• Journal of Astronomy and Space Sciences
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• 제36권2호
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• pp.87-96
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• 2019

We investigate solar and lunar motions in the Seonmyeong (SM) calendar that was compiled by Xu, Ang of the Tang dynasty (A.D. 618-907) in China and used for 71 years from 822 to 892. This calendar was also used in Korea during the Goryeo dynasty (A.D. 918-1392) and in Japan for 823 years from 862 to 1684, the longest time among the three countries. Referring to historical documents of China, Korea, and Japan, we analyze the calendrical methods of calculating the daily apparent movements of the Sun and Moon in the SM calendar, which were considered their unequal motions, and compare the movements with the results of modern calculations for three periods in the Goryeo dynasty: 919, 1155, and 1392 years (i.e., the beginning, middle, and ending of the dynasty, respectively). We find that a quadratic equation was employed to obtain the daily movement of the Sun using physical quantities on the instant of each solar term, which was tabulated in its calendar book such as the Goryeosa (History of the Goryeo Dynasty). For quantitative analysis, we compute the mean absolute difference (MAD) of the daily apparent movement between the SM calendar and modern calculations and obtain 0.33, 0.30, and 0.31 arcmin for the periods of 919, 1155, and 1392 years, respectively. Meanwhile, we find relatively large MAD values in the daily movement of the Moon: 0.217, 0.284, and 0.240 degrees for each corresponding year. An interesting point is that the MAD value in the lunar motion shows the maximum in 1155 years, and is the minimum in the solar motion. In conclusion, we believe that this study will facilitate in the understanding of the SM calendar further, particularly in the calendrical methods of calculating sunrise, sunset, and eclipse times.

• Journal of architectural history
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• 제17권4호
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• pp.25-42
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• 2008

The Gyeongbok Palace was completed during the reign of King Taejo and King Sejong in the early Joseon Dynasty. The most remarkable spacious feature of the palace is that it has an inner palace wall without an outer palace wall. The absence of the outer palace wall had its origin in the palace of the late Goryeo Dynasty which did not provide the outer palace wall. Gwanghwamoon was the main gate of the palace, and the office buildings of the Six Ministries were arranged on the right side in front of the main gate. A wide road called Six Ministries Avenue was made between the builidings. The avenue was completed during the reign of the third king of Joseon, Taejong, and it was assumed that this arrangement was influenced by the government office arrangements of Nanjing, the early capital city of the Ming Dynasty. Gwanghwamoon held national rituals as well as the civic and military state examinations nations in front of the gate. The avenue was decorated with flowers and silks when kings and the royal families, or Chinese envoys enter the gate, and the civilians watched the parade, Because there was no outer palace wall, all the events held at Gwanghwamoon and the Six Ministries Avenue ware opened to the public, it was the unique feature of Gyeongbok Palace that the palaces of Goryeo dynasty and China did not have.

• Korean Journal of Heritage: History & Science
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• 제54권3호
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• pp.168-191
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• 2021

This article examines the shape, iconography, and creation date of the Four Buddhist Heavenly Kings (Sacheonwang 四天王) enshrined in the Heavenly Kings' Gate (Cheonwangmun 天王門) of Hoeamsa in Yangju, Gyeonggi Province during the early Joseon Dynasty. First, small fragments of clay decoration excavated from a fourth-platform gate site of the Hoeamsa Temple Site in Yangju Gyeonggi Province were analyzed and compared to other Four Heavenly Kings enshrined in the (Cheonwangmun gates) during the Joseon Dynasty. In addition, the size and shape of the gate were compared to other Cheonwangmun gates constructed during the Joseon Dynasty. Results revealed that the excavated fragments were part of the armor of Sacheonwang, and the clay-standing statues enshrined in the fourth-platform gate of Hoeamsa Temple would be proportional in size to those of Beopjusa Temple in Boeum, South Chungcheong Province. The flame-type pieces, which decorated the Heavenly King's crown in the Joseon Dynasty, and the rectangular-type pieces were not found in artifacts from the Goryeo Dynasty. Therefore, the Sacheonwang sculptures of the Hoeamsa Temple were likely made in the late 15th century in the early Joseon Dynasty. A detailed iconography of the Sacheonwang of Hoeamsa is presumedly based on the Buddhist paintings and illustrations of Buddhist scriptures (Gyeongbyeonsangdo 經變相圖)from the late Goryeo and early Joseon. During the late Goryeo Dynasty and early Joseon Dynasty, Traditional iconography from Goryeo and new iconography from Ming coexisted. However, in the late 15th century, the Sacheonwang statues of the early Joseon Dynasty had many different elements from those of the Goryeo Dynasty and were similar to those enshrined in Cheonwangmun Gate during the Joseon Dynasty. The Four Heavenly Kings of Hoeamsa Temple, believed to have been produced in the late 15th century, has historical significance in the following points. They were the first Joseon Sacheonwang statues example enshrined in the Cheonwangmun gate. In addition, they were established as a new tradition that influenced the iconography of the Four Heavenly Kings during the Joseon Dynasty.

