• Journal of English Language & Literature
• /
• v.55 no.6
• /
• pp.1103-1122
• /
• 2009

In this essay, I compare the ways in which the mid-thirteenth century English romance, Floris and Blancheflour, represents relationships of the Spanish pagan queen to her adoptive Christian daughter who becomes her daughter-in-law, with the ways in which Chaucer's Man of Law's Tale and other so-called Constance romances delineate relationships between mothers-in-law and daughters-in-law. What draws me into these romances is the fact that they both convey the intergenerational relationships of women. However, the texts become distinct from each other in the way in which each depicts women characters and their relationships with one another. In this paper, I argue that the level of intimacy that the mother-in-law figure has with the daughter-in-law figure plays a defining role in making the former perform her agency for or against the latter. In the Man of Law's Tale and other Constance romances, the daughter-in-law figure is in every sense an alien or 'outsider' to the mother-in-law figure. To the contrary, Blancheflour in Floris is a sort of 'insider' to the queen because they lived in the same household for fourteen years-ever since the girl's birth. The queen, therefore, should have a high degree of intimacy with Blancheflour. I argue that the pagan queen's intimacy to the daughter of a Christian-European captive has enabled the queen to protect the girl as her adoptive daughter first and as a daughter-in-law second, namely contributing to her unreserved endorsement of the inter-racial-religious-class union between her only son, Floris, and Blancheflour. This is one major factor that distinguishes the relationship of the queen and Blancheflour in Floris from the dysfunctional relationships of mothers-in-law and daughters-in-law in the late medieval Constance romances, where women of different generations are strangers to each other, and no way is imagined for women of different races and religions to get along with each other.

• Journal of the Korean Society of Costume
• /
• v.32
• /
• pp.31-43
• /
• 1997

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

• Journal of architectural history
• /
• v.29 no.3
• /
• pp.67-78
• /
• 2020

This study examines the transitional situation that can be seen from the palace operation in early Joseon Dynasty. The first decades of Joseon after the nation was founded differ from the Joseon Dynasty as a whole, but rather similar with the Goryeo Dynasty. By examining "The History of Goryeo(高麗史)," it showed that palace operation during the Goryeo Dynasy was marked by the fact that a separate palace was built and resided in despite the existence of the Bongweol(本闕, main palace) as the central palace. The separation of the parent's generation and the children's generation was shown through the establishment of one's own palace. Such trait of Goryeo affected palace construction directly after the founding of Joseon. This can be shown from the characteristic of palace operation by generation. The construction of the Changdeokgung Palace(昌德宮) of King Taejong, as his own palace, is an example. Afterwards, the palace system of Joseon was established, and the space of the king and the crown prince was merged through ritual reform during the reign of King Sejong. However, the space for the parents of the king were considered separate, and this influence continued to the reign of King Seongjong. The construction of Changgyeonggung Palace(昌慶宮) during the reign of King Seongjong is an event where the king proclaimed the separation with his mother and grandmother.

• Asian Journal of Atmospheric Environment
• /
• v.11 no.3
• /
• pp.194-201
• /
• 2017

This study investigates the factors that affect China's air pollution using city-level panel data and spatial econometric models. We address three air pollutants ($PM_{10}$, $SO_2$, and $NO_2$) present in 30 cities in China between 2004-2012 using global OLS and spatial models. To develop the spatial econometric analysis, we create a spatial weights matrix to define spatial patterns based on two neighborhood criteria - the queen contiguity and k nearest neighbors. The results show that the estimated coefficients are relatively consistent across different spatial weight criteria. The OLS models indicate that the effect of green spaces is statistically significant in decreasing the concentrations of all air pollutants. In the $PM_{10}$ and $SO_2$ analyses, the OLS models find that the number of buses and population density are also positively related to a reduction in the concentration of air pollutants. In addition, an increase in the temperature and the presence of secondary industries increase $SO_2$ and $NO_2$ concentrations, respectively. All spatial models capture a positive and significant effect of green spaces on reducing the concentration of each air pollutant. Our results suggest that green spaces in cities should receive priority consideration in local planning aimed at sustainable development. Furthermore, policymakers need to be able to discern the differences among pollutants when establishing environmental policies.

