• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.74-91
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• 2012

This study puts its focus on Honjeon space which relatively small number of precedent studies chose as a subject of a study. The objective is to analyze Honjeon space's spatial relationship and palaces that consist Honjeon through analysis of spatial configuration and elements that affected construction of Honjeon space. The Royal Funeral, among other ceremonies of Joseon Dysnasty, carries religious characteristic along with functional and structural characteristics. By analyzing "National Five Rites", "Uigwe for the State Funeral 魂殿都監儀軌", and "Annals of Joseon Dynasty", the study organized elementary details about Honjeon space and surrounding spaces to determine the symbolism of Honjeon space's location at each palace and compared them to see if any systematical features existed between Honjeon spaces of each palace. Through this study, it was apparent the king mainly used Jaseongdang Hall of Gyeongbokgung in the early period of Joseon Dynasty and he mainly used Sunjeongjun of Changdeokgung while the queen used Munjeongjun of Changgyeonggung as the time reached the later period of Joseon Dynasty. Also in determination of Honjeon space, the study found that there were records of avoiding Pyeonjeon space in need for political space. The study also determined that places other than Pyeonjeon space was intended to be used for Honjeon space through the analysis which indicates that spaces that were initially used as Pyeonjun in the early Joseon Dynasty and simultaneously as Honjeon space were moved due to changes made in terms of theirs usages. Through the study, it could be also known that primary spaces of Honjeon was composed accordingly to "National Five Rites" and constant pattern of spaces existed among buildings near Honjeon which were arranged according to each palace's characteristic.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.194-210
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• 2013

Oiled paper (Yuji, 油紙) is an oil impregnated paper which was one of the daily necessities in Korea. As there has not been any accurate research on this subject, this study examined the literature from the Joseon Dynasty to study its origin, nomenclature, usage and production process. Goryeodogyeong (高麗圖經) and Goryeosa (高麗史) allowed the estimation that the origin of oiled paper was the Goryeo Dynasty, but the records of oil and paper in Samguksagi (三國史記) and Nihon Shoki (日本書紀) indicate the possibility that the production of oiled paper can be traced back to the 7th Century. The nomenclature and the usage of oiled paper in the Joseon Dynasty were examined through the Annals of Joseon Dynast (朝鮮王朝實錄), Ilseongnok (日省錄) and Seungjeongwonilgi (承政院日記), while the Royal Protocols of the Joseon Dynasty (Uigwe, 儀軌) and Takjijunjeol (度支準折) together with other literature were examined for its market value, use and materials. The literature from the Joseon Dynasty indicate that oiled paper was used for various everyday commodities with its waterproof, damp-proof and transparent properties and called in various ways according to its use and production process. This study studied the literature on oiled paper from the Joseon Dynasty, but the studies on the restoration of traditional oiled paper are still needed. Therefore, it would be necessary to study the traditional oiled papers in combination with the study of oiled paper relics, the reproduction of traditional oiled paper samples, and the case study of the papermaking masters who have been producing the traditional oiled papers.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.24-43
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• 2018

Thirty-five of Hwaban of Jeongjagak had been built in the last three hundred years, which means a Hwaban was made in almost every ten years. Jeongjagak is a building that requires a certain ornamentation having the identical Gongpo type, called E-ikgong, and maintains the same shape for a long time. While Hwaban is an element that faithfully serves the ornamental role, the field study found that Hwaban-chogak went through various changes over the years unlikely to Jeongjagak. This study enumerates and classifies the various types of Hwaban-chgak by outlining the similarities/differences of the various types of Hwavanchogak, and by discovering what the craftsmen aimed to express through the Hwaban-chogaks. As a result, Hwaban-chogak can be generally divided into two categories depending on the starting point of Chogak: 'Downward-Type' and 'Upward-type' and the study tried to find the origin of that. The first represents the stems of Hwaban crafts flowing from top to bottom, and the latter showing the opposite direction. Around 1740s Upward-type can be chronologically caragorised as; 'original- type' which contains lotus and 'modified- type' which eliminates lotus. It is inferred that the modified-type was caused by the employment system of the craftsmen. It is also recognized that the main frame of Hwaban-chogak had been maintained despite the fact that Chogak became increasingly ornamental for the next a hundred years from the Hwaban-chogak drawings in Whaseong-seongyeog-uigwe, which was completed in 1796. The study has a limitation that the focus of the research is only on the Hwaban of Jeongjagak and expected to look into Hwaban in the context of other construction elements such as Ikgong, Daegong and Anchogong for further studies.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.96-131
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• 2015

