropriate government made out the building specification as it called 營建儀軌. They are recorded about variety matters as the appointed days, various official documents, managers and craftsmen, etc.. Sometimes we can see the attached pictures about some building or furniture. specifications in Chosun dynasty about the unit of materials and history of each terms. The results are as followings: (1) The interior materials are classified to several units such as Gai(箇;the unit of square lumber or log), Rip(立;the unit of plates), Boo(部;the unit of assembled materials), etc.. (2) The terms are defined and enlightened how to use and how to change. Particularly, the terms are different positively in constituent units of wooden floor. So, it is expected to continuant study.

• Journal of architectural history
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• v.27 no.4
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• pp.7-16
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• 2018

This study is focusing on anchogongs(按草工) in yeonggeonuigwes(營建儀軌), which were recorded with few details and in unsettled transcriptions. First, the positions and functions of anchogongs in $18^{th}$ censtury are analyzed by comparing to anchogongs in more detailed early $19^{th}$ century yeonggeonuigwes and those in extant buildings. Second, with the result, the historical significances are presumed in changing transcriptions of anchogong terms in those uigwes. In $18^{th}$ century uigwes, most of anchogongs are functioned as matbo-anchogongs and only four anchogongs in a gate building were used as jongryang-anchogongs. It is mainly because the sorts of buildings in $18^{th}$ century yeonggeonuigwes had only several varieties: most of the buildings belonging royal shrines. Transcriptions of anchogong terms had been changed for reflecting functional developments of anchogongs in $18^{th}$ century. However, reflections were much later than changes of actual functions.

• Journal of architectural history
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• v.18 no.1
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• pp.67-89
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• 2009

This study examines the examples of wooden member terms of architecture terminology used in Yeonggeon-euigwe(營建儀軌) in the era of Joseon Dynasty. It is to trace the period of their appearances and changes and also to illuminate coinage characteristics and method of architectural terminology used in Yeonggeon-euigwe through graphonomy research and system and structure of wood member terms. By analyzing the meaning of a word, it was found that there was much Insineui, difference of word meaning by country was shown although it was the same shape of character. In particular, the specialty of double language system of Korean language is combined with that of wood terms. Operation of type unrelated to word meaning was found and Korean unique Gachaeui(假借義) like Bo(褓) was generated. This study draws separate systems: one is that can indicate coinage characters of architectural terminology in Yeonggeon-euigwe. The other is to obtain coinage method as a result of reclassifying terminology based on it.

• Journal of the Korean Wood Science and Technology
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• v.49 no.5
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• pp.462-470
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• 2021

To find out the wood species used in national wood structures in the late Joseon Dynasty, 11 volumes of Yeonggeon-Uigwes were reviewed. It was confirmed that the wood was mainly used for the repair and restoration of palaces, shrines, and fortresses. In the 17th to 20th centuries, the wood species specified in Yeonggeon-Uigwes have revealed either hardwood or softwood. As hardwood species, Juglans mandshurica, Zelkova serrata, Fraxinus rhynchophylla, Betula schmidtii, Paulownia coreana, or Quercus spp. (Quercus aliena; Q, variabilis; Q, dentata; Q, acutissima; Q, mongolica; Q, serrata) were used. As softwood species, Pinus densiflora and Pinus koraiensis were used. Investigation of the wood species is important part because the same species is required as a principle when reparing cultural heritage. In this study, the anatomical images of the wood species were investigated for some samples which were taken from the same species that has been stored in the wood specimen room of the National Institute of Forest Science, instead of the actual wood material used. It was possible to find out the wood species of each member in the wooden cultural heritage buildings by reviewing the Yeonggeon-Uigwes in the late Joseon Dynasty, and the anatomical images of the wood species required for determining the wood species in the repair or restoration of the buildings.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.4-21
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• 2021

