• Journal of Korean Society of Archives and Records Management
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• v.1 no.2
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• pp.159-183
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• 2001

The praying sentences of the script of Saddharmapundarika-sutra NO.5 which was made by prayer Bang-Ui, prince Ik-An, was investigated and the cover painting, Byonsangwha(Buddha's preaching painting), and letter style written in the script were discussed in this study. The cover painting on the script is known to be followed to the style of the cover painting as shown in a set of 7 rolls of Saddharma pundarika-sutra of the Horim Museum collection. It is not so difficult to say that the characteristics of cover painting of the script would be suceeded to those of scripts of the end of Koryo and the early Choseon Dynasty. Lotus and its surround was decorated with arabesque figure whose stems were drawn with golden paste and the arabesque figures were done with silver paste. However, for the expression of lotus and arabesque pattern the special feature of drawing style that was originated from the end of Koryo Dynasty to draw the outline with broad line and/or the hardness of drawing line became much more deepened than ever. It is not different to think that this characteristics should be those of Choseon Dynasty. On the Byeonsangwha(buddha's preaching painting) the painting of scattered flowers on stairs of Sumera-Mandala and the scheduled clouds (underseen from heaven) were as similar as to the Byeonsangwha style of the end of Koryo and the early Choseon Dynasty. However, the image of Shakyamuni and/or the halo(光背) is nearly same as the characteristics shown on the Beonsangwha of Saddharma pundarika-sutra of Nesosa' collection, a set of seven rolls which was completed in the 15th year of king Taejong(AD 1415). It is apparent that these characteristics are those of Choseon Dynasty. After king Chungsean in Koryo Dynasty, letter style of Chao Meng-Fu was shown in the script of late Koryo Dynasty as a new letter style.

• Conservation Science in Museum
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• v.28
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• pp.109-136
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• 2022

This study analyzes the , one of the three panels of 《Welcoming Banquets for the Governor of Pyeong-an》, a documentary painting of the late Joseon Dynasty, with the aim to identify the coloring materials used in the painting. The painting was first imaged at each wavelength in order to minimize the potential problems in the process of analyzing specific parts. This study applied X-rays to identify ink, gold, and organic and inorganic pigments and used infrared rays to find ink and copper-based pigments. It also applied hyperspectral imaging to distinguish organic pigments from black, blue, and green materials. It also analyzed spots selected for each color to identify the following materials: white lead (white), ink/indigo (black), a combination of red lead and cinnabar (red), pink dye, purple dye, iron oxides (brown), orpiment/dye (yellow), malachite/malachite and yellow dye/indigo (green), azurite/white lead and indigo/indigo (blue), indigo and cochineal (violet), and gold leaf (gold). It is expected that more efficient analysis will be made possible by securing a sufficient library for each wavelength.

• The Korean Journal of Archival Studies
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• no.17
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• pp.3-37
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• 2008

In this article, I outlined the archival management system in Early Joseon Dynasty and examined the characteristics of the system. At first, I explained the three aspects of the archival management; the memory of the past, the documentation of the contemporary, and the vision of the future through the documentation. Secondly, I tried to understand the character of the Veritable Record and its compilation by the concepts of archival science such as 'authenticity', 'reliability'. In the memory of the past, the History of a Dynasty(Koryo-Sa) and the Comprehensive History of Eastern Kingdom were included. The arrangement of the past was accompanied with the systematic study of the domestic and foreign histories. At the beginning of the state building, there was many practical need to the experiences of government and social re-construction. It was also the process of the legitimacy establishment of the new dynasty. And the Bureaucracy promoted the development of the records and archival management system because it needed the continuity and evidence of business. The dualistic structure of the records and archival management system was the most unique character of this age. The management of general administrative records was not different from the modern one. But the historical drafts and the compilation of Veritable record were different. Here, I had to examine the characteristics of these procedures by the concept authenticity, reliability, and custodianship. In doing so, I suggested the need of conceptualization of the historical terms such as 'the primary sources' and 'the secondary sources' in historical study. The archival concepts will be the most useful means to that issue. Through the memory of the past and the documentation of the contemporary, they made visions of the future, new vision of the Literati Governance. In this tradition, in spite of the revision of the Veritable records by the new changed political party, both the orignal and the revised remained as the comparative evidence for the future generation in the name of the Black-Red Revised History.

