• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.128-141
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• 2020

This study examines the process of Korea's acceptance of the concept of Art Craft through research on ancient remains and relices (朝鮮古蹟調査) and a series of projects undertaken by the Japanese Government-General of Korea, and the traditions and canons of craft established in the process. Crafts defined in law referred to fine and exquisite techniques for creating antiques, or genres of art such as painting or sculpture. The Yi Royal Family Museum and the Museum of the Japanese Government-General of Korea spearheaded the popularization of the term "Mi-sul-gong-ye (Art Craft, 美術工藝)." The artworks displayed in these two museums visually embodied past traditions. In general, the term "craft" was frequently used to refer to ancient art, and crafts specifically became traditions to be protected and conserved by designation as legal treasures for display in museums. The establishment of traditions and canons of craft exerted a great influence on crafts produced during this era. The cultural policies and imperial tastes of Japan played a crucial role in this process. In previous research, scholars divided the concept of craft in the modern era into two categories: industrial craft and art craft. However the so-called "art craft" is not a homogeneous category. It includes both ancient art (antiques) and the pieces made in modern age. Ancient art became canonized and the basis of contemporary production. Moreover, features of contemporary craft were diverse. By subdividing concepts of art and crafts, which have hitherto been discussed collectively, this study will serve as groundwork for accurately understanding "invented traditions" and features of modern craft.

• Journal of Korean Society of Archives and Records Management
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• v.24 no.2
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• pp.113-137
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• 2024

In this study, considering the National Memorial of the Korean Provisional Government as a "Larchiveum," the researchers attempted to develop a classification system that can comprehensively categorize various types of materials and propose a method of providing an online service. To this end, as a case study, the researchers examined the classification system structure and contents of the National Archives of Korea, National Assembly Archives, and Archives of Korean History of the National Institute of Korean History, which are the current material collection institutions of the Korean Provisional Government. Regarding online services, apart from the three institutions above, the Imperial War Museum and the Hoover Institution at Stanford University were also explored. Through the implications derived from the case analysis of domestic and foreign institutions, a basic hierarchical classification system by provenance for the materials held by the institution was established, and a multi-classification system was presented according to the classification criteria of "by type, by era, and by subject." In addition, methods of applying the developed classification system to online services were proposed.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.35-50
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• 2022

The Korean cultural heritage protection act, enacted in 1962, is known to have been enacted in imitation of the Japanese cultural heritage protection act. The Japanese law differs from the current law dealing with intangible cultural heritage, folklore materials, and buried cultural properties. The Japanese law was enacted in consultation with the GHQ, and reflected the historical issues at the time of the enactment. Recently, in Japan, GHQ documents have been released and so research on the cultural heritage protection act is carried out. Therefore, it is necessary to understand the meaning and achievements of the Japanese cultural heritage protection act before comparing it with the Korean law. GHQ stipulated the emperor as a symbolic entity in the Japanese constitution and prescribed the country as a liberal democracy. Influenced by this, the cultural heritage protection act was enacted to identify the people's cultural heritage. Accordingly, the cultural heritage protection committee is a private and independent organization in Japan. The committee designates cultural heritage assets, and it operates as the national museum and the cultural heritage research institute. This system was a part of policy changes shifting cultural heritage management to the private sector. Since many cultural heritages are associated with the imperial family, museums were managed by the imperial family. Meanwhile, the Japanese house of councillors persuaded GHQ, which was negative about including intangible cultural heritage in the cultural heritage protection act. The purpose of this idea was to provide the system of the government support for Japanese imperial court music and dance. In addition, folk materials were included with the consent of the GHQ in that they represent the cultural heritages and the academic achievements of the people at the time in Japan. According to the Korean Law, the subject of designation of cultural heritage is the government, and the cultural heritage committee acts as an advisory body with its limited functions. In the early days, the committee confused the concept of intangible cultural heritage and folklore materials. This was because the concepts of cultural property was borrowed from Japanese law and applied to the Korean law without a full understanding. In response, the cultural heritage committee urged the ministry to investigate the current situation in Japan. The cultural heritage committee, mainly consisting of folklore scholars, was confused about the concepts of intangible cultural heritage and folklore materials, but the concept became clear when the enforcement regulations of the cultural heritage protection Act was enacted in 1964.