• Journal of the Korean Society of Costume
• /
• v.44
• /
• pp.5-17
• /
• 1999

This paper studies women's clothing and textiles recorded in the『the Odes』, and refers research materials on the old commentaries about the『the Odes』and the various kinds of records and remains. The results regarding women's clothing in『the Odes』are follow: 1. Ti-i, Chin-i are the women's ceremonial dresses. Ti-i is a kind of the court dress and the shape is a long dress embroidered with pheasant. Chan-i belongs to the lower grade compared with the six ritual dresses worn by the queen and is made of Hu that is a kind of the white soft-wrinkled fabrics. 2. A women's I-Shang is composed of a blouse and a skirt. It is the classic style before the Sh n-I appears in China. Also we find that they use the standard colours for a blouse and the intermediate colours for a skirt in Chou period. 3. Chiung-I, Chiung-Shang and Hsieh-Pen are a kind of the robe put over the former garment made of Chin not to display to elegance. 4. Fu, Ch n-Fa, Pei and T'i are a kind of women's wig. Ti and the six-Chia are women's hair ornaments. Ch'i-Chin and Ju-L are a kind of the working women's turbun. 5. The women's belt ornaments are classified into the practical things and the decorational things like those for men. The results regarding fabrics in the『the Odes』are as follow: 1. The silk fabrics; There are Chin, Hu, Chou, Tz , Su, Hsiu. 2. The woolen fabrics; There is Ho. 3. The linen fabrics; There are the hemp and the ramie in the remains of Chou period. Also there are Ch'ih and Hsi categorized in Ko fabrics.

• Proceedings of the Korean Institute of Landscape Architecture Conference
• /
• 2007.10b
• /
• pp.118-126
• /
• 2007

Seoul has been the former capital from Joseon founded in 1932 by this time for 600 years. Seoul populated by some 10,290,000 people is the largest city in Korea. There are lots of cultural inheritance such as the castle town and 5 palaces including Gyeongbokgung in Seoul. Especially neungs(royal tombs) from 27 generations of king and queen in the Joseon dynasty during 518 years are very important cultural inheritance. The royal tombs were built from the castle town to the radius outside 4km within 40km pivoting on Seoul. Joseon royal tombs might have significant cultural value, which are representative Korean people's spirits for ancestor worship. After the 1945 Liberation of Korea those are having been managed by Office of Cultural Properties after Ministry of Education. This paper tried to find the changing process of the conservation and maintenance, the location of royal tomb area, the changing process of royal tomb, the area changing clue of modernization process, and in the historical city, Seoul. The royal tombs in the Joseon dynasty of the radius outside 4km within 40km pivoting on Seoul have been contributed to providing the metropolitan, Seoul population with the cultural and green spaces for 600 years. In the Joseon dynasty the royal tombs had been taken charge of thoroughly by the Royal Household with Neungchamboing system from Confucian background for ancestor worship. There after they had been damaged somewhat by the Japanese Imperialism period, the Korean War, and the pressure of urbanization. But the original state has been preserved well by state management. The royal tombs in the Joseon dynasty has been kept the culture of royal tomb's and memorial services with stone sculptures for 518 years. Also there are lots of documentary records of royal tombs. The memorial services of the tombs are held by Jongyakwon of Jeonju Lee family every year. The royal tombs somewhat damaged are needed to the original state of the transferred right of managing agency by the related national bodies.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.4
• /
• pp.2-31
• /
• 2020

CheomSeongDae (瞻星臺) is a stone structure built in Gyeongju, the former Silla Dynasty capital, during the reign of Queen Seondeok (632~647AD). There exist dozens of hypotheses regarding its original purpose. Depending on to whom you ask, the answer could be a celestial observatory, a religious altar, a Buddhist stupa, a monumental tower symbolizing scientific knowledge, and so on. The most common perception of the structure among lay people is a stargazing tower. Historians, however, have suggested that it was intended as "a gateway to the heavens", specifically the Trāyastriṃśa or the second of the six heavens of Kāmadhātu located on the top of Mountain Sumeru. The name "Cheom-seong-dae" could be interpreted in many different ways. 'Cheom (瞻)' could refer to looking up, staring, or admiring, etc.; 'Seong (星)' could mean a star, heaven, night, etc.; and 'heaven' in that context can be a physical or religious reference. 'Dae (臺)' usually refers to a high platform on which people stand or things are placed. Researchers from the science fields often read 'cheom-seong' as 'looking at stars'; while historians read it as 'admiring the Trāyastriṃśa' or 'adoring Śakra'. Śakra is said to be the ruler of Trāyastriṃśa' who governs the Four Heavenly Kings in the Cāturmahārājika heaven, the first of the six heavens of Kāmadhātu. Śakra is the highest authority of the heavenly kings in direct contact with humankind. This paper examined the usages of 'cheom-seong' in Chinese literature dated prior to the publication of 『Samguk Yusa』, a late 13th century Korean Buddhist historical book that contains the oldest record of the structure among all extant historical texts. I found the oldest usage of cheom-seong (瞻星臺) in 『Ekottara Āgama』, a Buddhist script translated into Chinese in the late 4th century, and was surprised to learn that its meaning was 'looking up at the brightness left by Śakra'. I also found that 'cheom-seong' had been incorporated in various religious contexts, such as Hinduism, Confucianism, Buddhist, Christianism, and Taoism. In Buddhism, there was good, bad, and neutral cheom-seong. Good cheom-seong meant to look up to heaven in the practice of asceticism, reading the heavenly god's intentions, and achieving the mindfulness of Buddhism. Bad cheom-seong included all astrological fortunetelling activities performed outside the boundaries of Buddhism. Neutral cheom-seong is secular. It may help people to understand the nature of the physical world, but was considered to have little meaning unless relating to the spiritual world of Buddhism. Cheom-seong had been performed repetitively in the processes of constructing Buddhist temples in China. According to Buddhist scripts, Queen Māyā of Sakya, the birth mother of Gautama Buddha, died seven days after the birth of Buddha, and was reborn in the Trāyastriṃśa heaven. Buddha, before reaching nirvana, ascended from Jetavana to Trāyastriṃśa and spent three months together with his mother. Gautama Buddha then returned to the human world, stepping upon the stairs built by Viśvakarman, the deity of the creative power in Trāyastriṃśa. In later years, King Asoka built a stupa at the site where Buddha descended. Since then, people have believed that the stairway to the heavens appears at a Buddhist stupa. Carefully examining the paragraphic structure of 『Samguk Yusa』's records on Cheomseongdae, plus other historical records, the fact that the alignment between the tomb of Queen Seondeok and Cheomseongdae perfectly matches the sunrise direction at the winter solstice supports this paper's position that Chemseongdae, built in the early years of Queen SeonDeok's reign (632~647AD), was a gateway to the Trāyastriṃśa heaven, just like the stupa at the Daci Temple (慈恩寺) in China built in 654. The meaning of 'Cheom-seong-dae' thus turns out to be 'adoring Trāyastriṃśa stupa', not 'stargazing platform'.

