• Science of Emotion and Sensibility
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• v.23 no.4
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• pp.117-142
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• 2020

This study aims to look for the main transport road of the ancient Silk Road and to add to the hidden history of silk, where little is known about the weaving technology of the beautiful silk of GoJoseon. The research was through the analysis of relics of empirical data and analyzed the secondary data collected from books, papers, and photos of artifacts. The research questions are as follows: First, investigates the environment of silk production for GoJoseon KyungGeum and the correlation between ancient Silk Road and the East region. Second, examines the advanced weaving technology of KyungGeum in GoJoseon. The findings of the study are as follows: It is possible to infer the production period of silk in GoJoseon through jade silkworms from the Hongsan Dong-Yi culture of 4500 BC. KyungGeum pieces were excavated in Louran, Astana and Niya of the Xinjiang Autonomous Region and Noin-Ula of Mongolia, and the oldest KyungGeum was found in JoYang, one of the capitals of GoJoseon near Balhae Bay. KyungGeum was invented in the 11th century BCE here. It became the brocade and damask of the West, which were delivered through steppe road before the 5~6th century BCE. The production of KyungGeum was possible through the advanced loom which is GoJoseon's horizontal square 'Jewharu' loom combined with a high level of weaving skill. This can't be made through the slant loom of China nor vertical loom of the West Asia. Based on these results, it is suggested to continue the research on the history of ancient silkroad.

• Journal of Korean Medical classics
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• v.23 no.1
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• pp.115-124
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• 2010

King Heonjong was the twenty-fourth King of the Joseon Dynasty. He took the throne when he was only 8 years old, and had to go through power politics of maternal relations. During his period, situations worsened in both domestic and foreign affairs, meaning the beginning fall of the Joseon Dynasty. In respect to the diseases and treatments of King Heonjong, there appeared very few articles compared with the previous Kings, in the Annals of the Joseon Dynasty, the Journal of Royal Secretariat, and the Diary of Kings of the Joseon Dynasty. He caught small pox and recovered in 10 days at the age of 17. Some articles showed that he suffered from symptom of indigestion, dyspepsia and edema. He died at 23 and had no descendants. We assume that the cause of death was due to worsening of kidney failure.

• The Research Journal of the Costume Culture
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• v.21 no.1
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• pp.1-16
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• 2013

This study analyzed the characteristics of Korean traditional plain weave excavated from Sang-go period to Joseon Dynasty. To do this, this study classified the Korean traditional plain weave into fiber types(cotton, hemp & ramie, plain weaved silk), analyzed and compared the thickness, twist type of yarns and density by times. First, in characteristics of cotton, the average and maximum density of Joseon Dynasty were higher than those of Goryeo, twist type was mainly s-twist and the density of warp was higher than that of weft. Second, the maximum density of hemp & ramie was found in era of Three Kingdoms of Korea. In common characteristics of hemp & ramie, twist type was mainly s-twist(sometimes non-twist) to the Three Kingdoms of Korea and was changed into non-twist from the Goryeo. The density of warp was higher than that of weft in common. Generally, the average density of ramie was higher than that of hemp. Third, in the characteristics of plain weaved silk, twist type was mainly non-twist(sometimes s and z-twist) from Sang-go period to Joseon Dynasty. Warp-faced ribbed tabby was excavated in Goryeo, the average density of warp-faced ribbed tabby was higher than that of other fiber types plain weave. Generally, in all fiber types, the density of warp was higher than that of weft.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.84-97
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• 2007

Dancing with weapons existed spontaneously when war and hunting were common, and sword dancing, as a dance for banquets, developed and changed in various forms. In Korea, sword dancing was performed from the Three Dynasty Period, and in Joseon Dynasty, it was performed as court ceremony. The origin of the sword dancing, that has been performed from the Joseon Dynasty until now, and costumes for sword dancing isn't accurate. The purpose of this study is to analyze the sword dancing costume of China, Korea's neighboring country, and that of Korea in the same period, and to find out the process of wearing military uniform: Jun-mo, Jeo-go-ri, Chi-ma, Gwae-ja, and Jun-dae, being settled as the sword dancing costumes of Korea in late Joseon Dynasty. In China, sword dancing became famous in Han Dynasty, and in Tang Dynasty, it was the meridian of sword dancing with the most magnificent form. After the Song Dynasty, the sword dancing fades away. In Korea, the sword dancing started as a mask dancing of children that Hwa-rang(bravery youth) in Shilla Dynasty started. After the Unified Shiila Period, the sword dancing of Tang Dynasty spread to Korea, with active interchange between the two countries. After the Corea Dynasty, the mask dancing of children faded and the sword dancing of Tang Dynasty changes into Korean form. It was incorporated into the court ceremony after the mid-period of Joseon Dynasty, and the costumes were settled as the military uniform, which are Gwae-ja, and Jun-dae on top of Chi-ma, and Jeo-go-ri, and Jun-moon the head.