• Korean Journal of Oriental Medicine
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• v.3 no.1
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• pp.1-15
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• 1997

${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$(1445) is a book compiled the medical achievements of China and Choseon in those times and it's our source of pride to have it In this country. It also deserves careful investigation since this book can provide some clues of features of missing books in China and Korea. The extent of accuracy of xylographica of old books determines the possiblity of in depth further study. So authors attempted to investigate the xylographica of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ one of the 3 main books in Korea. Previous investigation done by Miki Sakae and Kim Doo Jong are noticeable. On the basis of their respective works, we analyzed 'Annals of the Choseon Dynasty' to find records related with ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ and estimated the situation of its publication. We tried figure the situation of those times of China, Japan and Korea(including North Korea) and tried to estimate the book's original xylographica as much as we could. By King Sejong's command, the first draft of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ consisted of 365 books was made by collaboration of civil officials and medical officers during the period from 1443 to 1445. And then from 1451(first year of Moonjong's reign) to 1464(l0th year of Sejo's reign) lots of manpowers were employed and through the process of countless erasure, proofreading, arrangement and rearrangement revised version of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ which is called by Sejo text was completed. After 3 years of wood engraving work, the first printed form of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ (alternately called Seongjong text) in folding case consisted of 266 chapters, 264 volumes came into the world in 1477.(8th year of Seongjong's reign). This was 32 years after the initial completion of the edition. So ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ exists in three forms as Sejong text, Sejo text and Seongjong text respectively. Since those texts were plundered during the Japanese invasion of Korea in 1592, none of the original copy remains within korea. The texts were constantly moved to kadeungcheongieong, to Kongdeungpyeongio, Jesookoan of Edo, to East University of department of classic books, to Cheoncho archives, to the Imperial Museum and finally is kept in the royal palace at present. (Doseoryo text Eulhae printing type) Reduced-size republication books of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ in wooden type were imported at the time of 'Byeongja Korea-Japan Treaty in 1876' and of those 2 books, one copy was treasured in the Royal Household of the Yi Dynasty and than was lost during the Korean War circa 1950. The other remaining copy has been kept succesively by Kojong's imperial grant, Royal doctor Hong Cheol Bo, Hong Taek Joo, Hong Ik Pyo the book agent, and now is kept In Yonsei University Library and this is the only existing copy in Korea at present. In 1965, Dongyang Medical college published the transcription version of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ consisting of 11 books and then in 1981 after edition and arrangement by Choonghoa(中華) publishing company, photoprint copy of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ was published in Keumgang(金剛) publishing company In 1991, October Yeokang(驛江) publishing company producd photocopies of ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ which were previously translated into Korean by North Korea Institute of Oriental Medicine and then issued by medical publishing company. In China, two institutes, Zhejiang Institute of Traditional Chinese Medicine and Huzhou Traditional Chinese Medical Hospital cooperated to publish a revised and marked text consiting of 11 books by adding marking points to japanse Edohakhoondang text which were used as a reference. Both the korean and chinese texts issued were grounded by the ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ kept in the royal palace. Any further study concerning ${\ulcorner}$Classified Collection of Medical Prescriptions${\lrcorner}$ can acquire its accuracy and objectivity when the japanese text kept in the royal palace is taken as an original copy.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.48-65
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• 2022

