• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.81-91
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• 2013

Chongsanbyeolgok is one of Goryeo songs which might be composed in Goryeo dynasty, the composer of which is not known as well as other Goryeo songs. Balsang songs is structured with eleven songs that has been composed newly by King Sejong in Joseon Dynasty for using at Jongmyo (royal ancestral shrine), Johoe (royal audiences), performance, Gangbo is one of 11 songs in Balsang. In Sejongsillok, it is written that Balsang was composed by taking the melody and rhythm of gochwiak (processional music) or hyangak. Thus, it is interesting to know how gochwiak and hyangak, especially Chongsanbyeolgok affected structure and rhythm of Gangbo. As an analytical result of Gangbo and Chongsanbyeolgok, Gangbo consisted of 48 Haeng(line) repeated Chongsanbyeolgok's melody (10 Haeng) by three times. That is, 1-16, 17-32, and 33-48 Haeng of Gangbo excerpted from Cheongsanbyeolgok's melody, and those melodies of Gangbo are same or similar to Chongsanbyeolgok. In this report, Gangbo, one of Balsang's musics in Jos대n Dynasty is proven to be excerpted from the melody of Chongsanbyeolgok in Goryeo Dynasty and repeated.

• Journal of The Geomorphological Association of Korea
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• v.17 no.4
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• pp.85-98
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• 2010

The natural hazards such as droughts, floods and frost injuries, and their relationships with the social unrest phenomena such as years of famine, smallpox and revolutions during the Medieval times(AD 936~1391) in Korea are compared and analyzed based on the History of Goryeo containing astronomical weather and climate events during the Goryeo Dynasty. Among the natural hazards during the Goryeo Dynasty, the droughts with a period of 4~5 years on average are recorded most frequently. By time series analysis, the most frequency of droughts can be found in AD 286~335, AD 786~835 and AD 1261~1320 during the Ancient and Medieval times. It is suggested that three cycles of the droughts during approximately 1,500 years of the Ancient and Medieval times are recognized and they had happened with the time intervals of approximately 500 years. The frequency of droughts increased in the late Goryeo Dynasty is consistent with those of the social chaos factors such as years of famines, smallpox and revolutions. These records suggest that the natural hazard such as years of famines was one of the most important factors influencing on the collapse of the Goryeo Dynasty, agrarian country.

• Journal of architectural history
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• v.27 no.1
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• pp.7-16
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• 2018

Meoricho of Dancheong is a pattern that placed at the end of each elements. We call Dancheong which has Meoricho Moro-dancheong. Meorico is the pattern comes from the metal ornaments of ancient architecture. The most primitive forms of Meoricho is Saw-toothed Design. Since the influence of Buddhism in the Northern Wei dynasties Saw-toothed Design have changed Tied lotus Design. Tied lotus Design of the Unified Silla it becames Gak-yeop Design and Yeo-ui-doo Design Meoricho in Goryeo Dynasty. Since Goryeo Dynasty there's been great and small variations in the internal composition of Meoricho, but the outline has maintained as it was. Therefore the completed form of the outline of Meoricho could be regarded as the one that was formed in Goryeo Dynasty.

• Journal of architectural history
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• v.19 no.2
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• pp.85-100
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• 2010

In this study, I investigated the function and the setting characteristics of 日type plan building ruins in the Hoe-amsa monastery site, that's renovated by Zen priest Na-ong(1320-76) in the later Goryeo Dynasty(918-1392), through the comparative research between China, Japan, and Goryeo in that time. The ruins of 日type plan building, located in the east side of Buddha hall ruins, is the ruins of Jungryo(衆寮). It was called as Jeondanrim, and the name can be seen from the record(天寶山檜巖寺修造記) of Yi-saek(李穡, 1328-96). It's name and the composition of plan is very similar to the Jungryo of Chinese and Japanese Zen monastery in 13th-14th century. And from it, we can see that, the priest Na-ong tried to introduce institution of Chinese Zen monastery, which he experienced during the time of study in China. But, the location of Jungryo in Hoe-amsa monastery is deferent from the Zen monastery of China and Japan, and it can be said as the setting characteristics of Hoe-amsa monastery in Goryeo Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.1
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• pp.133-146
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• 2015