• Journal of the Korean Society of Costume
• /
• v.30
• /
• pp.85-99
• /
• 1996

This study has been made to examine the symbolic meaning of our traditional costume colours based on the theory of yin-yang Wu-hsing the interaction of yin and yang with the rotation of the five agents wood firt earth metal and waters. Presenting the spirt and the life of our race the costume culture has been keep-ing its own systematic symbol. Being sensible the colour has to be under-stood as the colour sense therefore the cos-tume colour has begun to have the symbolic meaning with the feeling or the mental value. According to the theory of yin-yang wu-hsing the costume colour has presented our racial sprit way of thinking and way of life for a long time and it has become the tra-ditional culture at last. Based on the doctrine of cosmic harmony through the motion of yin and yang or the passive and active elements are their five agents form the material force of everything. The order of nature has its counterpart in five symbolic costume colours wood-blue ; fire-red: earth-yellow; metal-white: water-black. The five colours are called the primary colours. which produce the next compound colours. Accepted in the social system as well as the social stats the costume colour has set up systematically. The theory of Yin-yang Wu-hsing has given the five colours the symbolic meanings and its mainstream has been the function of Sangsaeng and Sangeuk which are genera-ted by the power of virture. The former is mu-tually beneficial while the latter destructive. The colour as a costume colour has been made distinction between the colour of the up-per classes and the colour of the middle and lower classes and the specific colour has presented the symbolic meanings. The yeollow the red and the purple have been regarded as the colour of king queen and upper classes Being the colour recognition the costume colour has been established by the society and the race generally Implied the spiritual elements the colour recognition could select the lucky colour in accordance with one's des-tiny. Besides the colour recognition has begun to appear as the racial costumes to protect the society and to pray for good fortune. According to the theory of Yin-yang Wu-hsing the costume colour has been forming through our long history and has become our costume culture. Therefore the colour of the costume has signified not only the colour sense but also the important symbolic meanings.

• Korean Journal of Heritage: History & Science
• /
• v.45 no.2
• /
• pp.72-99
• /
• 2012

Cheomseongdae, Korea's so-called "star-gazing tower" located in the former Silla Dynasty capital of Gyeongju, is generally believed to have maintained its original shape since its construction in 647. The stone structure was closely examined and measured by Gyeongju National Museum in 1962 and reexamined by Korean National Research Institute of Cultural Heritage in 2009. This research noted the following structural anomalies of Cheomseongdae. A corner of the top rectangle layer was broken diagonally in a form that can never be attributed to a natural cause. The four metal clamps under the top rectangle layer had been missing. Four grooves, with unknown usage, exist on the sides of the long rectangular stones projected out of the circular body at the second and third circular layers from the top. On the second circular layer from the top, there are three flat stones, less than a half as tall as their surrounding stones. The average height of the third circular layer from the top is only 23.5 cm, while the overall average of the entire 27 circular layers is 29.9cm. This research postulates that all these anomalies are due to prior destructions and improper restorations of the structure. The first destruction and restoration of Cheomsengdae was likely to have occurred before the mid 15th century. The damages might include a pavilion on the top of the structure and a stone with the name of the structure carved in. The Mongolian invasion in the 13th century was a most likely cause. After the restoration, the structure suffered at least another attack. The damages on the top layer and the missing iron clamps were due to the later attack. The grooves and flat stones were to house holding device that affixed certain objects to the outer surface of the circular body. The metal or stone objects might have faced upward at the four corners of Chemseongdae, bridging the gaps between the rectangle layers and circular layers. The current Chemseongdae lost at least the four affixed objects, four holding devices, and one flat stone.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.3 no.1
• /
• pp.1-11
• /
• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.