• Journal of architectural history
• /
• v.27 no.3
• /
• pp.27-42
• /
• 2018

This study aims to reinterpret Jeonggwanheon(靜觀軒) in terms of its use and architectural style after restoration work through the recently discovered [Deoksugung Palace's original plan](1915). It is presupposed that the existing interpretation of Jeonggwanheon, such as its status as the banquet hall of the Imperial Empire and the place where Emperor Gojong enjoyed coffee here, was a fantasy made from the transformation after the 1930s. When it was built around 1900, Jeonggwanheon arranged small and large rooms around the corridor in the center, and the porch surrounded the three sides of the building. From 1900 to 1907, there is no remaining record telling us who did what or when something happened in Jeonggwanheon except for several portraits of Emperor Gojong and his son which were drawn in 1902. The mixed use of brickwork and wooden porch are found in many of American style houses built in Incheon and Seoul at that time. Especially, the style and decoration of wooden porch seem to be influenced by Queen Anne style in the 19th century in America.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.45 no.2
• /
• pp.233-252
• /
• 2021

The Gwan ceremony (冠禮) is a coming-of-age ceremony that takes place through traditional Gwan (冠: the hat) and clothes in the traditional era. The rite is performed by wearing hats and clothes three consecutive times (三加禮). It was an important rite which meant that underage children were formally recognized as members of society. This study examined costumes of people who participated in various coming-of-age ceremony rites in the Ming dynasty imperial court of China. For the research data, this study mainly used authentic chronicles (正史), codes of law and books on Ming dynasty rituals. This study examined the costumes used in the coming-of-age ceremony for the emperor, Prince Imperial, Emperor's eldest grandson, and emperor's sons. The results of this study were divided into an analysis of the document structure, institutional changes by time, characteristics of costumes, and characteristics of the rite. Of particular note in their ceremony, the emperor is presupposed to be a 'human already full-equipped with virtue', which means that the costume is worn only once. It is a case in which the emperor's absolute identity is revealed through the rite and costume.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.223-277
• /
• 2019

Based on the text reference from the Variety Theatre compiled and performed by the Jiaofang of the Ming Dynasty Palace, the characteristics of Zhongkui performance in the New Year Ceremony was analyzed focusing on the differentiation and diachronic change in aspect between court dance and civilian. In China's folk beliefs, 'Zhongkui' is regarded as a representative spirit of fighting against evil spirits. Relevant rituals and performing arts have been held mainly on New Year's Eve or the Dragon Boat Festival. Although extensive research has been conducted in various fields, the situation of Zhongkui performance was largely unnoticed, only generally addressed in China, even with the given fact that the Ming Dynasty's text reference of miscellaneous court dance was exclusively retained, Therefore, the analysis intends to propose Zhongkui performances of Calendaric Rituals in the aspect of its elements and differentiate the play handed down among people as a specific example. Through the text analysis of miscellaneous court dance, 'Imperial examination' and religious belief was regulated usuriously by a so-called edification expressed as imperial reign ideology extracted to an implementation situation, revealing that this court dance was characterized by a variety of performances including the 'Zhongkui'. The results of the following study intends to provide a positive foundation for not only the field of Chinese studies but also the field of Korean literature, theatre, dance, folklore, religion, anthropology and art.

• The Research Journal of the Costume Culture
• /
• v.29 no.2
• /
• pp.204-221
• /
• 2021