• Korea journal of population studies
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• v.30 no.2
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• pp.71-95
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• 2007

This paper attempts to identify the principle of family succession and family patterns of yangban in the late Chosun period through an analysis of male adaptation cases found in family registration records. The primary source of analysis is the family registration documents of Uiseong Kim's from the late 17th century to the early 20th century. As a result, it is found that there is a substantial change in the patterns of family from the early and mid Chosun period to the late Chosun period. The change is the strengthening of the principle of patriarchy succession through male adoption. Looking at the data as a whole, the average number of household members is increased and the membership of kinship also expanded. In contrast to the family patterns of the early Chosun period, not only the patterns of Uiseong Kim's family are predominately immediate family or collateral family but also the majority is extended family in the 18th and 19th centuries. The male adoption cases recorded in Uiseong Kim's family registration documents take up 33.8% of the male adoption cases in the entire family registration documents. This goes to show that the strengthening of the principle of primogeniture succession at a time when child mortality rate is very high resulted in the increase of male adoption. In conclusion, the late Chosun society was a society where the seat of primogeniture was much more important than immediate hereditary members in the family succession.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.52-69
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• 2012

This paper attempts to analyze the inner and outer structure of royal tombs that were built during the Joseon Period. This analysis is based on the relevant historical records and they were restored through visual composition in order to compare the features of Joseon royal tombs with those of Goryeo royal tombs and common tombs of the Joseon Period. Royal tombs of the Joseon Dynasty are structurally solid and contain a variety of artistic ornaments that symbolize guardian deities both inside and outside to protect the owners of the tombs for a long time. According to historical records such as Sejong sillok oryeui (Five Rites of State from the Annals of King Sejong) and Gukjo oryeui (Five Rites of State), it is presumed that the inner structure of royal tombs dating back to the early Joseon Period consisted of a stone chamber and that the byeongpungseok and nanganseok were built outside of the tomb. However, ever since King Sejo left it in his will not to make a stone chamber in his tomb, the royal tombs began to follow a new pattern, a burial pit outside the coffin filled with lime powder. Gukjo sangnye bopyeon (Supplement Book of the State Funeral Rites), which was compiled during the reign of King Yeongjo, is a book that shows how the royal tombs were formed in the late Joseon Period. The book explains in detail how lime powder was used to fill the burial pit of royal tombs. The byeongpungseok used during the late Joseon Period were engraved with peony flowers, while those previously made were engraved with twelve spirit warriors. Peony designs were frequently used to decorate the items of royal families, and the use of peony designs in tombs reflects the idea of regarding the royal tombs as an everyday living space for the deceased.

• 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.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.102-123
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• 2013

This paper is a study about the Gang Sehwang's (姜世晃 1713~1791) Ink Orchid Painting. Gang Sehwang is a representative literati gentleman who painted Four Gentlemen, for the first time, during the late Joseon Dynasty. There are 20 pieces of Ink Orchid Painting of his in Korea. His recognition of the Ink Orchid Painting can be understood through his records and analysis of his Ink Orchid Painting. He considered the sketch from the nature (寫生), practice of old paintings (古畵), and copy-training of the manual of paintings (畵譜). Particularly, Gang Sehwang focused on the copy-training of old paintings (古畵臨倣) which integrates the will and spirit of old literati gentlemen. This means that he had recognized the picture as a means of 'literature carrying morality (載道). Also, we could read self-discipline (修己的) values from his continuative copy-training of the manual of paintings (畵譜臨倣). Next, his Ink Orchid Painting were divided into the first half of the term (his 30s to 40s) and the second half of the term (his 60s to 78 years old). He had polished up on the Jieziyuanhuazhan ("芥子園畵傳") during the first half of the term and on the Shizhuzhaishuhuapu ("十竹齋書畵譜") or the Maejuknanguksabo ("梅竹蘭菊四譜") during the second half of the term. Therefore, it could be understood that he had depended on the manual of paintings (畵譜) for a long time. Nevertheless, he had completed the elegant and graceful Pyeoam Orchid (豹菴蘭)' based on his skill of the manual of paintings (畵譜) in his 70s. Finally, the 18th century Ink Orchid Painting and painters who lived (worked) at that time were investigated. He made?? the Albums of Calligraphy and Painting (書畵合壁帖) with Shim Sajeong (沈師正) and Choi Buk (崔北). They also interacted with each other by Calligraphy and Painting (書畵). Also, Yi Insang (李麟祥) and Im Heeji (林熙之) contributed to the diversification of the 18th century Ink Orchid Painting style by imitating Ink Orchid Painting with the manual of paintings (畵譜). Moreover, it is meaningful that the Ink Orchid Painting of Gang Se-hwang and the18th century Ink Orchid painters influenced the foundation of the 19th century Ink Orchid Painting fashion.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.5-25
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• 2008