Three Japanese Buddhist scuptures of Daehyusa temple in Gimcheon, Gyeongsangbuk-do province(慶尙北道) are enshrined in the main hall(本堂) of Henjoin temple in Daegu, an annex temple built by the Chisan School(智山派) of Shingi Shingon sect(新義眞言宗) in Daegu around 1910 when the Japanese colonial period began. The following statues are believed to have been made around this time: the Statue of Kobo daishi(弘法大師像), which is the figure of monk Kukai(空海, 774-835), the founder of the Shingon sect(眞言宗) of Japan, and the Statue of Dainichi nyorai(大日如來像) and the Statue of Fudo myo-o(不動明王像), which are notable sculptures representing the thought and belief of the Shingon sect. Most statues identified of Dainichi nyorai, Kobo daishi, and Fudo myo-o from the Japanese colonial period thus far are rock-carved statues or stone statues. The statues of Daehyusa temple are noteworthy in that they are the first discovered Japanese Buddhist sculptures made of wood, known to have been enshrined in Japanese temples. Furthermore, they are valuable sources that can provide clues to the religious atmosphere of the temples of Chisan School of Shingi Shingon sect at the time. Although these statues have formative features that partially reflect modern aesthetics, their iconographic origins date back to the Heian period(平安時代, 794-1185). In other words, the Statue of Dainichi nyorai inherits the religious tradition of the Statue of Dainichi nyorai, which was created by monk Kakuban(覺鑁, 1095-1143), the founder of the Shingi Shingon sect. The Statue of Kobo daishi follows the Shinnyo Shinno(眞如親王) style founded by Monk-Imperial Prince Shinnyo who was a disciple of monk Kukai. The Statue of Fudo myo-o manifests the Genjo(玄祖) style among the statues of Fudo myo-o. Although not much is known about how the statues were enshrined in the Henjoin temple in Daegu during the Japanese colonial period, it is very likely that these statues were created as Shingi Shingon sect's statue of three-wheeled body(三輪身). That is, it is estimated that the Statue of Dainichi nyorai, Statue of Kobo daishi, and Statue of Fudo myo-o have the characteristics of the body of self-nature chakra(自性輪身), the body of great dharma chakra(正法輪身), and the body of order chakra(敎令輪身), respectively. The fact that the statue of three-wheeled body was established in the Shingon sect in Japan by monk Kakuban also lends credence to this possibility. It is thought that people who came to the Henjoin temple in Daegu worshiped the statue of three-wheeled body to understand the teachings of the Dainichi nyorai. Although it is the case of Sildalsa Temple (悉達寺, the successor of Henjoin temple in Daegu) in the first half of the 1950s, the main hall includes features that reinforce the idea that the tradition of Kobo daisi faith(弘法大師信仰) is passed on. To illustrate, the human skeletal remains in the main hall of Sildalsa Temple reflect Koyasan(高野山)'s tradition in laying ashes to rest, which has been popular in conjunction with the Kobo daishi faith in Japan since the 11th century.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.96-119
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• 2024

Some inscribed bricks excavated from the western region of North Korea have been found bearing an era name used after 314 when the Nangnang and Daebang Commanderies had been completely ousted from the region. Others have been found with an era name used in the early fifth century. This indicates that the tradition of constructing brick chamber tombs was sustained for a century after the disappearance of the two commanderies. However, brick chamber tombs were never adopted as a burial system for the ruling class of the Goguryeo Kingdom. The Tomb of Jang Mui built in 348 and the Tomb of Dongni built in 353 both departed from the typical brick chamber tomb style of the region, and elements associated with stone chamber tombs were added to them. The Tomb of Dongsu (Anak Tomb No. 3), which is similar to the other two tombs in that its occupant is of Chinese descent, was constructed in 357 not as a brick chamber tomb, but as an earthen mound tomb with a stone chamber. Still, the continuation of brick chamber tomb tradition in the next half century has been somewhat puzzling. Although dated inscribed bricks have served as important evidence for understanding the continuation of the brick chamber tomb tradition, there has been a problem of continually repeating previous studies. It has also been pointed out that there was an error in the interpretation of era names in some of the dated inscribed bricks that had been believed to have been produced in or after 357. For example, "second year of Taean" (Taian in Chinese), which had been understood to correspond to 386 (during the Former Qin Dynasty), in fact refers to 303 (during the reign of Emperor Hui of the Western Jin Dynasty). In the case of "first year of Geonsi" (Jianshi in Chinese), which had been believed to indicate 407 (during the Later Yan Dynasty), it actually refers to 301. "Geonsi" is the era name used during the period when Sima Yun ousted Emperor Hui of the Western Jin Dynasty and briefly occupied imperial throne. Outside these two cases, the remaining dated inscribed bricks thought to have been produced in or after 357 are those dated to the "third year of Wonheung" (Yuanxing in Chinese). However, a reexamination of these bricks reveals that what is really "Yeongheung" (Yongxing in Chinese) has been misread as "Wonheung." The third year of Yeongheung corresponds to either 306 during the Western Jin Dynasty or 352 during the Later Zhao Dynasty, but it is highly probable that it refers to 306. This means that there is no conclusive evidence to support the hypothesis that brick chamber tombs were built in the area until the late fourth century and even into the early fifth. Accordingly, the Tombs of Jang Mui and Dongni should be viewed as the latest known brick chamber tombs to be constructed in the western region of North Korea. Moreover, brick chamber tombs appear to have been no longer built in the area around the time when the Tomb of Dongsu was constructed. These speculations accord with the historical circumstances of the time.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.104-129
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• 2020

