• 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.49 no.4
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• pp.126-155
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• 2016

This article deals with some issues with respect to the Mahan pottery excavated from the tombs. Pedestal jars with cover, small round-bottom jars, cylindrical pottery etc. had appeared in the interaction with the northern region in the dimension of the southern Korean peninsula. Especially, these relics had an important role at the route connecting the midwest region, Chungcheong(忠淸) inland and Yeongnam(嶺南) region. By this stage, the iron culture was similar to each other in the southern Korean peninsula. In addition to the inland route, the coastal passage along the west coast seems to have been used. Such signs are found in cylindrical pottery and Pedestal jars with cover. It was probably a natural phenomenon that the most powerful forces of Mahan appeared at this crossroad of cultural exchange. The unique style of Mahan pottery such as double-rim pottery had been established since the third century. After the third century, Mahan pottery varied by region depending on the tomb style. The difference roughly matches with the variations of the tomb style. But at the region of Bungumyo(mounded tomb), specific pottery such double-rim pottery had been prevalent than in other regions. And a specific style had been used in a narrow range. The pottery spread to the neighboring regions in the course of interaction and were also used in ritual practices.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.223-284
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• 2005

Gwaebul, created during late Joseon dynasty, especially from 1885 to 1926, now exist 18 ones. And 12 of them are owned by Buddhist temples located in Seoul city and Gyeonggido province. Royal Tomb praised and Royal household praised Buddhist temples in early Joseon dynasty were supported by Royal Family. As a renovation of Buddhist temples by king Taejong's reign(1400-1418), they became impoverished with reduced Buddhist ceremony. But they maintained their lives in intimate connection with royal family, and went prosperous from late 18th century. At that times, a new trend in Gwaebul appeared, which have popular idea for wishing peace of the dead, the nation and the royal family. The new composition of painting expressed in Gwaebul starts in Amitabha-Triad paintings which carved in first volume of ${\ll}$Amita-yohaegyeong${\gg}$ made of wooden plate. And Gi-heoh(A.D. 1820-1872) carved it in 1853 at Naewonam Buddhist hermitage of Samgaksan mountain And a return of Suwolgwaneumdo which had been popularized in late Goryo dynasty is worth noticing as a new issue of late Joseon dynasty. It is related with a composition of Gwaebul that expressed 'a leading the dead to the good', a Buddhist consciousness of falsehood and fancy. The saturated and blurred style of painting, the fact that centralization-powered lineage of painter who used composition of multi-used basic pattern, are characteristics of this period.

• 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.

• (The)Study of the Eastern Classic
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• no.68
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• pp.209-235
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• 2017

This study was conducted for a review of Park Se-chae's Theory of Rituals and eclectic features. He was in agreement with Song Si-yeol's allegation and Seoin's theory of rituals(西人禮論) in the 1659 controversy over propriety(己亥禮訟) and the 1674 controversy over propriety(甲寅禮訟). After that, he was cautious and criticized for Song's claims in 1683 discussion of Hyojong's sacrifices and Taejo's posthumous name. This tendency can be seen in his paper of rituals. He wrote "服制私議"(Private opinion of mourning clothes) etc. in his early life and wrote "關西昏喪契約束"(Covenant on wedding ceremonies and mourning ceremonies in the Gwanse province), "喪祭値疫痘說"(Mourning ceremonies and sacrifice when there is an epidemic) etc. in his later life. By comparing the books, we can identify changes in Park Se-chae's eclectic features. Early in life, he reviewed Gorye(古禮, Rituals of the old such as Liji) and the timely institutions(時制) on the "朱子家禮"(A book written by Zhuzi about family rituals). However, later in life, he reviewed Gorye and the Zhuzi Jiali on the timely institutions. The following is a summary of the above. His theory of rituals can be said that the eclectic features have changed from 'on Zhuzi Jiali' to 'on the timely institution'.

• (The)Study of the Eastern Classic
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• no.73
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• pp.91-117
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• 2018

In the tribute system controlling international relations of pre-modern East Asia, conciliation diplomacy between royal authorities was a principle of diplomatic relations among each nation. Therefore, capitals where royal authorities really existed were political centers and diplomatic stages at the same time. Notably, diplomatic relations between United Silla and Japan were maintained dually by conciliation diplomacy between royal authorities and practical diplomacy through Dazaihu located in Tsukushi. Tsukushi located at the northwestern tip of Kyushu was a gateway to foreign nations and stronghold in terms of national defense. Amidst an East Asian war named Baek River Battle in 663, the royal court of Daehwa established Dazaihu here because it was necessary for diplomatic and military responses. Dazaihu established as part of diplomatic negotiation not only took diplomatic functions as an official residence since the latter half of the 7thcentury. and but also was used as a stage of official diplomacy between Silla and Japan. Diplomatic negotiation between Silla and Japan through Dazaihu was made in practical methods and such a situation could be confirmed through diplomatic documents exchanged between Silla and Dazaihu in the middle of the 8thcentury. At that time, protocols became an importan tissue.