The morning ritual was a rite whereby a morning audience with the emperor was held for feudal lords sovereigns and subjects living in the precincts, monarchs or foreign envoys of the outskirts of the capital, and other ethnic group. Distinction between the main and subordinate rituals, changes in the ceremony according to the times, and the position or rank of those participating in the rite, were factors that directly affected the costumes worn for ritual. Accordingly, in this paper, the costumes worn by members of the Ming dynasty (emperor, prince imperial, prince) were examined in terms of the period and detailed ceremonies with a focus on the morning ritual and costume systems presented in the official historical records. Through this study, only Mian-fu (冕服) and Pi-bian-fu (皮弁服) were defined by the costume system ase costumes worn in the morning ritual. However, through comparative analysis with the morning ritual system, it was confirmed that Tongtian-guan-fu (通天冠服), Yishan-guan-fu (翼善冠服), and Bianfu (便服: slightly casual wear) were also worn. It is worth noting that the color of Gunlong-pao (袞龍袍) was differentiated according to status; the Emperor wore yellow, the Prince Imperial and lower levels wore red, which was the traditional perception of academia. However, following confirmation of the custom costume for the morning ritual, it was confirmed that the color of this differentiation appeared during the 3rd year of Emperor Yongle of Ming (1305). Previously five traditional colors (blue, red, yellow, white, and black) were used for the season.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.40 no.4
• /
• pp.15-31
• /
• 2022

This study interpreted the logical validity of the landscape restoration and maintenance patterns of Changgyeonggung Palace, where modern landscapes coexist. The results of the study are as follows; First, the changes in the landscape restoration and maintenance attitude concerning the Changgyeonggung management organization were identified. With the establishment of the Office of the Imperial Garden, an imperial property was nationalized. The Cultural Heritage Managing Department was opened in 1961, and Changgyeonggung Palace were preserved as designated as historical sites in 1963. An environmental purification was implemented by the Changgyeonggung Office as a follow-up measure for restoration in 1983. As the Cultural Heritage Administration promoted in 1999 and the Royal Palaces and Tombs Center was established in 2019, the palace has been managed professionally as a palace landscape to provide a viewing environment. Second, In the 'Purification Period of Changgyeongwon(1954~1977)', environmental purification was carried out to restore amusement facilities, install facilities for cherry blossom viewing, and develop the place into a national zoo. In the 'Reconstruction Period of Changgyeonggung(1983~1986)', restoring function as an urban park, reserving green areas, the outside space was recreated in the traditional feel, and the forest area was generally maintained. In the 'Supplementation Period of Traditional Landscape Architecture Space(1987~2009)', a uniform green landscape was created with pine trees and various vegetation landscapes centered on the flower beds. In the 'Improvement and Maintenance Period of Viewing Environment(2010~2022), a master plan was reestablished on the premise of utilization, but maintenance has been carried out in a small scale centering on unit space. Third, regarding the validity of the landscape restoration and maintenance, It was found in terms of 'originality' that the recovery of the palace system has not been expanded for over 40 years in existing areas. The 'characteristics of the times', which shows whether multi-layered history was taken into account, Changgyeongwon was excluded from the discussion in the process of setting the base year twice. In terms of 'integrity,' the area of the Grand Greenhouse where the historic states coexists needs a maintenance policy that binds the greenhouse, carpet flower bed, and Chundangji Pond. The 'utility' identified as the utilization of spaces suggests the establishment of a sense of place in the Grand Greenhouse area, which is concentrated with programs different from other areas.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.4
• /
• pp.174-191
• /
• 2021

Gangdo (江都), a reproduction of Gaegyeong, was the capital of Goryeo for 39 years. However, due to the urgent wartime situation of the Mongol invasion and the geographical features of Ganghwa Island, the castle system and palace layout were somewhat different from those of Gaegyeong. Gangdo's castle can be understood as a triple castle system consisting of outer castle, middle castle, and inner castle. First, the outer castle was the first to be completed, and it was built at the forefront to prevent the Mongol army from invading in the first place. It is presumed that the section was between Huamdon and Hwadodon in the outer castle during the Joseon Dynasty. The middle castle can be seen as the present 'Middle Castle', a castle built of earth on the outskirts of the Ganghwa-mountain Castle. Considering the sophistication and robustness of the construction method confirmed in the archaeological research, this castle is thought to have been built under a meticulous plan. In other words, as the capital city, it was completed 'at last' as recorded in the Koryo History, after a long 18-year construction process to protect palaces, government offices, and private houses. The inner castle was a castle with the character of a palace. This corresponds to the Old Castle of Ganghwabu (江華府) during the Joseon Dynasty, and it almost coincided with the scale of the composition of Gaegyeong's palace castle. It was a complex functional space, featuring the integration of the palace and the imperial castle, where the main government offices and ancillary facilities, including the palace, were located. Based on the documentary record that these palaces were similar to Gaegyeong's palace, the palace map was overlapped with that of Gaegyeong. The central axis of the building from Seungpyeongmun (昇平門) to Seongyeongjeon (宣慶殿) coincided with Kim Sangyongsunjeol Monument in Ganghwa- Goryeo Palace. Therefore, it seems that the palace of Gangdo had the same basic structure as that of Gaegyeong. However, the inner palace and annexed buildings must have been arranged in consideration of the topographical conditions of Ganghwa, and this is estimated to be the Gunggol area in Gwancheong-ri.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.3
• /
• pp.234-252
• /
• 2023

