• (The) Research of the performance art and culture
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• no.39
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• pp.581-607
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• 2019

Noting that exorcism play and mask play are different in their ritual nature, this paper aims to examine their ritual through the social drama theory of Victor Turner, a cultural anthropologist. Turner views every incident in human history as a social drama and interprets it based on the four-step structural theory of breach, crisis, redressive action, and reintegration. In particular, he believes that the redressive phase takes place through a ritual solution rather than a legal or political solution in the village community. Based on such Turner's theory, Chapter 2 analyzes Yeonggamnori, Jeju's typical exorcism play, and explains the process leading to reintegration in accordance with peaceful ritual. Chapter 3 then analyzes the Puppet Play on the same principle and examines that redressive action is being resolved through a sacrificial ritual in the case of this play. Chapter 4 checks whether the results from the previous two plays show similar aspects in other traditional plays. To this end, the exorcism play will be analyzed for Jeju's Seocheon Flower Play, Junsangnori, Segyeongnori and Sanshinnori, while the mask play will include Bongsan Mask Dance, Yangju Byeonsandae Play, Goseong Ogwangdae and Hahoe Mask Dance. As a result of these studies, it is the main point of the study to prove that exorcism play and mask play are different in their ritual nature. However, this research is only in the stage of seeking differences in its ritual, and the review on the historical and social causes of differences is left as a research task at a later date.

• (The) Research of the performance art and culture
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• no.39
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• pp.357-392
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• 2019

This paper reexamines the formation process of Ch'anggŭk, Korea's musical drama based on p'ansori in the 1930s, focusing on the Ch'anggŭk gramophone records and the repertoire of the Chosŏn Sŏngak Yŏn'guhoe(Korean Vocal Music Association). The paper discussed the achievements and limitations of the Chosŏn Sŏngak Yŏn'guhoe which was at the center of the formation of Ch'anggŭk by examining the activities of the Chosŏn Sŏngak Yŏn'guhoe in the 1930s. The role of 'ipche-chang' and 'narrator' in the Ch'anggŭk gramophone records was seen as Ch'anggŭk imagination that was realized by the members of the Chosŏn Sŏngak Yŏn'guhoe who recognized the 'dramatic space and stage', which is distinct from p'ansori, Korean traditional vocal and percussion music. In addition, the paper discussed the difference and meaning of the concept of 'Sin-Ch'anggŭk' between Seo Hang-Seok and Song Seok-Ha, which is derived from the Ch'anggŭk formation. The performance of stage Ch'anggŭk in the 1930s was a repetition of the discussion that it should reach a point of Kagŭk, music or song dramas. This paper discussed the process of replacing the term 'Ch'anggŭk' with 'Kagŭk' at the time, and examined the way Ch'anggŭk stage was established as a perfect form during the process. The formation of Ch'anggŭk by members of the Chosŏn Sŏngak Yŏn'guhoe could be an important achievement in the history of Ch'anggŭk, but there was no choice but to reveal the limitation in the formal aspect due to the 'refinement' and 'exclusion' according to the cultural policy of Japan. P'ansori musicality was enhanced, but it could not contain the spirit and diversity of the times, so it could be said that there was no choice but to stop as a rudimentary creative imagination of Ch'anggŭk. Ch'anggŭk is a genre that is inherently limited, but the limitation can be overcome over the times, which will be covered in a subsequent paper.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.18-35
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• 2024

The Tomb of Jang Mui was discovered and investigated during the Japanese colonial era. It has provided key archaeological material for identifying the Daebang Commandery mentioned in historical records as Sariwon in Hwanghae-do Province when some bricks used in the construction of the tomb were found to be stamped with the official title "Prefect of Daebang Commandery." The discovery of the Tomb of Jang Mui served to confirm that the brick chamber tombs found along the Daedonggang River in 1909 were related to the Nangnang Commandery. It can be viewed as a major archaeological breakthrough that settled a debate over the locations of the Daesu River and Daebang Commandery that had been ongoing since the early Joseon Dynasty. Despite its significance for archeology and ancient Korean history, the circumstances of the discovery and investigations of the Tomb of Jang Mui have not been thoroughly examined. Inscribed bricks and roof tiles unearthed during the excavation conducted by Sekino Tadashi in 1912 are currently housed at The University Museum of The University of Tokyo. A number of other bricks excavated from the Tomb of Jang Mui are in the collection of the National Museum of Korea. Main agents of the investigations into these materials have not all been identified. Only some records on the materials collected during the investigations by Nomori Gen and others specify the main investigators. Inscribed bricks from other related tombs are also found in the Tokyo National Museum and at several universities in Japan. It is hoped that a comprehensive report incorporating all these materials can be written. Based on a reinterpretation of its structure conducted by Jung In-seung in 2010, the Tomb of Jang Mui has been dated to 348. This means it was not built during the Daebang Commandery period. The most compelling archaeological evidence regarding the location of the Daebang Commandery and its local capital has been undermined. It is hoped that active discussions will be held on the issue of the Daebang Commandery and its local capital.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.22-36
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• 2024