• Journal of architectural history
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• v.18 no.1
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• pp.51-65
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• 2009

The inner gate(The last gate inside a temple, facing the main hall) is not a well-known part in the temple construction of Joseon. This study is focused on seeking truth about the inner gate arrangement of the existing temples as well as proving that it has changed while maintaining a certain relationship with the gate-pavilion arrangement. The inner gate is related to the Cheondo ritual which is letting the dead people's spirits go to heaven, mainly performed in Buddhism, and it has been demonstrated that the inner gate has gradually disappeared as the importance of gate-pavilions has been emphasized along with the changes of the ritual. The inner gate was a common construction before the 18th Century but since that time, it has gradually disappeared and finally it faced the main hall as the gate-pavilion and made the 4 halls-centered arrangement with the temple dormitories on both sides.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.153-161
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• 2007

In 2004, Mal-gun(抹裙) was excavated from a plastered tomb in Seok-nam-dong, In-cheon. This tomb is assumed to be from an upper-class woman. The excavated Mal-gun was used to fill in the empty spaces in coffin, and it was seriously damaged and foxed dark. The Mal-gun is made with thin, loose Sook-cho(숙초), and the width of the fabric is 70cm. Both sides of the crotches are overlapped in front, and the back is opened. The waist straps are detached, leaving a little part to show the width of the straps. The hems of the Mal-gun are sewed straight, without any pleats, except some spaces for the feet to go through. This study compared the Mal-gun of Joseon Dynasty from the documentary records and picture records with the excavated Mal-gun from Seok-nam-dong, In-chceon. Also, actual Mal-gun was manufactured according to the excavated Mal-gun to study the process of manufacturing and the formation. As a result, the excavated Mal-gun has the same form of that shown in Ak-hak-gwae-bum, a documentary record from the early period of Joseon Dynasty.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.86-99
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• 2010

This study considered the characteristics and use of the jokduri during the 18th century, which was shown in Ijae-nan-go written by Yoon-Seok Hwang. In Ijae-nan-go, not only the origin of the jokduri, but also its colors, materials, sizes, and construction methods are recorded, in detail. The Jokdori is assumed to have been influenced by costumes of China. The 18th century jokduri is mainly made up of black satin, and is composed of eight pieces of cloth. This looks similar to a contemporary jokduri, but the 18th century jokduri is bigger. At court during the 18th century, women decorated their hair styles higher by using the jokduri. Not only did the jokduri fix the topknot at the top of a woman's hair by wrapping the topknot, but also it raised the height of the topknot. This is different from the generally known method of wearing jokduri. Therefore, this demonstrates that there have been changes in the role and use of the jokduri over time.

• Journal of the Korean Society of Costume
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• v.53 no.8
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• pp.121-135
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• 2003