King and Crown Prince's Gwanbok (冠服) written in "Goryeosa" Yeobokji was the bestowment of robes and crowns by the Son of Heaven who yielded hegemony over East Asia. It designated the King and Crown Prince of Goryeo as real and authentic as well as confirmed the political status of Goryeo in East Asia. In "Goryeosa" Yeobokji, the King's Gwanbok is of higher stature than the adornments of the King's ritual robes (祭服) and court robes (朝服) which held a domestic political significance. In East Asia, bestowment of voiture (車) and robe (服) usually appeared in the multistate system. In the $10^{th}$ century, the Later Jin (後晋) spread the idea of investiture and bestowment to Khitan (契丹). The Liao (遼) or Khitan and the Jin (金), the Conquest Dynasties, endeavored to establish the legitimacy of the Son of Heaven by imitating Sinocentrism by means of investiture and bestowment. In the reign of XingZong (興宗) and DaoZong (道宗) of Liao, the ritual of investiture and bestowment for Goryeo was in the making, adding titles and bestowments in the occasion of the elevation of Emperor Liao's honorific title. King Munjong (文宗) of Goryeo reached 9-bestowment which symbolized the first of the feudal lords in East Asia. This exceptional respect for Goryeo went on to Jin's investiture and bestowment. From then, 9-bestowment was defined as an international decorum (禮) toward Goryeo. This historical study of Gwanbok (冠服) of "Goryeosa", indicates: First, the King's Ceremonial Robe with Nine-symbol Design were designated from the early to middle of the Goryeo Dynasty by investiture and bestowment from the Conquest Dynasties. Second, the bestowed King's Robe and Crown had simultaneous functions for domestic order and international order. Goryeo did not follow ideological Sinocentrism but followed practical interest by accepting Confucian Li (禮) philosophy passed on through the Conquest Dynasties.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.142-171
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• 2019

The dragon is an imaginary animal that appears in the legends and myths of the Orient and the West. While dragons have mostly been portrayed as aggressive and as bad omens in the West, in the Orient, as they symbolize the emperor or have an auspicious meaning, dragons signify a positive meaning. In addition, as the dragon symbolizes the emperor and its type has been diversified considering it as a divine object that controls water, people have tried to express it as a figure. The records related to dragons in the Goryeo dynasty appeared with diverse topics in 'History of Goryeo' and are generally contents related to founding myths, rituals for rain, and Shinii (神異), etc. The founding myth emphasizes the legality of the Goryeo dynasty through the dragon, and this influenced the formation of the dragon's descendants. In addition, the ability to control water, which is a characteristic of the dragon, was symbolized as an earth dragon related to the rainmaking ritual, i.e., wishing for rain during times of drought. Since the dragon was the symbol of the royal family, the use of the dragon by common people was strictly restricted. Furthermore, the association of a bronze dragon mirror with the royal family is hard to be excluded. The type and quantity of bronze double dragon mirrors discovered to have existed during the Goryeo dynasty is great, and the production and the distribution of bronze mirrors with double dragons seem to have been more active compared to other bronze mirrors, as bronze mirrors with double dragons produced during Goryeo and bronze mirrors originating in China were mixed. Therefore, in this article, the characteristics of diverse bronze mirrors from the 10th century to the 14th century in China were examined. It seems that the master craftsmen who produced bronze mirrors with double dragons during the Goryeo dynasty were influenced by Chinese composition patterns when making the mirrors. Because there were many cases where a bronze mirror's country of origin could not easily be determined, in order to identify the differences between bronze double dragon mirrors produced during the Goryeo dynasty and bronze mirrors produced in China, meticulous analysis was required. Thus, to ascertain that Goryeo mirrors were not imitations of bronze mirrors with double dragons originating in China but produced independently, the mirrors were examined using the bronze double dragon mirror type classification system existing in our country. Bronze mirrors with double dragons are classified into three types: Type I, which has the style of the Yao dynasty, includes the greatest proportion; however, despite there being only a small quantity for comparison, Types II and III were selected for the analysis of the bronze mirrors with double dragons made in Goryeo because they have unique composition patterns. As mentioned above, distinguishing bronze mirrors made during Goryeo from bronze mirrors made in China is challenging because Goryeo bronze mirrors were made under the influence of China. Among them, since the manufacturing place of the bronze mirrors with double dragons found at the nine-story stone pagoda in Woljeongsa Temple in Pyeongchang is questionable and the composition pattern of the bronze mirror is hard to find on bronze mirrors with double dragons made in China, the manufacturing place of those bronze mirrors were examined. These bronze mirrors with double dragons were considered as bronze mirrors with double dragons made during the Goryeo dynasty adopting the Yao dynasty style composition pattern as aspects of the composition pattern belonged to Type I, and the detailed combination of patterns is hard to find in mirrors produced in China.