• Journal of architectural history
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• 제16권2호
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• pp.59-78
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• 2007

Studies and reports on buddhist temples in Goryeo dynasty are rarely In the present situation. At this point of time new excavational reports and historic records offer many materials to understand a architecture in Goryeo period. Especially, temple site have various transitions, it is of great value to study. This article attempted a restorative study of a location, function, spacial arrangement, structure, building age is based on a measure and transition of temple layout that is based on the excavational result and related historic documents about Godal temple site in Yeoju. Gadal temple site was a representative Zen buddhist temple in Goryeo Dynasty. It was difficult of access by watercourse because it was located in an inland in the upper Han River. Archaeological research and historical records has reveals that the temple was constructed with a minium of four levels[six terms]. We could recognized the central site of temple and buildings were constantly established, enovated or collapsed. It has went through many transition according as it encountered new sects and doctrines. Also it should perform various functions and overcome given conditions. Ultimately it let see greater diversity in the spacial composition, and layout. That is to say it were planed several separate areas, each was consisted of main buildings, once again was integrated into one temple.

• Strategy21
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• 통권32호
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• pp.36-70
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• 2013

Waegu(倭寇)'s invasion in the Late Goryeo(高麗) Dynasty was huge damage for Goryeo's local society. And It was shock that Goryeo government's basic foundation of rules. Invasion background of waegu for Kyeong-in-yeon(庚寅年, 1350) was Kyushyu(九州)'s political divide because of Nihon(日本) government's confusion. Waegu was huge damage for Goryeo's Jo-wun(漕運, the shipping system of grain paid as a tax) system. So, government started military response, but it was turn out a failure and had great damage. When execution of military operations failed, Goryeo government sent diplomatic delegation to request the prevent of waegu, but the invasion continued. Since waegu invasion, Goryeo was got nowhere with defence of waegu. So, some people demanded for a new understanding of the ocean defence in the government. Lee-Saek(李穡), Woo-Hyeonbo(禹玄寶), Lee-Hee(李禧) and Jung-Ji(鄭地) were representatives of a new understanding of the ocean defence. Their demands were received attention when all operations had been failed. Therefore, Goryeo government began to reorganization of the naval forces and set up a special committee of gunpowder manufacturing named Hwa-tong-do-gam(火筒都監). This administrative reform was achieved substantial results since then. In 1380, the naval battle at Jin-po(鎭浦) was a big event that first gunpowder attack the waegu. Since Jin-po, Goryeo's naval forces gain confidence. In 1389, Dae-ma-do(對馬島) was attacked by Park-Wi(朴葳). It was meant that Goryeo's naval forces had huge offense power. Goryeo's defence system was focused on a northern race before 14th century waegu's invasion. So they were neglected their ocean defence. But after military operation of waegu's invasion was failure, they focused on the ocean defence. A new understanding of the ocean defence was foundation of that. It means to us to a new understanding of the ocean defence. Now, East Asia has maritime disputes. And we have high exposure to potential threats. So, we have a new understanding of importance of the ocean defence. And we fight for 21th century's ocean threats as foundation of sense of national security.

• Korean Journal of Heritage: History & Science
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• 제57권1호
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• pp.126-144
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• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.

• Korean Journal of Heritage: History & Science
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• 제52권4호
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• pp.184-205
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• 2019

Buddhism was introduced to Gyeonggi-Do early on and thus created various types of Buddhist culture there. Since the introduction of Buddhism into Gyeonggi-do, the there has been continuous construction of stone stupas. More stone stupas were built in southern Gyeonggi than in northern Gyeonggi-do. In particular, Anseong, Icheon, Yongin, and Yeoju were centers of construction. Looking at the characteristics of each period, stone stupas remain from the Unified Shilla Period to Joseon, indicating that stone stupas were steadily built during this period. The stone stupa corresponding to the Unified Shilla Period is meaningful in that it shows the northern limit of Shilla Buddhist culture. Since then, the stone stupas of the Goryeo Dynasty were actively constructed in the southern part of Gyeonggi-do in the early Goryeo Dynasty. By the late Goryeo Dynasty, the stupas were built throughout Gyeonggi-do, indicating that the construction of the stupa was active. In the Joseon Dynasty, stone stupas were built in temples near Hanyang and deeply related to the royal family. Stone pagodas were erected mainly on major traffic routes. Stone stupas built in Gyeonggi-do have a variety of artistic and historical significance.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• 제29권3호
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• pp.134-146
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• 2011

