• (The) Research of the performance art and culture
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• no.39
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• pp.509-547
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• 2019

The cocoon breeding related national ritual ceremony exercised from the beginning time of Joseon is the 'clothing culture' that has taken its role in the ritual ceremony where it demonstrates the resolution of a state that placed importance in 'things to wear'. During the reign of King Seongjong, it enhanced the level of importance by adding the 'procedure to pick up the mulberry leaved by the queen personally'. During the reign of King Youngjo, the implication of the ritual ceremony was even more expanded that there was an new emergence of new type of national ceremony for the Joseon Era with its first ritual ceremony for woman to personally administer the memorial ceremony to the 'woman divinity' in addition to the 'Jakheonrye' procedure to personally present by the queen for the cocoon breeding. This is intended to meet the status of chingyeonguirye (farming-friendly ceremony) with King Youngjo to personally cultivate the dry field after administering Seonnongje (good harvest paying ceremony) that it is conspicuously demonstrating the importance of farming and cocoon breeding activities. As a result, the Chinjam (a type of ceremony that queen personally breeds cocoon for fabrics) related ceremonial rite that was rearranged during the reign of King Youngjo was settled into 11 ceremonial rites with the expansion of its contents. It ranges from the procedure to leave the palace for carrying out the ritual ceremony to the procedure for the crown princess and Hyebin-gung to accompany the queen, ritual for the queen to devote the Jakheonrye to exercise Chinjam, the ritual for the king to announce his royal message, johyeonui (morning assembly) exercised after completing Chinjam, it is the ritual for the queen to receive the box that contained the cocoon. This type of ritual ceremony is a significant expansion when compared with the exercise carried out earlier and it is part of characteristics displayed for ritual overhaul trend in the reign of King Youngjo. In the main procedures of these ceremonial rites, the music is accompanied and the music includes folk music, inspiration and so forth. The Chinjam related ritual ceremony in the reign of King Youngjo was established in the direction to establish it as the ritual ceremony for a woman who had the divine role of the seonjamje ritual to administer the ritual in a way of having the justification and reality to be consistent.

• Industry Promotion Research
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• v.5 no.4
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• pp.81-90
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• 2020

This study examines the pattern of changes in the funeral rites·ancestral memorial rites as stipulated in the current family rites Act and seeks to study the presentation of problems and securing effectiveness. Acts and subordinate statutes such as "Act on family rite establishment and related assistance" were enacted with the aim of rationalizing the ritual procedures of funeral rites related to the ancestral memorial rites and supporting and coordinating projects and activities for the dissemination and settlement of sound family rites to eliminate the ostentation and create a sound social atmosphere. In order to realize the true meaning of family rites the "General standards for sound family rites" were set to be solemn and simple in the process of family rites, and the government officials, employees of public institutions, organizations, and social leaders were required to take the initiative and follow the example. However, looking at the changes since the family rites Act 1969, there are regulations on gender discrimination that undermine the realization of gender equality, and the progress of education for the spread and settlement of the family rites Act has been limited in effectiveness due th lack of punishment provisions for educational institutions of all levels, In particular, even in the "Process to train funeral director" which is operated under the national qualification system, there is a lack of education on family rituals. Therefore, through this study, we intend to provide a basis for practice and developmental discussions consistent with the objectives of the establishment of laws and systems.

• The Journal of the Korea Contents Association
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• v.10 no.12
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• pp.223-235
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• 2010

As the funeral service is on ritual of addressing death that is the final phase of life, it can be said to be the final stage of welfare service. It is developing into the stage of make-up, which reproduces the image of reality or expresses with the better appearance from the level of recovery technique, which restores the final form of the dead. This is caused by a request of the bereaved family with the aim of remembering the dead's final image with good looks. Methods, which are being changed by period, can be found in a record. As this funeral make-up is one field of special make-up, it is systematically made into proper application method along with the development in special materials. Thus, it will become one of the most important courses henceforth in our funeral culture available for beautifully decorating the dead's final image. In order to satisfy the request of the bereaved family, it is necessary to made floral decoration, casket cloth, and acoustic effect including the casket stage of worshipping the dead inside the funeral hall.