Designated as a national treasure of Korea and inscribed on the UNESCO World Heritage List, the Tripitaka Koreana at Haeinsa Temple is the world's oldest and most comprehensive extant version of the Tripitaka in Hanja script (i.e., Chinese characters). The set consists of 81,352 carved woodblocks, some of which have two or more copies, which are known as "duplicate woodblocks." These duplicates are supplementary woodblocks (bogakpan) that were carved some time after the original production, likely to replace blocks that had been eroded or damaged by repeated printings. According to the most recent survey, the number of supplementary woodblocks is 118, or approximately 0.14% of the total set, which attests to the outstanding preservation of the original woodblocks. Research on the supplementary woodblocks can reveal important details about the preservation and management of the Tripitaka Koreana woodblocks. Most of the supplementary woodblocks were carved during the Joseon period (1392-1910) or Japanese colonial period (1910-1945). Although the details of the woodblocks from the Japanese colonial period have been recorded and organized to a certain extent, no such efforts have been made with regards to the woodblocks from the Joseon period. This paper analyzes the characteristics and production date of the supplementary woodblocks of the Tripitaka Koreana. The sutra with the most supplementary woodblocks is the Maha Prajnaparamita Sutra (Perfection of Transcendental Wisdom), often known as the Heart Sutra. In fact, 76 of the total 118 supplementary woodblocks (64.4%) are for this sutra. Hence, analyses of printed versions of the Maha Prajnaparamita Sutra should illuminate trends in the carving of supplementary woodblocks for the Tripitaka Koreana, including the representative characteristics of different periods. According to analysis of the 76 supplementary woodblocks of the Maha Prajnaparamita Sutra, 23 were carved during the Japanese colonial period: 12 in 1915 and 11 in 1937. The remaining 53 were carved during the Joseon period at three separate times. First, 14 of the woodblocks bear the inscription "carved in the mujin year by Haeji" ("戊辰年更刻海志"). Here, the "mujin year" is estimated to correspond to 1448, or the thirtieth year of the reign of King Sejong. On many of these 14 woodblocks, the name of the person who did the carving is engraved outside the border. One of these names is Seonggyeong, an artisan who is known to have been active in 1446, thus supporting the conclusion that the mujin year corresponds to 1448. The vertical length of these woodblocks (inside the border) is 21 cm, which is about 1 cm shorter than the original woodblocks. Some of these blocks were carved in the Zhao Mengfu script. Distinguishing features include the appearance of faint lines on some plates, and the rough finish of the bottoms. The second group of supplementary woodblocks was carved shortly after 1865, when the monks Namho Yeonggi and Haemyeong Jangung had two copies of the Tripitaka Koreana printed. At the time, some of the pages could not be printed because the original woodblocks were damaged. This is confirmed by the missing pages of the extant copy that is now preserved at Woljeongsa Temple. As a result, the supplementary woodblocks are estimated to have been produced immediately after the printing. Evidently, however, not all of the damaged woodblocks could be replaced at this time, as only six woodblocks (comprising eight pages) were carved. On the 1865 woodblocks, lines can be seen between the columns, no red paint was applied, and the prayers of patrons were also carved into the plates. The third carving of supplementary woodblocks occurred just before 1899, when the imperial court of the Korean Empire sponsored a new printing of the Tripitaka Koreana. Government officials who were dispatched to supervise the printing likely inspected the existing blocks and ordered supplementary woodblocks to be carved to replace those that were damaged. A total of 33 supplementary woodblocks (comprising 56 pages) were carved at this time, accounting for the largest number of supplementary woodblocks for the Maha Prajnaparamita Sutra. On the 1899 supplementary woodblocks, red paint was applied to each plate and one line was left blank at both ends.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.40-69
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• 2023