• (The)Study of the Eastern Classic
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• no.59
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• pp.9-32
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• 2015

The purpose of this paper is to study the development process of our native verses from the Three Kingdoms Period to the Goryeo Dynasty. The contents of the discussion can be summarized as follows. Typical form of "Sanega" from the Three Kingdoms Period to the late Silla/ early Goryeo Dynasty is a well organized 3-layered structure representing the contents of enlightenment of a high priest. Sanaega has a poetic style characterized by distinct literary features compared to other native verses in the same era. The reason is that 10-line Hyangga improves its poetic level as it is aware of Chinese poetry. As it enters the Goryeo Dynasty, this literary composition starts to change. In other words, Sanega declines and quatrain emerges in the front of literary history. Unlike the Three Kingdoms Period ~ the late Silla/ early Goryeo Dynasty, development of quatrain results from that native verses enhances the characteristics of song rather than poem in the Goryeo Dynasty. Native verses form the mutually complementary relationship by adjusting the position as the song rather than competing with it as the poem as Chinese poetry becomes more common. In the Goryeo Dynasty, Sanaega declines and Sijo emerges in literary history, because native verses have been developed in the poetic form to freely express general emotion and to be more loved from the public. It is in the same vein as a native verse in the form of quatrain raises its vitality by enhancing the characteristics of the song through the adjustment of its position compared to Chinese poetry.

• Journal of architectural history
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• v.17 no.6
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• pp.45-65
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• 2008

Hoe-amsa temple was renewed by Zen priest Na-ong(1320-76) in the later Goryeo dynasty(918-1392), and he introduced the institution of Zen Buddhism temple of Yuan dynasty(1271-1368) in China. And in 13-14 century, many Zen Buddhism temple were built in east Asia, like China, Japan, Korea and so on. Hoe-amsa temple became to be ruined in the middle years of Joseon dynasty(1392-1910), and the ruin was excavated recently. The purpose of this study is to make a searching examination the history of Hoe-amsa temple by analyzing the historic records and excavation relics, and to clarify the function of Jeongcheong, east Bang-jang and west Bang-jang of Hoe-amsa temple, by comparative analysis with Bang-jang architecture of Zen Buddhism temple of Yuan dynasty. As the result of this study it can be said like follow. Hoe-amsa temple maintained the form made by priest Na-ong in spite of several times of repair in Joseon dynasty, and it was reflected in excavation relics of now. The Jeongcheon of Hoe-amsa temple was the space called Chimdang where the chief priest performed lectures and ceremony, the west Bang-jang was the living space of chief priest, and the east Bang-jang was lodging for honored guest. The architecture composed by Jeongcheong, east Bang-jang and west Bang-jang was the adaptation of institution of Bang-jang architecture of Zen Buddhism temple in Yuan dynasty, on the base of general architecture form of Goryeo dynasty.

• Journal of architectural history
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• v.27 no.3
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• pp.43-58
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• 2018

This paper aims at researching on the substantial characters of the memorial address, namely the mookseo-myeongs(墨書銘), written at the members of the wooden buildings in the late period of Goryeo Dynasty and the early period of JoseonDynasty. In this paper, I pursued to declare the systematic origins by the comparison the Buddhist buildings with the other buildings, on the focused the written patterns. Furthermore, I tried to examine the transitional trends in the late period of Joseon Dynasty. The results are as follow: First, it is supposed that the mookseo-myeongs of the Buddhist buildings were not used for the a memorial address for the ceremony of putting up the ridge beam, so to speak the sangryang-muns(上樑文), but the prayer address(發願文) to memorize the donations of the believers for the constructions. Second, it is supposed that 'the short sangryang-muns' were originated in the mookseo-myeongs of Buddhist buildings and the other ancient prayer address. In the late period of JoseonDynasty, those were established in the formal literary styles. Third, to the early period of JoseonDynasty, 'the long sangryang-muns' were partially used in the several royal palaces. In the late, those were widely used not only in the royal palaces but also in Buddhist buildings, but those literary patterns were rarely changed from the former types.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.62-78
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• 2023

The act of burning incense originated from Buddhist rituals and customs, and gradually formed its own culture. In the Goryeo Dynasty, in addition to religious and national rituals, incense came to be enjoyed more generally and widely. In particular, Goryeo literati enjoyed the elegant lifestyle of staying home and burning incense. This was part of a regional culture shared across East Asia. Such incense burning applied the same methods as were used during the same period in China. In collections of writings from the Goryeo Dynasty, it can be seen that incense methods such as gyeok-hwa-hoon-hyang (隔火熏香) and jeon-hyang (篆香) were used. A particular method of incense influenced the size and shape of the incense burner utilized. Small incense burners suitable for simple everyday incense were used, such as the hyangwan (香垸), a cup (wine glass)-shaped burner. White porcelain incense burners from Song were discovered in Gaegyeong, and celadon incense burners from Goryeo were made in the same shape. This phenomenon shows that there was great demand for ceramic incense burners in Goryeo in the 12th and 13th centuries. During this period, incense burners that imitated metalware were produced, and some applied the techniques and patterns of Goryeo celadon. The Goryeo Dynasty-era incense burner was basically a necessity for use in various rituals, but gradually came to be widely used also by individuals.