• KOMUNHWA
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• no.65
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• pp.57-80
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• 2005

Mogari is an ancient Japanese ritual ceremony, part of a series of ceremonies which are conducted from people's death to the time that they are buried in the tomb. Mogari has been recorded in a number of historic documents, including ${\ulcorner}$

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.1
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• pp.129-143
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• 1997

This study is about'The Costumes of Ch'oyong dance. (namely Ch'oyong-mu-bok; 처용무복)': emphasis on its structure and change. 1 studied Akhakguebum (the book of music and dance; 낙학궤범), Eui-Gue-Do (a collection of a series of paintings showing the whole processes of the royal courtesies and ceremonies; 의궤도) and some genre painting (풍증화). 'The costumes of Ch'oyong-Dance'were composed of robe(의), pants-skirt(대) , outer-skirt (상) , scarf-string(천의·길경) , shirt(한삼) , hat with mask (사교·가면) , belt(대) and shoes (혜) . According to the position, the colours of robe(의) and pants-skirt(군) were different. What is called, it is'the Colour of Five-Position (오방색) .'The Costumes of choyong-Dance' can be divided three factors by its symbolic means; i. e. shamanism, buddhism and bureaucratism. The pants-skirt(군), outer-skirts(상), scarf · string(천의·길경) and mask are considered as shamanic factor. However, the scarf(천의) , string(길경) and patterns(만화)which are decorated with many lotus patterns enclosed with vine are considered as buddhistic factor. And the hat (사모) , robe(의) , outer-skirt(상) , belt(대) and shoes(잔) are considered as bureaucratic factor. Ch'oyong is endowed with some power by these factors, and its symbolic means became stronger and enlarged by 'the Colour of five-position'. As time goes, the forms and details of robe had been changed noticeable; sleeve-width, neck-line and patterns. The shamanic, buddhistic and bureaucratic factors are reduced. These changes were derived from the changes of Ch'oyong·Dance. On the ground of the shape of mask and round-neckline robe(단영) , someone has an opinion that Ch'oyong is an aribian. However, according to this study, Ch'oyonh is Korean traditional thing; round-neckline robe already existed and settled in Silla dynasty and Ch'oyong-mask symbolized shamanic power.

• Journal of the Korean Society of Food Culture
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• v.26 no.1
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• pp.1-10
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• 2011

Rice alcoholic beverages, cheongju and beopju, which are recorded in "Koryodokyung", "Koryosageolyo", and "Koryosa", were used in national and royal ceremonies, and yakju was used in the Palgwanhoi ritual. In the late $11^{th}$century, King Munjong imported hwaju and haenginjabeopju from the royal family of the Song Dynasty. Alcoholic beverages in the early $12^{th}$century included the medical use for kings, such as gyehyangeoju, which the Emperor of the Song Dynasty sent to King Yejong, baekjainju, which was sent to King Myeongjong for his health, and yangju, which is goat milk fermented alcohol from the nomads in the northern regions. In the early$13^{th}$ century there was also dongrak, which is a horse-milk fermented alcohol, grape wine sent from Yuan to King Chungryeol in the late $13^{th}$ century, and sangjonju, a type of special cheongju sent from Yuan in the early $14^{th}$ century. Baekju from Yuan was recorded in oral traditions, which suggests that soju, which is distilled cheongju, was consumed in the late $14^{th}$ century. Gold and silver wares for alcoholic beverages had important political, social, and economic meanings as national gifts to other countries and internally as the king's royal gift to his subjects. In the late $14^{th}$ century, soju was prohibited, and the use of gold and silver wares for alcoholic beverages was banned at the same time. This study examined the historical characteristics of the use of traditional rice alcoholic beverages, the emotional preference for foreign alcoholic beverages, and the gold and silver wares used for alcoholic beverages Koryo Dynasty.