This paper examines the relationship between celadon wine vessels and royal banquets by focusing on their unique forms. It explores the symbolism in their forms and designs and the changes that took place in the composition of these vessels. By examining the royal annals in Goryeosa (The History of the Goryeo Dynasty), the relation of celadon wine vessels and royal banquets is examined in terms of the number of banquets held in the respective reigns of the Goryeo kings, the number of banquets held by type, and the purpose of holding them. A royal banquet was a means of strengthening the royal authority by reinforcing the hierarchy and building bonds between the king and his vassals. It was also an act of ruling that demonstrated the king's authority and power through praise of his achievements and virtues. Royal banquets were held most often during the reigns of King Yejong (r. 1105-1122), King Uijong (r. 1146-1170), King Chungnyeol (r. 1274-1308), and King Gongmin (r. 1351-1374). Particular attention is paid here to the changes in the types and forms of celadon wine vessels that occurred starting in the reigns of King Yejong and King Chungnyeol, which is also the period in which the number of royal banquets increased and royal banquet culture evolved. The king and his subjects prayed for the king's longevity at royal banquets and celebrated peaceful reigns by drinking and performing various related acts. Thus, the visual symbolism of vessels for holding, pouring, or receiving alcohol were emphasized. Since the manner of drinking at a banquet was exchanges of pouring and receiving alcohol between the king and his subjects, the design of the ewers and cups had a significant visual impact on attendees. It can be seen, therefore, that decorating wine vessels with Daoist motifs such as the immortals, luan (a mythological bird), turtle dragons, fish dragons, and gourd bottles or with Confucian designs like hibiscus roots was intended as a visual manifestation of the purpose of royal banquets, which was to celebrate the king and to pray for both loyalty and immortality. In particular, the Peach Offering Dance (獻仙桃) and Music for Returning to the Royal Palace (還宮樂), which correspond to the form and design of celadon wine vessels, was examined. The lyrics of the banquet music embodied wishes for the king's longevity, immortality, and eternal youth as well as for the prosperity of the royal court and a peaceful reign. These words are reflected in wine vessels such as the Celadon Taoist Figure-shaped Pitcher housed in the National Museum of Korea and the Bird Shaped Ewer with Daoist Priest in the Art Institute of Chicago. It is important to note that only Goryeo celadon wine vessels reflect this facet of royal banquet culture in their shape and design. The composition of wine vessel sets changed depending on the theme of the banquet and the types of liquor. After Goryeo Korea was incorporated into the Mongol Empire, new alcoholic beverages were introduced, resulting in changes in banquet culture such as the uses and composition of wine vessel sets. From the reign of King Chungnyeol (r. 1274-1308), which was under the authority of the Yuan imperial court, royal banquets began to be co-hosted by kings and princesses, Mongolian-style banquets like boerzhayan (孛兒扎宴) were held, and attendees donned the tall headdress called gugu worn by Mongol women. During the reign of King Chungnyeol, the banquet culture changed 132 banquets were held. This implies that the court tried to strengthen its authority by royal marriage with the Yuan court, which augmented the number of banquets. At these banquets, new alcoholic drinks were introduced such as grape wine, dongnak (湩酪), and distilled liquor. New wine vessels included stem cups, pear-shaped bottles (yuhuchunping), yi (匜), and cups with a dragon head. The new celadon wine vessels were all modeled after metal wares that were used in the Yuan court or in the Khanates. The changes in the celadon wine vessels of the late Goryeo era were examined here in a more specific manner than in previous studies by expanding the samples for the study to the Eurasian khanates. With the influx of new types of wine vessels, it was natural for the sets and uses of Goryeo celadon wine vessels to change in response. The new styles of celadon wine vessels linked the Goryeo court with the distant Khanates of the Mongol Empire. This paper is the beginning of a new study that examines the uses of Goryeo celadon by illuminating the relations between royal banquets and these unique celadon wine vessels that are stylistically different from everyday vessels. It is to be hoped that more studies will be conducted from diverse perspectives exploring both the usage of Goryeo celadon vessels and their users.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.80-99
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• 2012