In 1993, a large number of relics was found in Cheongju Sanesa Buddhist Temple. They show superiority as bronze-based products, and are especially important in since they provide much information about the time of their creation. However, there are many opinions about the time they were hoarded: in the middle of the 13^th century, late in the 13^th century, early in the 14^th century, etc. This study estimates the time they were hoarded to be some time in April 1291 during the invasion of Kădīn (哈丹) in the Yuan Dynasty. Kădīn's troops invaded the Goryeo Dynasty, then went through Yangpyeong and Wonju in January 1291 and appeared in Yeongi-hyeon on May 1 of that year. Based on records, this study verified that the troops passed through Cheongju on their way from Chungju to Yeongi-hyeon (currently Sejong-si) and pointed out that the invasion route of the troops was the background for the hoarding of Sanesa relics. The estimation that the Sanesa relics were hoarded in 1291 when Kădīn's invasion was going on makes it possible to reasonably clear up the era of the relics in which the Heavenly Stems called gānzhī (干支) Muo (戊午), Gyeongshin (庚申), Giyu(己酉) etc. were written. That is, Giyu Geumgo is presumed to be the year 1249, Muo Hyangro 1258, Gyeongshin Hyangwan 1260, etc.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.184-199
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• 2024

This study was conducted in response to the global trend of emphasizing the importance of "everyday landscapes", focusing on the perspective of those who have returned to rural life. With a focus on the case of Gokseong-gun in Jeollanam-do, 460 diaries written by these individuals were collected and analyzed using text mining techniques such as "frequency analysis", "topic modeling", and "sentiment analysis". The analysis of noun morphemes was interpreted from a cognitive aspect, while adjective morphemes were interpreted from an emotional aspect. In particular, this study applied semantic network analysis to overcome the limitations of existing sentiment analysis, and extracted a word network list and examined the content of nouns connected to adjectives that express emotions to identify the targets and contents of sentiments. This method represents a differentiated approach that is not commonly found in existing research. One of the intriguing findings is that the urban-to-rural migrants identified everyday landscapes such as "flowers on neighborhood walking paths", "harvest of a garden", "neighborhood events", and "cozy cafe spaces" as important. These elements all contain visual and enjoyable aspects of everyday landscapes. Currently, many rural villages are attempting to add visual elements to their everyday landscapes by unifying roof colors or painting murals on walls. However, such artificial measures do not necessarily leave a lasting impression on people. A critical review of current policies and systems is necessary. This research is significant because it is the first to study everyday landscapes from the perspective of urban-to-rural migration using diaries and text mining. With a lack of domestic research on everyday landscapes, this study hopes to contribute to the activation of related research in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.25-37
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• 2013

The purpose of this study is to draw reasonable management plans to reinforce essence of Ohyundan(五賢壇: Five sprit tablets), a sacred site and monument of Jeju, by investigating and analyzing current status and problems of cultural landscape elements(e.g. architectural structures, installation, letters carved on the rocks, actual vegetation, etc.) while grasping placeness contained in Ohyundan through consideration of its history and transition process of Ohyundan a future being and shrine of Gyulrim Seowon(橘林書院) in Jeju. Results derived from research are summarized as follows. Ohyundan is noted due to its placeness in that it was a place for Gyulrim Seowon, Jeju's one and only Saaek Seowon(賜額書 院) and it was a symbolic space of exile culture in Jeju. As it is inferred from Gyulrim Seowon, which is dangho(堂號: clan name) of Seowon, orchards surrounding all over places are a signature landscape element that shows placeness of the past Ohyundan. Joduseok(俎豆石: altar stone), representing a core installation of Ohyundan and ancestral tablet of five spirits, created a refined place by putting up common stones around altar and founding blocked stones to wall. This refinement and thrift served basic mind of Neo-Confucianism, and led to of Jeju's Jonyang mind(spend-thrift mind). In conclusion, a practice plan is a prerequisite to restore essence of Ohyundan by actively excluding installations not suitable for placeness or overly designed such as Jeju Hyangrodang(a center for the elderly) and numerous monument houses. On the other hand, together with Joduseok, as letters carved on the rocks such as 'Jeungjoo Byukrip(曾朱壁立)' and 'Gwangpoongdae(光風臺)' and Yoocheonseok serve as a signature landscape that well shows mind of five spirits and teaching of Neo-Confucianism, and also a trace from a confucian viewpoint deeply rooted in Jeju, they are judged as a cultural landscape corresponding to the essence of place in Ohyundan which requires proactive preservation and plans for public relations. Together with this, although many different old big trees such as Pinus densiflora , Pinus thunbergii, Quercus variabilis, Celtis sinenis, Zelkova serrata and Rhus succedanea are a landscape element that increases sacred Ohyundan and commemorative value, now required is thorough entity tree management by assigning serial number on them as many of them were dead or removed resulting from transition process of land use. Further, to reinforce quality of site location belonging to Gyulrim Seowon, a prerequsite is to review plans that create Gyulrim at reinstalled site of building and raw land.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.78-88
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• 2015

