• Journal of Fashion Business
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• v.14 no.6
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• pp.84-99
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• 2010

The aim of this study is to understand the wedding planners' general perceptions on Hanbok as a ceremonial dress in wedding ceremonies. Moreover, the study explores the aesthetic understanding of wedding planners on Hanbok which both influences their choice of recommendation and purchasing decisions. In the process of organizing the structure of weddings for clients, planners have naturally acquired the position of being able to influence the sales of the Hanbok industry. Moreover, brides-to-be are heavily dependant on wedding planners in sketching the outlines of their whole wedding. Therefore, in order to analyze the opinions of both subjects, a research survey was launched which involved three hundred participants from two groups: first, wedding planners who were free lancers working in the Chungdam District, and second, wedding planners who were working for wedding consulting firms. The survey method was based on one precedent study, in which a preliminary survey was conducted by interviewing companies in the Hanbok industry and wedding consulting firms, and an additional survey in the form of questionnaires. The STATA 11.0 program was used for analyzing the recruited data for frequency analysis and cross-tabulations analysis on career. The conclusion of this research may be used as substantial preliminary data in prospering the Hanbok industry, enhance and newly shape its marketing strategies and the conclusion is as follows. 1. Wedding planners have a more profound understanding on Hanbok and prioritize the significance of formative constituents in the order of color, material, style, size, and decoration. 2. The prospects of promoting the image of Hanbok through wedding planners is promising. According to surveys, this goes to show that the persuasion of wedding planners have brought a positive effect on choice of Hanbok and as wedding planners become more specialized, their involvement in preparing Hanbok with brides is increasing. 3. Wedding planners believed that the main reasons why future brides do not select Hanbok as a ceremony dress are that the cost is too high relative to practicality and that there are not enough opportunities to wear them.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.71-89
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• 2011

This study was carried out to get the exact information of the physical structures and humanistic landscapes to restore the prototype of the rear garden at Changkyung Palace. In this study, various drawings and historical documents such as Donggwoldo(東闕圖) and Joseonwangzosilok(朝鮮王朝實錄) were analysed. The innate characteristics and identity being inherent of rear garden of Changkyung Palace were tried to match the presence of acting to the specific places. The rear garden at Changkyung Palace was not only the secret garden for the rest of royal family and private life for king and queens but also used as public space for the various ceremonies. At the beginning of building, the rear garden at Changkyung Palace was built for the farming and sericulture of royal family. Since then, various events were held in this place such as archery, military drill and royal plowing and meeting with vassals which were political activities. At the rear garden of Changkyung Palace, Chundangdae(春塘臺), Kwanfunggak(觀豊閣) and Kwandukjung(觀德亭) were the base of specific activities. Also function, use, form, structure, planting and water elements were related organically in these areas.

• The Journal of Korean Philosophical History
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• no.52
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• pp.243-280
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• 2017

To the mid 19th from the early 20th century, there were many movements about religion in Korea society. Protestant which first flew in 1885 grew up greatly and Confucianism of traditional thought sought for religionization to survive. At once new religions named Korea ethnical religion appeared. They are Donghak(東學), Daejonggyo(大倧敎), Jeungsangyo(甑山敎) and Won-Buddhism. Generally speaking, these ethnical religions deeply relates with Korea original mental culture. In this paper, I want to infer that these religions have Korea origin metal culture. The first, I will consider some traditional thoughts of (1) worshiping of Heaven, (2) practice and (3) harmony from traditional (religious) ceremonies and thoughts. Ans then I will infer how these traditional thoughts from origin mental culture appear in ethnical religions of Donghak(東學), Won-Buddhism(圓佛敎), and Jeungsangyo(甑山敎).