• (The)Study of the Eastern Classic
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• no.33
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• pp.253-278
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• 2008

Samkookyusa is a valuable book, which shows us ancestor's fomality, being folklorically highly evaluated. So I focus on this, look into Samkookyusa's formality especially the ceremonies of coming of age, marriage, funeral and ancestral worship. Coming of age ceremony on Samkookyusa performed by a ruler or the nobilities whoes age are uncertainly assumed as thirteen, fifteen or eighteen. In the times, our own ways of ceremonies were performed by them. Marriage ceremony on Samkookyusa, especially king Sooro and Heohwangok's amrriage procedure shows a part of royal family's ceremony before Korea dynasty and have a precious meaning as the earliest outset. Through premarital relation between Yoohwa and Haemosoo shows that there was an non-arranged match for marriage. A record of a marriage between near relatives at the early Korea dynasty is worthy. The funeral ceremony record of king Hyeockgeose on Samkookyusa could be regarded as the first one. The record pointed that using a mound as feudal lords and king Talhae's funeral ceremony showed having Seagoljang customsand making a clay figure for the ceremony. Those facts are crucial documents as helping us understand our ancient time's funeral ceremonial customs. Ancestral ceremony on Samkookyusa, specific record about ancestral ceremony for king Sooro such as fomulas, procedures, ritual fields and foods, sanctuary and portrait is a worthful record to understand a side of national ancestral ceremony of the times. Samkookyusa is a valuable book ceremonially and folklorically to understand the ancient times' ceremonies of coming of age, marriage, funeral and ancestral worship.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.180-195
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• 2016

Since being designated as an important Intangible Cultural Property, Yeongsanjae has become recognized as a unique representation of Buddhist rituals in Korea. Following vigorous research in recent years, however, Suryukjae(水陸齋) was found to have been performed for a longer period and on a larger scale than Yeongsanjae, and under state leadership. This allowed researchers to move beyond the previous perspective that Yeongsanjae(靈山齋) lay at the center of many rituals. This study aims first to examine the origin and development of Yeongsanjae in Korea based on the literature, and then to discuss the meaning it holds today. Yeongsanjae was recorded as a ritual in Jineongwongong -published in 1496 during the early Joseon Dynasty- and also appeared in Yeongsandaehoejakbeopjeolcha -published in 1634(the 12th year of Injo's reign) in the mid-Joseon Dynasty and it was called Yeongsandaehoejakbeopjeolcha. It continued into the late Joseon Dynasty and it was called Yeongsanjakbeop or Yeongsandaehoejakbeop in the Ojongbeomeum collections(1661), CheonjimyeongyangSuryukjaeuiBeomeumsanbo collections(1721), and Jakbeobguigam(1826). In modern times, it has been called Yeongsanje in newspaper articles of TongnipSinmun (The Independent) and Yeongsanjae in Seokmunuibeom(1935). Nevertheless, the difference between the early Joseon Dynasty and subsequent periods is whether mourning of the spirit(唱魂) is added. In this regard, Yeongsanhoe in the early Joseon Dynasty mainly concerned Buddhist teachings realized through rituals such as sermon scenes of the Buddha. On the other hand, it was combined with Buddhist masses for the dead(追薦) from the mid-Joseon Dynasty and performed alongside with Buddhist teachings and prayers for the dead. Taking into account the seven-day Suryukjae, however, Yeongsanjae was performed daily during the day and mainly dealt with Buddhist teachings, while Buddhist masses for the dead were included when Yeongsanjae was performed independently.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.64-81
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• 2017

Among the royal ceremonies of the Joseon Dynasty era, the articles used in the Jinjak ceremony are symbolic icons of their value during the era. It is very important to identify the purpose of the articles whose usage is ambiguous, by referring to various historical records. Moreover, it should be possible to classify the characteristics and the special context of the article during this process. To accomplish this purpose, I examined the articles related to and used in the processes of Jinjak ceremonies of Outer Jinchan of Myeongjeongjeon and Inner Jinchan of Jagyeongjeon, which are part of the Gichuk Jinchan Ceremony performed in February of the 29th year of King Sunjo. Especially, the definition of Jinjak will not just be limited to the action of offering liquor, but will include the whole series of procedures in offering the liquor. This is because the specific action of offering the liquor expresses cultural concepts and values that have meaning within the historical situation and context in the specific action of offering the liquor. There are three characteristics of the articles related to the Jinjak process of Outer Jinchan and Inner Jinchan of Gichuk Jinchan Ceremony. First, the articles of Jinjak are ranked strictly exactly according to the social status rankings. Second, the Jinjak articles are arranged for their symbolic meanings rather than their purpose. Third, the articles of Jinjak are symbolic icons expressing the values inherent in the process of offering liquor. Recently, there are events reviving the royal court banquet and the increase of interest in the royal culture. It such a situation, the systematic examination of articles of royal court banquets will be a process needed to restore the royal ceremony correctly in the future, and will be the foundation for studying the royal culture of the Joseon dynasty era.