The purpose of this study is to suggest a theoretical basis to name Sa(紗) and Ra(羅) remains properly by comparing and analyzing the name, usage, value, length and width of Sa(紗) and Ra(羅) recorded on documents made at the end period of Joseon. The features of Sa(紗) and Ra(羅) at the end of the Joseon Period are as follows. 1. The kinds of Sa(紗) are about 80, those of Ra(羅) are about 12, and those of Sa(紗) are significantly more than those of Ra(羅). In regard to the aspect of patterns, there were about 20 types of patterns in the case of Sa(紗), but no specific pattern for Ra(羅). 2. Some newly revealed patterns in the case of Sa (紗) are as follows. Baek -bok-mun(백복문) was a pattern full of ‘bats(박쥐[복])’, and Baek-jeop-mun(백접문) was a pattern full of ‘butterflies(나비[蝶])’ Jeop-mun(접문) was classified into ‘butterfly patterns(나비문[접문])’ and ‘traditional window flame patterns(창살문[접문])‘. 3. When considering the usages of Sa(紗) and Ra(羅), Sa(紗) was used for various detailed purposes according to their kinds and patterns, but Ra(羅) was mostly used for underwear. The most commonly used Sa(紗) was the Gab-sa type(甲紗類). On the contrary, the Go-sa type(庫紗類) was significantly less used than the Gab-sa type(甲紗類). However, it must have been of relatively high quality Sa(紗), shown by the fact that it was used for outer garments. In addition, the Gung-sa type(宮紗類) was the best quality Sa(紗), shown by the fact that it was used for court dress and official uniforms in the royal court. 4. Sa(紗) and Ra(羅) whose features have been examined we Gapsa(甲紗), Sun-in (純仁), Gosa(庫紗), Gwansa(官紗), Jusa(走紗), Eunjosa(은조사), Gwangsa(廣紗), Waesa(倭紗), Dorisa(도리사), Gong-yangsa(공양사), Rasa(羅紗), Danghangra(唐亢羅), Yanghangra(洋亢羅), Yunjura(윤주라), Eunra(銀羅), Jeohangra(저항라), Chura(秋羅). 5. Regarding the values of Sa(紗) and Ra(羅), they were high quality textures and its length and width of 1 Pil(疋), a roll of cloth, were not subdivided in detail such as in the case of plain weaved silks(平絹).

• Journal of Astronomy and Space Sciences
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• v.32 no.1
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• pp.73-80
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• 2015

The Yang-gyeong-gyu-il-ui (兩景揆日儀) is a kind of elevation sundial using three wooden plates. Sang-hyeok Lee (李尙爀, 1810~?) and Byeong-cheol Nam (南秉哲, 1817~1863) gave descriptions of this sundial and explained how to use it in their Gyu-il-go (揆日考) and Ui-gi-jip-seol (儀器輯說), respectively. According to Gyu-il-go (揆日考) there are two horizontal plates and two vertical plates that have lines of season and time. Subseasonal (節候) lines are engraved between seasonal (節氣) lines, subdividing the interval into three equal lines of Cho-hu (初候, early subseason), Jung-hu (中候, mid subseason) and Mal-hu (末候, late subseason); there are 13 seasonal lines for a year, thus resulting in 37 subseasonal lines; also, there are 12 double-hour (時辰) lines for a day engraved on these plates. The only remaining artifact of Yang-gyeong-gyu-il-ui was made in 1849 (the $15^{th}$ year of Heon-jong) and is kept at the Korea University Museum. We have compared and analyzed Yang-gyeong-gyu-il-ui and similar western sundials. Also, we have reviewed the scientific aspect of this artifact and built a replica. Yang-gyeong-gyu-il-ui is a new model enhanced from the miniaturization development in the early Joseon Dynasty and can be applied to the southern part of the tropic line through a structure change.

• Publications of The Korean Astronomical Society
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• v.34 no.3
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• pp.49-65
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• 2019

We investigate the provenance and the changes in the timekeeping system focusing on official records such as almanacs and textbooks published by the government after the solar calendar was introduced. We found that the solar calendar and the 12-hour clock time first appeared in 1884 during Joseon dynasty, at that time the solar calendar was used at the open port in Busan to facilitate the exchanges with Japan. The 12-hour clock time first appeared in the 『Hansung Sunbo』 published by the government in 1884. We also found that the Joseon dynasty also used 12 diǎnzhōng or 12 diǎn. In addition, the term of the 'Sigan' first appeared in the first official academic textbook in August 1895, and the chapter related to time contained the information about 12-hour clock time instead of the 12 Shi. In 1908, the meaning of the solar time, the equation of time, and the differences in longitude with the adoption of Korean Standard Time were introduced. Meanwhile, the 24-hour clock time was first introduced in Joseon and applied to railway times in 1907. The 1946 almanac, the first issue after liberation, used the 12-hour clock time which uses 'Sango', 'Hao' and the 24-hour clock time started to be used from the following year and is still used to this day. Finally, the 12-hour clock time, which was introduced around 1884, was enacted as Article 44 of the law in 1900 and was revised again in 1905 and 1908. In Korea, the terms related to the time in the current astronomical calendar system were newly defined around 1884, 1896, and 1908, and gradually standardized through the establishment of laws.