Seoul's community beliefs originated from the ritual performed by the shrines affiliated to each government office in the Joseon Dynasty. Lower branches of government officials were assigned to perform these rituals. Generally, these shrines were called Bugundang(府君堂). Records show that Bugundang(府君堂) was generally one to three units and enshrined the portrait of Bugun(府君), the worshipped, inside. According to historical records, the worshipped were mostly General Choi Young(崔瑩將軍) or Madame Song(宋氏夫人). In fact, however, each Bugundang(府君堂) worshipped different persons. Some of the worshipped were historical characters from the Goryeo Dynasty or the founding period of Joseon Dynasty, Guan Yu(關羽) and Zhuge Liang(諸葛孔明) that became gods after the Japanese Invasion of 1952, Wanggun(王建), Dangun(檀君), General Nam Yi(南怡將軍), Kim Yoo Shin(金庾信), Lim Gyeong Up (林慶業), King Gongmin(恭愍王), King Taejo(Lee Sung Gye, 太祖 李成桂), Joban(趙?) who is one of the supporters of the foundation of Joseon Dynasty, Sir Hong(洪氏大監) and his women who appear in the legend of Nanhansanseong(南漢山城) area, and many other historical figures. It is difficult to compare the rituals of these shrines from community Gut(Shaman ritual) performances of Seoul. According to historical records, Gut and ceremony coexisted in rituals. As time passed, these rituals spread as the community Beliefs of commoners and have been transmitted in the context of Seoul's cultural change. This study examined the existence of affiliated shrines of local government offices in the Joseon Dynasty and discussed the cases of Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟), Bangsan-dong Seongje Shrine(方山洞 聖帝廟), and Seobinggo Bugundang(西氷庫 府君堂) to trace the succession of rituals at these shrines as folk customs of commoners. Bangsan-dong Seongje Shrine(方山洞 聖帝廟) spread to the public as Gwanwoo(關羽), who was considered the god of soldiers, transformed into the god of merchants along with historical transition. It clearly shows the process as to how merchants from a certain region developed a community religion. Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟) is Bugundang(府君堂) of the soldiers of Nampyoug(南營). As the ritual was succeeded by a ritual group called Yeoungsinsa(永信社), composed of nearby residents, it was naturally spread and succeeded by the residents in local community. Seobinggo Bugundang(西氷庫 府君堂) was related to the changes in the historical background of ice gathering in the late Joseon Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.12-24
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• 2020

The purpose of this study is to analyze the influence of the water system on the location, spatial structure, and construction method of Hongju-eupseong, centering on Hongjumok-eupchi. During the Joseon Dynasty, the water system in Hongjumok-eupchi is composed of artificially constructed Seong-an Runnel and ponds based on a branch-shaped natural waterways flowing from south to north and west to east. Compiling the results of various literature records, excavations and analysis of map data, it can be seen that the water system has an important influence on the construction of Hongju-seong. Firstly, Hongju-seong from the Goryeo Dynasty to the late Joseon Dynasty is located using a circular shape of topographical structure and a small erosion basin formed on the inner side of the Hongseongcheon and Wolgyecheon streams without significant change in location. In particular, Wolgyecheon and Hongseongcheon are natural moats, which are harmonized with Sohyangcheon and riverside topographical structures, affecting the location and construction method of Hongju-seong, water related facilities, and the spatial structure of eupseong. It is understood that location characteristic of Hongju-seong reflects the urban location structure harmonized with waterways in ancient China and Korea. Secondly in harmony with the water system and topographic structure of Hongju-seong, it is an important factor in deciding the land use of the town, the arrangement of the town hall facilities and inducing various non-subsidiary measures such as the establishment of embankment forest with a secret function and the closure of the south gate. In addition, artificial drainage facilities such as Seongan runnel and ponds are being actively introduced from early on to protect the walls or towns from flooding of Wolgyecheon. Especially there were typical methods for protecting the walls from water damage such as the Joseon Dynasty stone castle structure that was integrated with saturn(soil wall) in the Goryeo Dynasty, retreating wall in the northern gate area in the late Joseon Dynasty, and the method of constructing wall using korean tile and stone floors between reinforced soil layers in the western and northern wall.