Gyeokgu is a group ball game transmitted into the Joseon Dynasty period as acquiring a great vogue among the royal palace and people in Goryeo Dynasty after being introduced into the country from China. This research aimed through historical investigation to look into the form in which the Goryeo dynasty's kings enjoyed Gyeokgu game, and the historical-spatial signification and the locational characteristics of Gujeong(the ground where play Gyeokgu) which is the courtyard where Gyeokgu game was held centering around the Goryeo dynasty's palace where Gyeokgu was prosperous most. We researched and analyzed the data for research after extracting the records related to Gyeokgu from three historical data of the true records of the Goryeo Dynasty. Upon investigation, twelve among 34 kings of the past generations were concerned with Gyeokgu in Gyeokgu game participation form, and 46 times were recorded in historical records in total. In the participation form, kings participated personally in 9 times among 46 Gyeokgu games, and viewed games in case of 37 times. Among these kings, the 18th generation king Uijong was recorded most as 17 times(36.9%) in Gyeokgu records. Places where Gyeokgu were held were 25 places in total including royal palace, detached palace, Lu-jeong, Buddhist temple, private residences, markets and streets, other outside of the royal court and so on, and 46 time-Gyeokgu games in total were held in these places. 21 time(45.6%)-Gyeokgu games were held in only 5 detached place among these places. So, detached palace were used most for Gyeokgu games. In particular, Gyeokgu games were held most in Suchanggung palace and Jangwonjeong palace among these detached palaces, and all these things were recorded during the reign of King Uijong. Gyeokgu game which was prevalent by the end of the Goryeo Dynasty showed a progression to a national festival which kings, personally coming into streets or Jeoja(an archaic word for "market"), enjoyed with the crowd.

• Journal of the Korean Society of Clothing and Textiles
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• 제46권2호
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• pp.272-291
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• 2022

The purpose of this study is to analyze the external characteristics of the clothes formed from the culture and worldview of Goryeo women and to identify the aesthetic characteristics. This paper posits the following: First, that the practice of Buddhism contributed to gender equality between Goryeo women and men; second, that Goryeo had a worldview of unified as in with the East and Korea differentiating from the dichotomous thinking of the West; and third, that the aesthetic characteristics of Goryeo women's clothing included (a) color contrast and an emphasis on patterns based on Pure Land Buddhism and Esoteric Buddhism; (b) The beauty of unitary convergence is the beauty of freedom as an expression of various cultural exchanges and the free and open ways of thinking of Goryeo women; (c) an expression of rhythmical beauty, with the shape of line led to straight to curve line and the change of line through human body's movements; and (d) a perfect balance of proportion and symmetry based on Pure Land Buddhism.

• Journal of Conservation Science
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• 제30권1호
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• pp.67-80
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• 2014

This study examined the chemical characteristics and the microstructure of Goryeo whiteware which was excavated in the kiln site Yucheon-ri, Gangwon-do, the southern part of South Korea. this area is considered to be used in the middle of the time of Goryeo Dynasty. We analyzed the chemical characteristics comparing Goryeo Whiteware from Seo-ri, Jungam-ri, Bangsan-dong and The temple site of Beopcheon. Based on the analysis, we confirmed the properties of raw material for making pottery. It is featured that body composition of Goryeo Whiteware from Yucheon-ri contains high silica and low solvent. However, the contents of the glaze are vice versa. Goryeo whiteware tends to contain larger part of oxide than that of titanium oxide, which applies to Goryeo Celadon. the whitewares during the early days of Goryeo Dynasty varies in components depending on kilns, whereas it does not mean that chronological changes happened in components. The whiteware shards from Yuchoen-ri have a similar aspect. The whiteware shard from the temple of Beopchen differ in composition, Thus they are estimated to have been produces and shipped from various sites. In conclusion, we judged that the component difference among Goryeo whitewares stems from production environment and origin of raw materials rather than chronological changers.