• 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.

• Sijohaknonchong
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• v.42
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• pp.187-212
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• 2015

This study is focused on how Kim Sujang Gagok which celebrated Chingyeong Chinjam procedure was created on ChungHae year (1767). It largely consists of four main parts. First, it studied Chingyeong procedure which was arranged by the King on 26 February 1767. Chingyeong procedure was performed at the East Jeokjeon(this area is now Jeonnong-dong). Second, it also studied Chinjam procedure which was arranged by the Queen on 10 March 1767. Chinjam procedure was performed at the old ruins of Gyeongbok Palace. Third, Kim Sujang created the celebrated Gagok on 9 March, the day before Chinjam procedure. It tells that he certainly recognized Chinzamryae was contained within Chingyeongryae. Finally, While Kim Sujang served as a Seoli of Byeongjo and then got an additional office and a practical office for old man, he got involved in Chingyeong Chinjam procedure on ChungHae year. And consequently, it seems that he created those celebrated Sijo.

• 보존과학연구
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• s.32
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• pp.53-60
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• 2011

The aim of this study is to investigate the traditional manufacturing technique of lacquering by comparing and analyzing materials used for wooden lacquerware artifacts with focus on the Joseon dynasty Eugye, and to apply the manufacturing technique to the conservation treatment of the lacquerware. artifacts. This study conducted the documentary survey focusing on "Yongjo Jeongsun Queen Consort Garye Dogam Eugye",and "Jeongjo Gukjang Dogam Eugye." The royal lacquering is roughly classified into three categories-scarlet lacquering, quality black lacquering, and terra rosa lacquering- according to materials used for lacquerware. The bean flour was mostly used for under lacquering of the articles which was offered to the king and in case of other articles, bean flour was used mixed with bone ashes. In some cases, burned pine soot was added to under lacquering. Japanese scarlet lacquering was applied by mixing maechil-main coat, in inverted commas- with Japenese scarlet after lacquering jeonchil-base coat, in inverted commas-. In case of Chinese scarlet lacquering, part of terra rosa was used mixed with red clay. For quality black lacquering, basically jeonchil and maechil were used, but sometimes part of burned pine soot was added. In addition, terra rosa lacquering was applied by basically using terra rosa mixed with red clay. Lastly, gloss was given by using perilla oil. It is expected that the traditional materials and technique examined through both documentary and relic research will contribute to advanced result of the conservation treatment of wooden lacqueringware artifacts.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.34-51
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• 2012

Jangneung (the Royal Tomb of King Danjong) and Sareung (the Royal Tomb of Queen Jeongsun) are simple in their design and layout. Not only are the sizes of the stone statues small, but stone soldiers are not installed at all despite the fact that Danjong at one point served as the King of Joseon. Moreover, only a pair of seoksu (stone animal) is installed for each Tomb. These royal tombs were originally made as common tombs and later upgraded as Royal Tombs when Danjong's royal status was reinstated posthumously in 1698. Thus, in comparison to royal tombs in general, the scale of these tombs is by far modest. For this paper, archival records and other literature for the burial upgrade process and the stone sculptures are examined; also, the stone sculptures have been examined and measured on-site, and they have been compared and analyzed based on the data thus obtained. Furthermore, this paper traces the historical context of the period in which the simplification of the stone sculptures took place for Jangneung and Sareung. The paper argues that the cause of the modest scale lies not so much in the fact that King Danjong had been dethroned as a commoner, but in the cataclysmic famine and epidemic that swept the country during the time when the two royal tombs were upgraded as such.