• Digital Contents
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• no.9 s.124
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• pp.58-63
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• 2003

국내 온라인게임 산업이 발전하면서 해외시장, 특히 중국시장으로의 진출은 이제 의례적인 절차로까지 인식되고 있다. 최근 계발되는 대부분의 온라인게임들이 향후 중국시장 진출을 염두에 두고 있으며, 실제로 수많은 개발사들이 중국시장을 두드리고 있다. 하지만 거대한 중국시장은 그 가능성만큼이나 내재된 위험성도 높다. 이에 한국소프트웨어진흥원은 최근 중국업체들과의 온라인게임 수출 계약시 국내 업체들이 염두해 둬야 할 사항 30가지를 정리, 권고하고 있다.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.353-365
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• 2018

This study is on the usage of bojagi recorded in Yeongjo Jeongsun Wanghu garye dogam uigwe. Major findings are as follows. The eighteenth century marked a period of entrenchment of Neo-Confucianism in the Joseon dynasty and the royal wedding was a tool to propagate Neo-Confucian values to the people. The bojagi used at King Yeongjo and Queen Jeongsun's wedding were made of simple red silk produced domestically to avoid extravagance. Uasge of costly flower-patterned silk from China was restricted to comply with the rules of the Kukhon jeongrye, which codified the royal marriage ceremony and the Sangbang jeongrye, which regulated royal attire. This modesty also shows King Yeongjo's determination to abandon lavishness.

• (The) Research of the performance art and culture
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• no.33
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• pp.329-354
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• 2016

Hyupryulrang was the position that announced the start and end of music in royal ceremonies. It appeared when the royal etiquette was categorized and implemented due to the five etiquette system, which was formed by the influence of Confucianism. Confucianism valued etiquette and music and this aspect was reflected in royal five etiquette, making music involved in royal ceremonies. So there was a need to have a mediator who will announce the insertion of music according to the process of royal ceremonies. For harmonious realization of royal ceremonies and music, hyupryulrang was indispensible. In Korea hyupryulrang appeared in Goryo era and lasted until Joseon era. Hyupryulrang during Joseon was handled by bongsanshi and once was taken by jeonak( 典樂) temporarily but finally was managed by officials in jang-akwon(掌樂院). Among the officials in jang-akwon, jang-akwon jeong(正) mainly served the role but jang-akwon chumjeong(僉正) and jang-akwon juboo(主簿) were sometimes recruited for the role according to circumstances. What was common among jang-akwon jeong, chumjeong, and juboo was that they were all danghakwan(堂下官). Danghakwan was an official who had the fundamental limitation of not being able to participate in policy making so was in a lower position compared to dangsangkwan. Meanwhile, according to circumstances of ceremonial process or the characteristics of ceremonies, gyeraseonjeonkwan(啓螺宣傳官), mushingyungseonjeonkwan(武臣兼宣傳官), and yeojipsa(女執事) were recruited as hyupryulrang instead of officials of jang-akwon, so that there would be no problems in ceremonies and performance of music. The activities of hyupryulrang can be summarized as setting up or laying down hui in most ceremonies that involved band. At night, however, as hui(麾) was invisible, jochok(照燭) or sometimes geumgogi(金鼓旗) was used. As for the term that referred to hyupryulrang, in case of royal banquet, the names of the ceremonial tools were borrowed such as geohuichabi(擧麾差備) and jochokchabi(照燭差備). The location of hyupryulrang was in the west on top of seogye(西階) facing toward the east, which was a position where hyupryulrang could watch the ceremonial process easily and be close to the band. That is, it was a position where one can see the space of ceremony and the space of music at the same time. Also, hyupryulrang was involved in musical parts related to ceremonies such as rehearsals, arrangement of the band, controlling the speed of music, and prevention of missing any musical pieces, and was in charge of such tasks. Hyupryulrang, who had to take charge of music in accordance with ceremonial procedure, was a mediator between royal ceremonies and music.

• Journal of the East Asian Society of Dietary Life
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• v.1 no.2
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• pp.151-173
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• 1991

A review of the royal banquet rituals which were excuted twice a day for consecutive three days for master were found to be progressed; 1st day for Queen Mother, 2nd day for King, 3rd day for Crown Prince very orderly. And performing dozens of dances and musics at each intervals of this procedure. The Sequence of rituals were summarized as follows. 1. Entering by order of low in rance. 2. Opening a ceremony. 3. Setting napkins, spoons and chopsticks and sumptuous table for master. 4. Offering flowers to master and then granting that flowers to subjects 5. Singing a open song. 6. Setting wine/side dishes for master and complimenting master's achievement/wellness. 7. Bowing politely three times and giving cheers. 8. Distributing wine/dishes to high ranked subjects. 9. Offering special dishes for master. 10. Distributing wine to low ranked subjects. 11. Singing a closing song. 12. Taking away tables. 13. Closing a banquet and leaving the hall.