• (The)Study of the Eastern Classic
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• no.43
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• pp.183-207
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• 2011

This study finds aesthetic elements and examines their aesthetic sense focusing on the melody of the piri in the completed Jongmyojeryeak with various ideational backgrounds from the views different from the aesthetic sense of Jongmyojeryeak that has been conducted so far. Jongmyojeryeak is to hold a memorial service at the place where the godship of the line of kings and queens in Joseon is set. It is the crystal of Confucian memorial ritual and representative cultural heritage of ancestral ritual culture and is designated as No 1 of national chief, intangible cultural heritage in 1964. Also, on May 18th, 2001, it was registered first in Korea as 'Masterpieces of the Oral and Intangible Heritage of Humanity' designated by UNESCO and was recognized of its superiority. It is not only a representative cultural heritage of ancestral ritual culture having fate with Joseon Dynasty for a long period but also has been recognized as the essence of our music compiling the holistic beauty of artistic forms according to music, songs, and dance created by our ancestors. Also, it has as its background the traditional thoughts including the Confucian thought as well as Yeak thought, Yin-Yang School, Samjae thought (三才思想), and Palgoe thought (八卦思想). This Jongmyojeryeak internalizes landscape beauty, Yojang beauty, natural beauty, magnificent beauty, and harmonious beauty. Landscape beauty can be found in Huimun and Jeonpyehuimun. Yojang beauty is the figure that is only shown in Jeongdaeup. Natural beauty is the skilled performance technique shown in the melody of variations and is connected to natural creation. It is well shown in Huimun and Jeonpyehuimun. Magnificent beauty is well shown in the melody of Botaepyeong movement. And harmonious beauty is the harmonization of dischord in Jongmyojeryeak and is well shown in Jeongdaeup's Somu distinctively showing its aesthetic sense from the view of natural, harmonious beauty in its music.

• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.443-477
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• 2022

The purpose of this study was to explore the continuing bonds experienced by adolescent victims' 15 parents of the Sewol ferry disaster. The research aim is to classify the continuing bonds into representational, functional, emotional, and relationship characteristics through contents analysis and identify them. The way dimension was found to be continuing bond through "physical objects and space," "dream and spiritual exchange," "personal memorial and ritual activities," "thoughts of deceased children," and "surviving children." In the "functional dimension," it was found that sustainable ties help families find new meanings and purposes in their lives and comfort them by making them feel they are with their children. In addition, at the emotional level, they experienced 'positive emotions' while feeling with their children, and experienced 'pain', and some research participants found it difficult to sustain the bond itself. At the level of each relationship characteristic, the relationship between parents and children was an extension of the relationship even after the child was deceased, and the relationship characteristics were reproduced. The implications for grief counseling were presented by applying a dead two-axis model to the results of this study.

• Journal of the Korea Convergence Society
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• v.13 no.5
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• pp.21-34
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• 2022

This study attempted to identify the life and death reproduced in literary works and present well-aging and well-dying using literary studies that considered Korean literature. Literary works such as poems, novels, and plays recorded between the 13th and 20th centuries covered in 10 literary studies in this study were investigated and analyzed. The survey methods include general and outline sections, literary genre sections, period sections, and keyword review. As a result of the analysis, most of the literature studies corresponded to details including author theory. They were concentrated on the novel and poem, and mainly dealt with 20th century literary works. In addition, the relationship between death, life patterns, well-dying, and well-aging inherent in literary works was identified. It was the concept of a whole set and a subset. In conclusion, this study has a limitation in studying literary works at a specific period. Nevertheless, we examined the nature of well-aging in life as a hope to secure a prospect from Korean literature. And this study recognized the nature of well-dying in death and meaningful death as a rite of passage derived from Korean literature. In the future, it is expected to contribute to the realization of well-dying, well-aging, and application of convergence research in Korean society in the 21st century.

• (The) Research of the performance art and culture
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• no.43
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• pp.441-483
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• 2021

The introduction of dongbal[bara] is in line with Buddhism which was transmitted from India through China. Therefore, this paper tracked down the records of dongbal in Indian and Chinese Buddhism, and especially in scriptures and in ritual texts of Korean Buddhism, and studied the functionality and the use of dongbal, and the attributes of Baramu. Among the scriptures that record dongbal, 『Myobeopyeon hwagyeong(妙法蓮華經)』(A.D.406) is the earliest to be translated. The records of bara in the scriptures were written as dongbal(銅鈸) mostly, and that it was used as ritual tool(法具), instrumental offering, and religious ornament(莊嚴物). The oldest record which can verify that dongbal was used in Korea is 『Seodaesajajaeryugijang(西大寺資財流記帳)』(A.D.780). The oldest cymbals-like relic remaining today, the reliquary from the temple Gameunsa built in A.D.628, dates back to the early period of Unified Silla. This indicates that dongbal has been used at Korean temples by the 7th century at least. The records of dongbal(銅鈸) written in cheong-gyu(淸規, buddhist monastic rules) and ritual texts are classified as myeongbal(鳴鈸) and dongbal(動鈸). The letter 'myeong(鳴)' of myeongbal means to make a sound, and thus myeongbal refers to clash and make the sound of the bara. It is verified that myeongbal had certain established rules and methods. It appears that dongbal(動鈸) refers to Baramu(the cymbals dance) since the letter 'dong(動)' means movement or to move. Hence, the concept of movement was added to the signification of myeongbal, and became dongbal(動鈸), and then developed into baramu being transmitted until today. There are 8 types of Baramu transmitted in Korean Buddhist rituals, and they could be classified into purifying ritual, inviting ritual, protecting ritual, offering ritual, bathing ritual, dressing ritual, saluting ritual, and praising ritual according to their attributes.