Hanji(Korean traditional paper) is a valuable cultural heritage highly praised, even to this date, for its importance and technology by craftsmanship of our ancestors; it is a product of a combination of craftsmanship, well-established technologies, natural paper mulberry fiber and eco-friendly and durable natural materials and mucilages. Origin of the word 'Hanji(Korean traditional paper)' is from handmade paper made of bast part of the paper mulberry; as paper manufacturing with paper machines introduced in Japan was adopted in late Joseon, paper produced previously was called 'Hanji' and paper produced with western machines was called 'Yangji(machine made paper)'. Hanji has been called by many different names and used in various ways according to materials and production methods; and the functions varied. Hanji, from the era of three states to Joseon era, has been praised for its unique and excellent quality in three Asian countries(Korea, China and Japan); its unique excellence continues to this date in many paper-related national cultural heritages. Also total of 11 cases are registered to UNESCO Memory of the World for its importance, 8 of which are associated with traditional Korean paper: Hunminjeongeum, the Annals of the Joseon Dynasty, Jikjisimcheyojeol, Seungjeongwon Ilgi, the Royal Protocols of the Joseon Dynasty, Donguibogam, Ilseongnok and A War Diary. To examine excellent characteristics of conservation science in Hanji, many studies have been developed. By developing analysis and manufacturing technologies, the excellence of our Hanji should be re-verified scientifically and the tradition should continue as one of the representative Korean cultural heritages.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.52-67
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• 2021

This study is an attempt to explore the roles of and the collaborative relationship between Daheojang and Maedeupjang. Daheojang and Maedeupjang share a similar manufacturing process. However, in modern times, Daheojang totally disappeared, and Maedeupjang was designated as an intangible cultural property. The present study will investigate the role of Daheojang and Maedeupjang based on the literature of the Joseon dynasty. Daheojang were craftsmen who made bands and strings of woven or twisted silk strands. They made mangsu and tassels or made knots to produce magnificent artifacts. Maedeupjang complete all steps of the process, from refining, dyeing, combining threads, daheo, maedeup, to the tassel. Daheojang in the Joseon dynasty was the center of this process. Daheojang belonged to almost all Uigwe because it used items ranging from large uso to cushion straps. Dahoe is a craft with various items and techniques. It has been widely used to produce majestic items like formal dresses, ritual ceremony pieces, and mountings, as well as daily items like jodae, pocket straps, and norigae. Based on the records of Uigwe in the late Joseon dynasty, the study explored the collaborative relationship between Daheojang and Maedeupjang. Sambang, the room where both Daheojang and Maedeupjang belong, was the room to produce the royal chair. The royal chair essentially includes large uso. The large uso is an artifact that ties a knot in a thick circle more than two meters long. While Daheojang made rounded daheo, Maedeupjang made delicate and balanced knots. Also, they produced royal inscriptions together with a royal seal with decorative mangsu and a seal of thick rounded daheo. In order to learn about traditional technology, it is necessary to study the system of the times and social trends. Therefore, the study focused on Daheojang, who were common master craftsmen during the Joseon dynasty but now are not familiar to most people.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.216-239
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• 2021

Inlay (入絲), a poetic technique of digging grooves in the surface of crafts and decorating them with metal materials, was used throughout the royal daily routines, ceremonies and government officials of the Joseon Dynasty. The government-owned handicraft industry in the Joseon Dynasty was composed of craftsmen belonging to central and local government offices and was operated mainly by government-owned craftsmen. The inlay craftsman was transferred to the central government office and was in charge of inlay poetry for crafts. The current records of Korean inlay craftsmen are concentrated in the state-owned handicraft industry. In the state-owned handicraft industry, the government offices of inlay craftsmen can be divided into Kongjo (工造), Sangeuiwon (尙衣院), and the military. Here the election of a temporary government office for airspace is added. The government offices and military inlay craftsmen who use inlay crafts are assigned, and the inlay craftsmen are placed separately in the temporary office where the fine division of labor is developed. It can be made by utilizing craftsmen. The operation of these production systems was indispensable in pre-modern Korean society, where crafts had to be produced by hand. In this paper, we investigated the roles and job types of craftsmen in the state-owned handicraft industry during the Joseon Dynasty, focusing on inlay craftsmen. Although the details applied to the characteristics and materials of the field, labor supply and demand, etc. are different, Korea pursued crafts for various purposes through craftsmanship within the framework of the basic state-owned handicraft policy . The institutional equipment for implementation was almost common. We believe that adding and analyzing some literature records and relics will help us to study the crafts of the Joseon era in more detail.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.137-147
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• 2011