The purpose of this study is to examine the names and types of walls constructed in the late Joseon Dynasty in YeonggeonUigwe, a record of construction works of the Joseon Dynasty, and to examine the current status and name of walls constructed in the main hall and the Yeongnyeongjeon Hall of Jongmyo Shrine. The results of the study are as follows. First, the name of the wall can be divided into four types depending on the characteristics, including direction, location, shape, function, material, and complexity, and was used as a compound word in front of the wall. Second, some of the wall types related to the material were found to have differences in the timing of theypes of walls. Since the 18th century, the use of earthen walls has been reduced, and the use of wooden walls and paper walls are often used. Third, the walls of the Jongmyo Shrine were composed of a mud wall and a fireproof wall. A fireproof wall was installed in the main hall, including a pillar, while the Yeongnyeongjeon Hall was installed only between the pillar and the pillar. Fourth, the Gap Wall can be defined as the "wall constructed at the upper part of the chamber used in the construction of the building in Jongmyo." This study is meaningful in that it attempted to clarify the definition of a wall in the late Joseon Dynasty by examining the names and examples of walls used in the late Joseon Dynasty, focusing on walls that lacked research in familiarity.

• Journal of architectural history
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• v.29 no.6
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• pp.57-65
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• 2020

This study covered the Mulmae, architectural drawing recorded on Yeonggeon-uigwes and Sanleung-uigwes during the late Joseon Dynasty. In uigwes, the term 'Mulmae' was used as a mixture until the 17th century, but from the 18th century, the term 'Mulmae(勿乙每, 勿每, 水每)' was unified into 'Mulmae(水每)'. The paper of the Mulmae was made to be used during the construction period by using a thick oil paper called Yudun. Four Yudun were connected, and its size was 197.4×141cm, which was rather large. The Yingzaofashi(營造法式) of Song Dynasty describes how to draw a longitudinal section on a scale of 1/10. The scale of 1/10 was the maximum when comparing the size of the Mulmae with the buildings in uigwes. A sectional drawing of Gongpo in Geunjeongjeon was drawn on a scale of 1/10. There is a testimony that a senior carpenter drew a cross-section on a scale of 1/10. Therefore, it was determined that the scale of the longitudinal section drawn on the Mulmae paper was 1/10. The term 'the Mulmae' was used equally by carpenter active in Japanese colonial era. The scope of the painting was clarified from pillar to rafter. Uigwes records that the Mulmae was made for wood processing. Through this, it can be understood that the Mulmae painted the entire structure as a longitudinal section.

• Journal of architectural history
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• v.16 no.3
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• pp.95-114
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• 2007

Since the 17th century, the society of Joseon dynasty belongs to a period of rapid transition in many fields. As the building is a result to be produced on the basis of a society and economy, the general transition in a society is to be reflected into a process of building construction. Especially, a study on the material supply system of economic base in a process of building construction is one of vely important factors in an understanding or estimate of a building. On the premise, this paper is to examine the supply system of iron materials and the tools in the construction of the government managed buildings in the late of Joseon dynasty on a viewpoint of productivity. Construction reports and other documents in those days are examined for the study. Following conclusions have been reached through the study. 1) The general supply method of iron materials for a large-scale government construction was based on 'byulgong', that is, a kind of tribute. 2) Various methods were selected in the supply method of iron materials for government use in the late of Joseon dynasty. The priority order of choice in its government policy was put on an easiness of amount security, on a minimum of expenditure, and on an efficiency of construction execution. 3) The manufacturing technique of weaponry was used in the production method of iron materials and the tools for government use. The cooperation of the official, the army, and the merchant had improved the manufacturing technique of building construction.

• Journal of architectural history
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• v.17 no.5
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• pp.71-94
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• 2008

This study examines the examples and changes of wooden member terms in Yeonggeon-euigwe(營建儀軌) in the era of Joseon Dynasty. As a result of examining examples, about 240 wood member terms were found on the basis of phonetic value and examples different from today's term use were also confirmed. Wood member terms were derived in variety and synonym and different style, that is, coexistence or transition of several notations as the term indicating the same member was found. Derivation of detail terms has the characteristic increasing on the basis of morpheme and formation of different notation followed Chinese notation or was caused by complex coinage features like a coined word of Korea by the meaning of a word and borrowed character notation borrowing sound and it is also related to the specificity of that time which had dual language system. The typical examples without different style for long were pillar, rafter, door and window. Examples with active generation and selection of different styles included beam, capital and bracket-system terms. Different styles were caused by the combination of several notations including borrowed character in the process of Chinese character notation borrowing sound, Korean unique character emphasizing and limiting combination of 木 (wood) with side of character and Chinese. Period showing remarkable change of example notation was the compilation of ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ 華城城役儀軌. ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ is the representative type uigwe made by printed type not by handicraft. Printing by type accompanies unification of the shape of a character necessarily and it was considered that it resulted in the unification of character of different style, the number of strokes and minute difference of strokes, and it was interpreted that common use of intentional notation with the unification of the shape of a character was achieved.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.196-221
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• 2011