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.204-221
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• 2021

The morning ritual was a rite whereby a morning audience with the emperor was held for feudal lords sovereigns and subjects living in the precincts, monarchs or foreign envoys of the outskirts of the capital, and other ethnic group. Distinction between the main and subordinate rituals, changes in the ceremony according to the times, and the position or rank of those participating in the rite, were factors that directly affected the costumes worn for ritual. Accordingly, in this paper, the costumes worn by members of the Ming dynasty (emperor, prince imperial, prince) were examined in terms of the period and detailed ceremonies with a focus on the morning ritual and costume systems presented in the official historical records. Through this study, only Mian-fu (冕服) and Pi-bian-fu (皮弁服) were defined by the costume system ase costumes worn in the morning ritual. However, through comparative analysis with the morning ritual system, it was confirmed that Tongtian-guan-fu (通天冠服), Yishan-guan-fu (翼善冠服), and Bianfu (便服: slightly casual wear) were also worn. It is worth noting that the color of Gunlong-pao (袞龍袍) was differentiated according to status; the Emperor wore yellow, the Prince Imperial and lower levels wore red, which was the traditional perception of academia. However, following confirmation of the custom costume for the morning ritual, it was confirmed that the color of this differentiation appeared during the 3rd year of Emperor Yongle of Ming (1305). Previously five traditional colors (blue, red, yellow, white, and black) were used for the season.

• (The) Research of the performance art and culture
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• no.43
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• pp.381-403
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• 2021

Cheonsubara Dance is one of the most important ceremonies in Buddhist rituals. This paper is a study on principles of Cheonsubara Dance in Yeongnam. This also distinguishes the Cheonsubara Dance performed for about 7 minutes with no patterns according to 'The Great Dharani of Spiritually Sublime Phrases' by dance words, and analizes its combinations and principles. Cheonsubara Dance in Yeongnam consists of 7 dance words(Greeting, Carrying, Carrying with 180° rotation, Bara-Garugi, Bara-Garugi with both hands, rotate once, Bara-chigi), and put together according to the number of letters from 'The Great Dharani of Spiritually Sublime Phrases'. Usually, the principles can be seen through 4 types of changes from the dance: 1) When letters of 'The Great Dharani of Spiritually Sublime Phrases' appear consecutively with the same number of characters, 2) When a two-letter word turns into a three-letter word, 3) When the opposite of 2) occurs, 4) When 2~3 letter words change in a row.

• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.61-92
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• 2019

We attempted to find the style of flower arrangement from the drawings of Uigwe and paintings of folding screens for the royal ceremonies of the late Joseon dynasty. In the pictures of the Uigwe and folding screens, we could see the linear, circular, and oval types Junhwa used to decorate the left and right sides of the throne placed in the center of main parish at the national banquet. There were also identified the Sanghwa which was used to decorate food on it, Jamhwa which was used to decorate head to be worn on the caps or hats, and Hwaga which was used to decorate the style supporting the large awnings at the national banquet. Hwaga was found, in the Musin Jinchan Dobyeong. In 1795, it was found that decorations on the floor, which are quite similar to the table decorations and modern space decorations, and flower shoot presented by king and flower decorations which were bound to the stick which was presented by king to country old men from Wonhaeng Eulmyo Jeongri Uigwe and Hwaseong Reunghaengdobyeong

• Journal of the Korean Society of Food Culture
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• v.24 no.2
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• pp.117-125
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• 2009

The present study examined the import routes of distilled rice liquor soju and how soju developed among the royal family and the upper classes using celadon inscribed with poetry related to alcohol beverages in the 12th century, Maebyeong style vases inscribed with government office name in charge of alcohol beverages of the royal family in the 14th century during the Koryo Dynasty. Distilled rice liquor was imported from the southwestern region to Koryo by Arabian merchants through direct and indirect routes in the Yuen Dynasty during the age of King Chungsuk and King Chunghye in around the 14th century. As soju was added to existing takju and cheongju, the three major types of alcohol beverages were completed during the late Koryo Dynasty. Celadon pitcher inscribed with poetry shows the delicate sentimentalism, aristocratic prosperity, and poetic sentiment. In particular, it is valuable in that it reflects Koryo people's mind, view of nature, and attitude toward alcohol beverages, and their inner world was also described with celadon patterns. Maebyeong style vases Yangonseo, Saonseo, Deokcheongo, Euiseonggo and Saseonseo, which are real celadon antiques inscribed with government office name, were used for rice liquor preservation. In particular, Maebyeong style vase has the exact year of creation, so it is a historically important celadon in research not only on alcohol food culture but also on art history. This shows that alcohol beverages were important foods that there were controlled and stored in celadon by the government offices for the royal family's related alcohol ceremonies. Through celadon inscribed with poetry and government office name displaying Koryo people's unique imagination and cultural consciousness, we can read their mind and lifestyle based on historical and social alcohol food culture in the Koryo Dynasty.