This study aims to find out the construction process and planning characteristics of Suwon and Hwa-sung in 18th century from the point of water system. This study has an explanatory approach. The planning intents in the water system was driven out by analyzing various planning elements in relation to water system in the process of constructing Hwa-sung in 18th century. Using Entire Map of Hwa-sung, land registration map made in 1911 and topographic map of 1/10,000 scale made in 1917, water system and interpretation of spatial structure in Hwa-sung were analyzed. The results are as follows(Planning characteristics of the water system in Haw-sung in 18th century are as follows). Firstly, in determining the spatial structure and location of Hwa-sung, water system had an important role. Secondly, integrated drainage system was planned by the organization of natural and artificial water stream. Thirdly, the main street system and land use structure were planned in relation with water system. Fourthly, territoriality of main area was planned with water stream. Fifthly, ponds were constructed for flood control and they had important role as landscape elements. Sixthly, water stream was used as intentional BiBo element. As a result of the study, the weater system of Hwa-sung in 18th century was planned by the organization of natural and artificial water stream in relation with the location of new town and wide area's spatial structure, street system, land use structure, territoriality of main area, terriflood control, water quality protection, landscape, 비보 and urban daily life.

• Journal of Conservation Science
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• v.38 no.2
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• pp.87-95
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• 2022

This aimed to species identification and tree-ring dating of wooden elements used in the Myeongjeong-gate of the Changgyeong-palace, Seoul, Korea. Of the 79 wooden elements evaluated, 78 were confirmed to be hard pines and one belonged to Abies spp.. Cores of the wooden elements were collected using a drill for tree-ring dating, and ring-width plots of individual samples were constructed using the TSAP software. The tree-ring dating results for the outermost ring of 58 hard pine wooden elements revealed the following felling dates: early spring of 1604-late fall of 1615, late fall of 1706-early spring of 1707, and late fall of 1828-late fall of 1834. The obtained felling dates of the 1600s and 1800s were found to be consistent with those in the construction and repair records of the Annals of Joseon Dynasty, Gwanghaegun's Diary and Changgyeonggung Yeonggeondogam Uigwe. However, the obtained felling dates of the 1700s were not consistent with those in the construction and repair records. Therefore, additional confirmation of repairs that were not included in the records was possible using tree-ring dating.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.118-135
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• 2023

Hanging boards of the Joseon royal court are hung on buildings related to the royal family, such as palaces and Jongmyo Shrine, to show the hierarchy and character of the building. In addition, the manufacturing method and materials are recorded in the royal protocols of the Joseon Dynasty, so it is an important material for studying the manufacturing method and material changes at that time. However, the hanging boards were restored several times due to fire or war, and it is presumed that there is a change in the original form and material of the hanging boards. In particular, many hanging boards of the Joseon royal court were written with calligraphy by kings, so there are many forms consisting of gold letters on a black background. This study tried to analyze the pigments remaining in the letters of 44 of the Joseon royal hanging boards, which are presumed to be gold letters, and to find out the changes in the hanging board production method and materials by referring to the analysis results. The letters of the hanging boards studied were classified according to the current state of the gold pigment and the detected components. As a result of the analysis of character pigments, 24 embossing techniques and 5 intaglio techniques were mainly detected with gold (Au), but 15 embossing techniques were detected with brass (Cu, Zn). Only blue-green substances, not gold pigments, remain in some of the hanging boards in which brass components were detected. A reproduction experiment was conducted because the pigments of the brass component were not recorded in the literature and were not currently used as Dancheong pigments. In the reproduction experiment, it was difficult to confirm the application and use of brass pigments due to the limitations of materials, but it is judged that research on the timing and method of using brass pigments is needed in the future.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.