This study looked at the modification of major gardens while making Deoksugung Palace (德壽宮) a park in the Japanese colonial era. This is because landscaping work was carried out in various places from 1932 to 1933 to open Deoksugung Palace, which used to be an imperial palace, as a public recreation space. In particular, major gardens such as the front yard of Seokjojeon Hall (石造殿), the back yard of Hamnyeongjeon Hall (咸寧殿), and the back yard of Jeukjodang Hall (卽阼堂) were greatly transformed into different shapes from the original. During the first phase of construction in 1932, a water tank was installed in Seokjojeon Hall Garden, creating the first water space. This water tank was originally a structure installed in the front yard of Injeongjeon Hall (仁政殿) of Changdeokgung Palace (昌德宮). Around 1909, a water tank installed in the front yard of Injeongjeon Hall was relocated to Seokjojeon Garden in the process of turning Deoksugung Palace into a park. The water tank moved from the front yard of Injeongjeon Hall was a factor that transformed the central area of Seokjojeon Garden into a water space, and a fountain installed to replace the water tank remains to this day. The backyard of Hamnyeongjeon Hall was also renovated into a new shape during the first phase of construction. Originally, there was a terraced flowerbed called Hwagye (花階) in the backyard of Hamyujae Hall (咸有齋) and Hamnyeongjeon Hall, and it was restored from the construction that took place after the Great Fire of Deoksugung Palace. In the process of turning Deoksugung Palace into a park, a three-stage stonework was built in the front yard of Jeonggwanheon Pavilion (靜觀軒) which renovated the Hwagye in the backyard of Hamyujae Hall and Hamnyeongjeon Halll. The stonework built at that time was used as a peony garden to provide visitors with attractions after the opening of Deoksugung Palace, and it remains today with the name Jeonggwanheon's Hwagye. The backyard of the Jeukjodang Hall area is a case of damage in the second phase of construction in 1933. Like the backyard of Hamnyeongjeon Hall, the backyard of Jeukjodang Hall, where the Hwagye was originally built, was converted into a Japanese-style garden in the process of turning Deoksugung Palace into a park. The site where the Hwagye was demolished was decorated with a Japanese-style garden centered on mounding, small roads, and landscaping stones, as well as topographic control and planting work. Although there have been minor changes since liberation, the backyard of the Jeukjodang Hall area is still based on a Japanese-style garden created by turning Deoksugung Palace into a park.

• Journal of the Korean Society of Costume
• /
• v.56 no.1 s.100
• /
• pp.131-142
• /
• 2006

This research has been done based on the Jeon Si Gwa(田柴科) regulation, the monumental inscription material and the former studies. The background of adapting the official uniform regulation in the early Goryeo Dynasty has been surveyed. Differentiating criterion in the official uniform color like purple(紫衫), red(丹衫), red(緋衫), and green(綠衫) has been studied. The official rank had been classified by the color of the official uniform in the early Goryeo uniform regulation. The lower class had worn purple(紫衫). The purple wearing class had not been the government post but the official rank. Those who worked for the Palace had worn purple color since purple color represented the Imperial Palace on which TAI-IL(太一), that is, the highest one of gods dwelt. Those who had worn red(丹色) in the monumental inscription had worked for the job associated with the military service or Hanlim savant(翰林學士) of Kwangmun Academy(光文院) and Hanlim Academy(翰林元). Dan Seo(丹書) which recorded King's commands also means the monumental inscription. In the Goryeosa(高麗史), the military class had been only in Dan Sam(丹衫). That means those class worn Dan Sam(丹衫) could have been as the strong supportive class for the Dynasty. In the early Goryeo Dynasty, the four colored uniform regulation had followed the enforcing policy of the royal authority. It has been assumed that the uniform regulation had been used as a way of enrolling the new supporting class into the existing official system. Dan Sam(丹衫) which had been worn only in the early Goryeo can be seen as the special class for strengthening the royal authority.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
• /
• v.1
• /
• pp.306-329
• /
• 2024