• 한국노년학
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• v.30 no.4
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• pp.1329-1344
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• 2010

This study is intended to find out how production people have been creating senior radio program. For this purpose, the study set up the three research questions and employed in-depth interviews with ten production people: First, production people find out senior radio listeners who have been very royal attendance of the program for a long time. And they examined senior listeners prefer to listen about health care, information about elderly life and singing contest. They have been made para-social interaction with master of ceremonies (MC). Second, unlike other radio program, the senior radio program has concentrated on the radio station's image and public interest rather than financial profit and viewing rate. Normally, it was known that radio program for senior used carried on break of the day. But some program has been broadcasted on prime time in the afternoon. Target audience of senior radio program has been expanded over the forties and the fifties from sixties. Thirdly, in general the role of producer is critically important to produce program. However, MC and scriptwriter are far more experienced and specialized on the field than producer in radio program for senior.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.66-80
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• 2010

In this thesis, the garden remains in Dohwadong which is located in Seoul Buk-ak Mountain was examined, together with reference discovery and historical research, and onsite academic research conducted, for the purpose of studying the location of the garden remains in Dohwadong, its historical transitions and original landscape. As a result of the study, the location of the garden remains in Dohwadong was found; through the research of relevant historical sources, its historical transitions, its original landscape, and the value it has as a garden remains were examined. The following is the summary of the original form of the garden remains in Dohwadong and the value it has as a garden remains derived from this study. First, the garden remains in Dohwadong had earlier known as a remains related to the housing site of Namgon or Daeunahm. However, it has been verified that is it Dohwadong which is an original word of a royal family formed by King Kojong's order in 1889 since the characters carved on rocks which is recorded in the book of "Chong Sweh Rok" perfectly conform to those within the garden remains in Dohwadong. Second, it was learned that Dohwadong was the greatest renowned place for entertaining next to Pilundae; according to the book of "Hankyung Jiryak", the name, Dohwadong, is known to have come from the fact that there are a large number of peach trees in the area; the records of those books, "Ahjungyugoh", "Yonahmjip", etc., also state that literary men gathered in Dohwadong and held ceremonies and entertained. Third, it was learned that the garden remains in Dohwadong had been used as a place for holding ceremonies by the Ahndong Kims including Myonggongsukhyon; after Heungsundaewongun's governance, it was removed and neglected as the Ahndong Kims were purged and changed into a place for the royal family by the command of King Kojong in 1889. Fourth, Dohwadong followed the geographical features of nature, embraced the elegant surrounding scenery naturally, and gave significance to the sceneries of the season and its element and, in this way, it, as an ideal landscape model, is a valuable garden remains which realized the symbolic Dohwa landscape and presents its original scenery of the traditional garden. As mentioned above, this study, based on historical sources, has made progress in understanding the truth of the garden remains in Dohwadong and its value as a garden remains through the onsite research and academic historical investigation. However, since it is located within a military region, research was limitedly made. And also the range and structure of the garden remains was difficult to examine. Overall excavation is needed to figure out the remains and original terrain. Accordingly, in order to find out the truth of the garden remains in Dohwadong and for further preservation and application, it needs to be designated as a historical site and additional academic excavation research needs to be conducted; maintenance and preservation policies including removal of the cement and embankment, which disturb the original terrain within the remains, also need to be carried out.