• Journal of architectural history
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• v.19 no.6
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• pp.23-38
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• 2010

This Hee Kyeong Ru, a kind of "Nu-Gak" in Gwangju is a high storied old government official building memorizes the recovery of Gwangju area reputation. Hee Kyeong Ru, literally means, delightful and happy occasions. This kind of the buildings were build for the receptions and the banquets for the high government officials in travelling areas to areas. It provided very high formality as compared to the buildings in the mountains. Nu-Gak buildings have a lot in common, since they had been constructed under the influence of the then time period and for the common reasons. Several records about Hee Kyeong Ru can be found in the old literatures, poetries, pictures and atlases. Also, we can see the shape of the building and the location through the mark in the old map. According to the historic materials, Nu-Gak buildingsof other old goveenment offices with Hee Kyeong Ru are similar to that of the size and construction. So we can draw the common points of the existing old official buildings and could assume the original form of Hee Kyeong Ru. In conclusion, we need to restore Hee Kyeng Ru as the historical meaningful building and use it as a representative cultural building in Gwangju.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.44-65
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• 2018

This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.