• Conservation Science in Museum
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• v.21
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• pp.17-28
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• 2019

The term jinjuseon(眞珠扇), meaning literally a pearl fan, refers to a fan decorated with precious stones for use in royal wedding ceremonies. This study examined a jinjuseon housed in the National Palace Museum of Korea (NPMK) which currently lacks jeweled ornaments. In order to determine whether pearls or other gemstone settings originally ornamented the fan,the surface and composition of the gray materials remaining on the washers were investigated and the fan was compared with other artifacts decorated using similar techniques. The analysis revealed that the gray materials visible around the round rims of the washers contain tin-lead alloys. The traces of folded nails suggest that soldering was not applied. The remains of the infill observed in other artifacts with bezel settings indicate that this jinjuseon in the NPMK collection was produced using abezel setting technique wherein pearls or other gemstones were affixed by filling cylindrical bezels with tin-lead alloys.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.61-74
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• 2005

Wonsam, a type of korean women's gown in Choseon Dynasty, was used as a small ceremonial costume for queens, crown princesses and princesses and as a grand ceremonial costume for royal concubines and wives of high rank officials. It was also worn as a wedding dress for commoners. In the families of illustrious officials, it was also used as burial accessories or garments for the dead. In this context, Wonsam is a formal dress for the people's most important four ceremonies of coming-of-age, marriage, funeral, and ancestor worship. It is worth emphasizing the costume since it was widely and importantly used by all ranks of women, from royal families to commoners. Through the Wonsam of An-dong Kim Clan's, we can see what the society was like at the end of Choseon Dynasty. First, a status system that strictly divided costumes for each class, was, in many parts, broken down. Second, the highly wrought patterns and texture of fabrics of the Wonsam reveal that it was granted from Court, or, if woven by the Kim family, it is considered to be produced by the Court's craftsman or through technical transfer, considering that the weaving skills used are as good as those in Courts. Third, regarding the precise needlework that is uncomparable to textiles used by other illustrious officials families, the Wonsam is considered to be granted from Court or, produced through the needlework skills that were handed down from needlewomen in Courts. The Wonsam of An-dong Kim Clan's has noble beauty in it, with outstanding weaving skills, fabrics, needlework and shape. Thus, it is no exaggeration to say that it has those qualities to be the standard costume that inherits the tradition of Korean people.

• Archives of design research
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• v.18 no.1 s.59
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• pp.125-134
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• 2005

The Main hall of the contemporary church has been used ineffectively. Therefore the purpose of this study is to search various ways of using this space of the contemporary church, which was restricted only to worshiping purposes, and to propose this idea to the local community. This research is based on the modern theology which insists on the responsibility of the church in its local community. Data was collected through questionnaires and interviews. The subjects of this study were 360 pastors, members of churches and local residents. The interviews were carried out from october 8th. 2003. to March 29n0. 2004. The results are as follows: 1) pastors, members of churches and local residents are for the relationship between church and community. 2) Multi-functional plans of spaces in main hall are recommended to provide cultural activities such as concerts, plays, funerals and marriage ceremonies, etc. 3) In building or reconstructing a church, functions for community service and programs to maximize the use of church facilities must be considered in the plans.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.532-540
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• 2017

This study analyzes and compares the meaning and the value of storytelling with characteristics of the Playback Theatre, which is an improvisational play. On one side, the Playback Theatre, invented by Jonathan Fox in 1975, is an improvisational and communication-based theatre format; and it usually brings in the storytelling of audiences and often entails no play script. On the other side, storytelling requires imagination and creativity; presupposes the sympathy between the speaker and the listener. In fact, this theatre format is utilizing the educational and healing effects of verbal cultures, group sacrificial ceremonies, and/or psychodrama; and it is contextualizing them in our modern society. The Playback Theatre provides the audiences with opportunities to share their own stories within the play itself. The actors first listen to the stories of audiences; and then make them into a play impromptu, right in front of the speaker(s) and other audiences. For this very reason, it is called a "play-back". In this process, the individuals and the community are invited to experience the educational and healing effects.