Established in 1909, the Imperial Museum was the forerunner of Korean museums, and its collection formed the foundation of today's National Museum of Korea. However, when the Imperial Museum was first established in Changgyeonggung Palace, a zoo and botanical garden were created in addition to the museum. From 1911 onward, these three facilities were collectively referred to as Changgyeongwon Park. The zoo and botanical garden remained at Changgyeongwon when the museum was relocated in 1938, as did some of the items from the collection of the Yi Royal Household Museum. Among them were palanquins used by the royal family and folk items such as armor, as well as taxidermized birds. These stuffed birds were displayed in the corridor of Myeongjeongjeon Hall in Changgyeongwon, and were also displayed in the specimen hall at the back of Myeongjeongjeon Hall. The stuffed birds in particular should prompt a reconsideration of the nature of the Imperial Museum (Yi Royal Household Museum). The museum had been known as a prominent art museum, mainly collecting masterpieces of ceramics (such as Goryeo celadon), Buddhist sculptures, and paintings. However, this character seems to have been just one aspect of the museum. Along with the zoo, which housed live animals, and the botanical garden, which included greenhouses for tropical plants, the museum also featured specimens like taxidermy, suggesting that its initial aim, from a museological perspective, was to be a more comprehensive museum. Notably, Shimogoriyama Seiichi, who managed the general affairs of the museum, collected and cataloged Korean avian specimens from 1908 to 1917. This suggests that the zoo and botanical garden were not merely for entertainment purposes, but also served a museological purpose. However, the Imperial Museum (Yi Royal Household Museum) lacked the essential research and educational functions necessary for a museum, beyond its collecting and exhibition roles. For instance, although specimens of stuffed Korean birds were collected, they were not thoroughly researched. This indicates that while the museum's collection was acquired from a museological perspective, it did not advance into more specialized research. This study aims to examine how the characteristics of the Yi Royal Household Museum have evolved by analyzing the inventory of the museum's collections and the list of Korean bird specimens it held.

• Journal of the Korean Society of Costume
• /
• v.5
• /
• pp.141-152
• /
• 1981

Various ceremonial flags were of great importance to the rulers who wished to have the absolute authorities for governing the people. Perhaps nothing indicated the ideas, thoughts and symbols of a certain period and people than the ceremonial flags. The ceremonial flags used in the old China and Korea took the shapes of the heaven and the earth, representing the social backgrounds and thoughts. This study was limited only to the discussion of the heaven-shaped patterns of the ceremonial flags. The 28 constellations of the heaven, in the Oriental way of thinking, were considered to express the immortal powers of Providence and the political domination of the earth. Hence the Polaris, the center of the heaven, symbolized the whole family of king, prince, child born of a concubine and royal harem. Among the constellation pictures were those of Han period, wall painting of old tombs in Koguryeo kingdom and old Japanese kingdom. Referring to the Emperor's ceremonial flags in Daemyeongjibyei, symbolic meanings changed historically and the complete systems of the ceremonial flags were established in Song period when the divine person was drawn on the flags. Animals concerned properly with the particular star and the shapes of the star were both drawn on the flags in Won period and only the shapes of the particular star in Myeong period. In the Imperial enthronement of Kojong the ceremonial flags might be made by the examples of those of Myeong period and remains are now found at Changdeok Palace, which need a further study because the references in detail are not available.