It is known that there are two Gabong taesil (shrine for King's umbilical cord) of King Danjong, the 6th king of Joseon, remaining today. One of them is Mt. Sogok in Sacheon-city, Gyeongsangnam-do and the other is Mt. Beomnim in Seongju-gun, Gyeongsangbuk-do. The academic sector argued about this matter as there cannot be two Gabong taesil for one king. I once argued that Taesil on Mt. Beomnim in Seongju is King Danjong's Gabong taesil and Danjong taesil in Sacheon is the one for Prince Inseongdaegun, the eldest son of King Yejong. At that time, however, I had not examined the archaeological relics found in these places. In result of making an archaeological approach, I have come to the following conclusions :1. King Danjong had two Taesil : Agi taesil(shrine for baby's umbilical cord) and Gabong taesil. The first Agi taesil was created on Taebong of Mt. Seonseok in Seongju on November 26, 1441, but was moved to Mt. Beomnim in Seongju in 1451 to form the second Agi taesil. In 1458, King Sejo eliminated his Taesil. The stone structures of Gabong taesil still remains on Taebong of Mt. Beomnim, so it has been assumed that King Danjong established them during his reign (1452-1455). 2. Taesil in Sacheon has been known as King Danjong's Taesil because of King Danjong's reinstatement during the reign of King Sukjong. His Taesil was repaired with the reinstatement and King Sukjong was mistaken that Taesil in Sacheon was King Danjong's Taesil to fix it. The time of restoration has been assumed to be soon after the restoration of King Danjong's tomb (1699-1719). Taesil is missing the book of records and rails around the stone structure because the tombs of reinstated kings were restored without rails. 3. It is incorrect that Taesil in Sacheon was known as King Danjong's Taesil, It has been concluded that this Taesil was for Prince Inseongdaegun who was born in 1462. I focused on the fact that Prince Inseongdaegun's Taesil was in Seosamneung Taesil instead of King Danjong's Taesil. When Yiwangjik stored King Danjong's Taesil in Seoul in 1928 and moved it to Seosamneung in 1930, he found that the epitaph on the tombstone recorded that it was Prince Inseongdaegun, not King Danjong, and created Prince Inseongdaegun's Taesil in Seosamneung. I referred to "Taebong", which was created when Seosamneung Taesil was built during the Japanese imperial rule over Joseon, and the relics found in Taesil in Sacheon and Seosamneung.

• (The) Research of the performance art and culture
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• no.34
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• pp.133-172
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• 2017

Mansuseongjeol was originally a term that referred to the birthday of Chinese emperors. In October 1897, when Emperor Gojong ascended the throne, his birthday could be called mansuseongjeol. The celebratory events for mansuseongjeol took place throughout various levels of society and regions. Various places and classes including government officials, foreigners, students, religious people, journalists, merchants, civic groups, and nation-wide open ports celebrated the birth of Emperor Gojong, and the classes celebrating the day became stronger and wider. In other words, in the sense that the celebration had the nature of being universal, national, and global in terms of classes, regions, and races, the event was distinguished. Due to such nature, celebrating culture proceeded in various ways and the imperial family provided donation. Celebration on mansuseongjeol extended to respect toward the emperor and patriotism so it contributed to strengthening the emperor's power and solidifying the unity of the people. Also, such an event was reported around the world through diplomats and reporters living in Korea, raising the national status of Korea in the world. However, after the breakout of Russo-Japanese War, Japan controlled the finance of the royal family, reduced the power of the emperor, and the celebration of mansuseongjeol was also reduced. Due to the suspension of royal family's financial support, crackdown from Japan, and the dethronement of Emperor Gojong, events for mansuseongjeol disappeared and only inside the palace, did formal celebrations continue centering on pro-Japan officials and Japanese people. The abdication of Emperor Gojong came with the collapse of Korean Empire and along with that, celebration of mansuseongjeol came to an end. In the circumstances, the culture of court banquet disintegrated, and the best performers of Korean Empire degenerated into mere entertainers. Though mansuseongjeol, the medium of expressing respect toward the emperor and patriotism, lost its status, it is significant that the cultural achievements, which were created during the process established with the support of the financial power of the royal family, serve as internal power that drove Korea's modern and contemporary cultural history.