• Journal of the Korean Society of Food Culture
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• v.12 no.5
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• pp.549-560
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• 1997

The purpose of this study was to understand the arrangement of the religious food and religious diet in Kang-Rung region which was recogniged as cultural region. Investtigation was done by interview person to person, and the results are as follows. 1. The arrangement of religious food and regious diet in Kang-neung region were differed from home to home. 2. In Kang-neung region, Chu-suk religious ceremonies and religious diet were setted much religious diet than memorial service which was held on an anniversary of their's death. 3. At first line, they have arranged Hynbab and Kuk, or Papbaab and Miyegkuk or Paogikuk. On the other hand, Songpyen was placed in traditional standard setting. At second line, they have arranged Songpyen, Kijung, Aegeok, Yukgeok, Nurumgeok, DonBaegigeok, Memilgeok, and cooked octopus(muneo) on the Aegeok. They have also arranged fishes which were the cooked Alaska pollack(rnyongtai), codfish(daeku), flatfish (kajami), yellowtail(bangeo), salmon(yeoneo), trout(songeo) and Saegsunjeon, Dubujeon, Wanjajeon, Kokumajeon. At third line, they have arranged Yuktang, Sotang, Eotang, Altang which is boiled eggs. Altang was arranged instead of steamed chicken. At fourth line, they have arranged Bukeopo, Cuttlefish(dried Ojingeo), Gajamisikhe, Myungtaeposikhe. On the other hand, Sikhe was necessarily placed on the setting of traditional standard service for the ancestor. They have arranged also Chinese bellflower(Doragi), Fernbrake(Kosali), Spinach, Osmund (Kobi), Greenbean Sprouts, Leopard plant(Komchwi), Gourd(Pak), and Lentinus edodes (Pyokjo), but Kimchi was omitted. At fifth line, they have arranged Date, Chestnut, Persimmon, the fruit of Actinidia arguta(Dare), Heron, Banana, Kwajeul and Kangiung were considered as dishes. Dasik and biscut were also used for setting dishes.

• Journal of Nutrition and Health
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• v.5 no.3
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• pp.109-125
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• 1972

According to the Sam-guk Sa-gi (History of three Kingdoms: Silla, Koguryo and Paeckje) tea was first brought into Korea by Kim Tae-ryeum, a diplomat, in 828 A.D. during the reign of king Hung-dot of Silla, and planted on the hill of Mt. Chi-ri. Afterwards, the tea trees were transplanted and cultivated by Buddists in many Buddist temples in southern provinces during the Silla and Koryo dynasties. People took much delight in drinking green tea, and specially the kings, buddist monks and nobilities of Silla and Koryo enjoyed drinking green tea. And eventually, the green tea became an indispensable part in all important ceremonies during the Koryo dynasty. After the Yi dynasty came into being, the dualistic philosophy of China was introduced and respected while buddist temples declined as a result of strong oppression by the ruling class. While temples were declined, the practice of drinking green tea was also declined. Nowadays we find many tea plants grow wild, which are seemed to be planted around buddist temples during the Koryo dynasty. Today, Korean people do not drink home made green tea. Instead, they like to take coffee, black tea and other tea products imported from foreign countries. Aa a result, Korea had to pay $ 520 thousand in 1969 to import foreign made tea and coffee. The natural conditions of southern provinces of Korea are very suitable in cultivating tea plants. If we develope the skill in producing good quality tea in Korea, we would be able to save the foreign exchanges that are being spent for importing foreign made tea products, and at the same time, we would be able to export our green tea to overseas. The quality of Korean green tea is as good as that of Japanese green tea. Green tea contains vitamin C while coffee and black tea do not contain it.

• Korean journal of communication and information
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• v.50
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• pp.94-120
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• 2010

This Studies interpret Kim Ki-duk's film in terms of shamanistic world views. In this studies, the ritual properties of Kim Ki-duk's film were trying to reveal. To do this, Kim Ki-duk's entire 14 works were analysed. Specifically, shamanistic characters, their actions, themes, ways of storytelling, mis-en-scenes, and visual settings were focused on. The results show, fantastic and ritual properties were represented directly and the very archetypes of Korean cultural shamanistic symbols were embedded in his films. Shamanistic symbols and narratives in Kim Ki-duk's films were related to the main themes of harmony between suppressing men and suffered women. This symbols and narratives could be interpreted through the sacrifices of characters, exorcistic behaviors, expressions of death etc. In the long run, as visionary or anti-realistic author, Kim Ki-duk has been performing shamanistic ceremonies(in Korean "Gut") with his whole works. With these findings, processes from preparations to completions of Gut-Pan (Shamanistic ceremony) in Kim Ki-Duk's works were tried to reconstruct.