In the 1920s, the period of cultural governance ruled by Japan, the diverse media were founded and various events were conducted to boost circulation. Under the Japanese colonial period in 1920s, a number of media - newspapers and magazines - were published and often they carried out entertaining events in order to obtain more subscribers. A hobby magazine, Samchunri, for instace, set up a media event to selecting Korea's eight beautiful scenary (Bandopalgyong) for the first edition in 1929. The paper aims to analyse and understand the perception of landscape in 1929 through the media event carried out by Samchunri. In particular, the selection was made by well-known writers within Japanese colonial period 1910 - 1945). The selection process and views from the writers on landscape were analysed; firstly, the selection of Bandopalgyong was carried out by questionnaires to writers in 1929 where Korea is under Japanese colonial rules. The conditions of the selection were unknown; however, the purpose was enlightening the people specially the youngs and introduction of beautiful places in Korea. As a result, views and opinions on Bandopalgyong by the writers were progressed. Secondly, within the Bandopalgyong, the natural landscape areas include Gumgansan(金剛山), Daedonggang(大洞江), Buyeo(扶餘), Gyongju(慶州), Myongsasipri (明沙十里), Haundae(海雲臺), Baekdusan(白頭山), and Choksukru(矗石樓). Those chosen places were not cohesive nor did not have any consistant reasons to be chosen in terms of size and location; however, some writers claimed that there were other places to match the chosen ones and therefore, the selection process was highly dependent on access (i.e. transport). Thirdly, the travelogue on Baekdusan and Nackwhaam(洛花岩) illustrated interesting views on landscape in particular. Baekdusan landscape were described in overlaping with long history and national soul. In the Nackwhaam travelogue, it described 'Buyeo (夫餘) was an ancient capital of Backjae Dynasty and empty place' as well as denying Chosun Dynasty. It was assumed that the two places weren't visited but rewritten with existing literatures. Fourthly, edited by Kim Dong Whan, a travelogue style book, 'Bandosanha' was published in 1941. It did repeat the selection of Bandopalgyong, but this time, it was classified the eight beautiful landscape into two categories; historic/cultural places and natural landscape. This paper was able to analyse and understand the perception of landscape in 1929 through the travelogue of Samchunri. It is an empirical study on the process and perception on Korea landscape under Japanese colonical period by views of the selected writers.

• The Journal of Fisheries Business Administration
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• v.22 no.1
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• pp.1-52
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• 1991