The Royal Private Shrines or the Samyo(私廟), were dedicated to members of Choseon's royal family who could not be enshrined at the (official) Royal Ancestral Shrine, the Jongmyo(宗廟). The Samyo were constructed at the national level and were systematically managed as such. Because these private Shrines were dedicated to those who couldn't belong to the Jongmyo but were still very important, such as the ruling king's biological father or mother. The details of all royal constructions were included in the State Event Manuals, and with them, the two-dimensional layouts of the Samyo also. From the remaining "Hyunsa-gung Private Tomb Construction Layout Record(顯思宮別廟營建都監儀軌)" of 1824, which is the construction record of Gyeongwoo-gung Shrine(景祐宮) dedicated to Subin, the mother of King Sunjo(純祖), it became possible to investigate the so far unknown "The Painting of Gyeongwoo-gung Shrine", in terms of the year produced, materials used and other situational contexts. The investigation revealed that the "The Painting of Gyeongwoo-gung Shrine" is actually the "Hyunsa-gung Private Tomb Layout" produced by the Royal Construction Bureau. The bureau painted this to build Hyunsa-gung Private Shrine in a separately prepared site outside the court in 1824, according to the royal verdict to close down and move the temporary shrine inside the courtyard dedicated to Subin who had passed away in 1822. As the Construction Bureau must have also produced the Gyeongwoo-gung Shrine Layout, the painter(s) of this layout should exist among the official artists listed in the State Event Manual, but sadly, as their paintings have not survived to this day, we cannot compare their painting styles. The biggest stylistic character of the Painting of Gyeongwoo-gung Shrine is its perfect diagonal composition method and detailed and neat portrayalof the many palace buildings, just as seen in Donggwoldo(東闕圖, Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). A well-perceiving architectural painting employs a specific point of view chosen to fit the purpose of the painting, or it can opt to the multi-viewpoint. Korean traditional architectural paintings in early ages utilized the diagonal composition method, the bird-eye viewpoint, or the multi-viewpoint. By the 18th century, detailed but also artistic architectural paintings utilizing the diagonal method are observed. In the early 19th century, the peak of such techniques is exhibited in Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). From the perfect diagonal composition method employed and the details of the palace buildings numbering almost two hundreds, we can determine that the Painting of Gyeongwoo-gung Shrine also belongs to the same category of the highly technical architectural paintings as Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). We can also confirm this hypothesis by comparing the painting techniques employed in these two paintings in detailthe way trees and houses are depicted, and the way ground texture is expressed, etc. The unique characteristic of the Painting of Gyeongwoo-gung Shrine is, however, that the area surrounding the central shrine building(正堂), the most important area of the shrine, is drawn using not the diagonal method but the bird-eye viewpoint with the buildings lying flat on both the left and right sides, just as seen in the "Buildings Below the Central Shrine(正堂以下諸處)" in the State Event Manual's Painting Method section. The same viewpoint method is discovered in some other concurrent paintings of common residential buildings, so it is not certain that this particular viewpoint had been a distinctive feature for shrine paintings in general. On the other hand, when the diagonalmethod pointing to the left direction is chosen, the top-left and bottom-right sections of the painting become inevitably empty. This has been the case for the Painting of Gyeongwoo-gung Shrine, but in contrast, Donggwoldo shows perfect screen composition with these empty margins filled up with different types of trees and other objects. Such difference is consistent with the different situational contexts of these two paintings: the Painting of Gyeongwoo-gung Shrine is a simple single-sheet painting, while Donggwoldo is a perfected work of painting book given an official title. Therefore, if Donggwoldo was produced to fulfill the role of depiction and documentation as well as the aesthetic purpose, contrastingly, the Painting of Gyeongwoo-gung Shrine only served the purpose of copying the circumstances of the architecture and projecting them onto the painting.