This study deals with the evolutional history of the holding and utilization of fisheries resources in Korea. Fisheries resources have the basic characteristics of the density dependent self-regulating renewable and common property resources, Irrational utilization of fisheries resources is mainly due to the unlimited access to the resources. The holding and utilization of fisheries resources in Koryo era was opened to everyone. But it was nationalized in the early Yi Dynasty. The purpose of its nationalization was to provent the paticular powered-man with their monoplized holding and to levy fisheries tax. Eoeop-peop, the first modern fisheries law in Korea, was enacted as a part of the invasion policy of Japan in 1908. With the japanese annexation of Korea in 1910, the Japanese Government established a new institutional system of fisheries as a part of an overall reformation of the institutional for an implementation of the colonial policy. It was very the new enacted Fisheries Law (Gyogyorei). Also the Government enacted compulsorily another new Fisheries Law (Chosen Gyogyorei) with its adjunct laws and regulations revise the institutional system of fisheries on May 1, 1930. After Eoeop-peop enactment, the fisheries resources in Korea could be used only under the license, permission, and statement. After Korea was from Japan in 1945, Korea Government at last enacted the new fisheries law (Susaneop-peop) in 1953. The goal of Susaneop-peop was to achive the general usage and protection of the fisheries resources, and to attain the development and democratization of the fishery in Korea. This law was amended 13 times until 1990. The license fishery have a legal right on the fishery, called a fishery rigt. This right means a right of exclusive occupation and utilization of a unit of the inshore fishing grounds. The main evolutional issues of license fishery are as the following : 1) the foundation of the exclusive usable fishery right(1911, Gyogyorei), 2) the deletion of the settled U9space lift net and settled space sein net fishery, and the expansion of the cooperative fishery-No.1, 2, and 3 type cooperative fishery-(3rd amendment, 1963), 3) the deletion of the No.2 and 3 type cooperative fishery, and the separation of the culturing fishery in No.1 and 2 type culturing fishery (13th amendment, 1990). The effective period of the license fishery was amended as the following : 1) 1908(Eoeop-peop) : within 10 years, renovation system, 2) 1929(Chosen Gyogyorei) : within 10 years, unlimited extension system, 3) 1971. 7th amendment : 10 years, renovation system, 4) 1972. 8th amendment : 10 years, only 1 extension system, 5) 1975. 9th amendment : 5-10 years, only 1 extension system, 6) 1990.13th amendment : 10 years, within 10 years of total extensional years. The priority order of the fishery license was established in 1953 (Susaneop-peop). The amendment of it is as follows : 1) 1953. enactment \circled1 the fishing grounds that the fishery right is extablished 1st order : the existing fishery right man, unlimited renovation 2nd order : the corporate that the regional fisherfolk organized 3rd order : the rest experienced fishermen \circled2 new fishing grounds 1st order : the corporate that the regional fisherfolk organized 2nd order : the rest experienced fishermen 2) 1971. 9th amendment \circled1 the fishing grounds that the fishery right is established 1st order : the existing fishery right man, unlimited renovation 2nd order : the Eochongye that the regional fisherfolk organized 3rd order : the regional fishery cooperative that the regional fisherfolk organized 4th order : the rest experienced fishermen \circled2 new fishing grounds 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd order : the rest experienced fishermen 3) 1981. 10th amendment \circled1 the inside of No.1 type cooperative fishing grounds 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd orer : the rest experienced fishermen 4) 1990. 13th amendment \circled1 No.1 type cultural fishery 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd order : the rest experienced fishermen \circled2 No.2 type cultural and settle fisher : general priority order The effective period of the permission fishery was amended 6 timed. First, it was within 5 years and renovation system (Eoeop-peop). Now it is 5 years and renovation system. The effective period of the statement fishery was amended 4 times. First, it was within 5 years, and then was amended within 3 years(Chonsen Gyogyorei). Now it is 5 years.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.1-11
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• 2014

This study aimed at investigating the content and meaning of royal garden(宮苑) sightseeing event in Pyoam Gang, sehwang's "Hogayugeumwongi" As the research method, descriptive research method was used, which is to consider and interpret the content and meaning in the historical records. Research results are summarized as follows. 1. "Hogayugeumwongi", which recorded the event that the King personally guided and explained the palace to the vassals, is a very precious historical records in Korean landscape gardening cultural history. Such thing is unprecedented in Joseon Dynasty as well as China. 2. The person who recorded this event was famous for shi seo hwa samjeol in the time, and the point that he was Pyoam, who was appreciated as 'the head(總帥) of artistic and literary circles(藝苑)', adds more value to the future generations. 3. The characteristic of this sightseeing event was to praise the vassals' labor, who contributed to the completion of Kyujanggak, to establish King Jongjo's direct rule in the early period of seizure of power, and eojin(御眞) dosa(圖寫), etc., which expressed the King's dignity. Jongjo utilized Geumwon, a forbidden place in the palace, to give a special privilege to the vassals' effort, who took a great part in realizing his political ideal. 4. One of sightseeing lines toward the backyard of Changdeok Palace could be identified. Though the sightseeing lines toward the backyard were not fixed, however this might be the best sightseeing line which Jongjo intentionally chose to enjoy that day's flavor of autumn. 5. The characteristic of this event was informal and somewhat extemporary 'sightseeing'. Therefore, it is considered, that day's event was relatively private and free 'play(遊)', while 'sanghwaeojoyeon(賞花漁釣宴)', which Jongjo gave to the vassals middle after his reign, was a royal 'banquet', which prepared frames, such as event holding time and form, qualification for participation, e.g. flower viewing, fishing, writing poems, etc. This research has a significance that it considered the content and meaning in historical records including the front and the rear context that "Hogayugeumwongi" was written through the consideration of related historical materials. "Hogayugeumwongi" can be utilized as a material for storytelling with regard to royal garden sightseeing in future as a valuable cultural content, also, follow-up study on this is necessary.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.