• Journal of architectural history
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• v.29 no.6
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• pp.57-65
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• 2020

This study covered the Mulmae, architectural drawing recorded on Yeonggeon-uigwes and Sanleung-uigwes during the late Joseon Dynasty. In uigwes, the term 'Mulmae' was used as a mixture until the 17th century, but from the 18th century, the term 'Mulmae(勿乙每, 勿每, 水每)' was unified into 'Mulmae(水每)'. The paper of the Mulmae was made to be used during the construction period by using a thick oil paper called Yudun. Four Yudun were connected, and its size was 197.4×141cm, which was rather large. The Yingzaofashi(營造法式) of Song Dynasty describes how to draw a longitudinal section on a scale of 1/10. The scale of 1/10 was the maximum when comparing the size of the Mulmae with the buildings in uigwes. A sectional drawing of Gongpo in Geunjeongjeon was drawn on a scale of 1/10. There is a testimony that a senior carpenter drew a cross-section on a scale of 1/10. Therefore, it was determined that the scale of the longitudinal section drawn on the Mulmae paper was 1/10. The term 'the Mulmae' was used equally by carpenter active in Japanese colonial era. The scope of the painting was clarified from pillar to rafter. Uigwes records that the Mulmae was made for wood processing. Through this, it can be understood that the Mulmae painted the entire structure as a longitudinal section.

• Archives of design research
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• v.19 no.5 s.67
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• pp.151-160
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• 2006

When it comes to the paintings in Joseon Dynasty, landscape and a genre paintings were popular but it was Minhwa that people of every dass loved. Minhwa contained not only true meaning of a picture, but also it was simple and straighforwardly depicted. Among them, paintings in books belonging to the Joseon Dynasty (hereinafter called Checkgeori paintings) describe a small universe in which people live harmoniously in nature on the basis of a Confucian society. In addition, it shows modern philosophy in paintings and makes a feature of human life. In this paper, 'Ssangpok Checkgeori 'in Checkgeori paintings illustrates the relationships between things such as color, arrangement, place and direction. They have outstanding features such as the direction of things in composition, multiple vanishing points, a folding screen constituent and movement of viewpoints. Therefore, we come to know the painting method of 'Ssangpok Checkgeori' can be applied to modern paintings.

• The Research Journal of the Costume Culture
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• v.22 no.5
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• pp.712-727
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• 2014

Dahoejangs in the Joseon Dynasty were craftsmen who belonged in the Gyeonggongjang in Hansung government office. Out of 2,841 craftsmen who specialized in 129 types of work, 1 of them were Dahoejangs. Dahoejangs were craftsmen who made cords. However it was not passed down and currently Maedeupjangs are making cords and making Maedeup with the cords they have made. In the Uigwes the composition of Dahoejangs number and types of tools used in creating good for ceremonies are indicated. This study has found records of Dahoejangs from 50 Uigwes. The tools used were indicated as Haesagee, Hapsagee, Hapseongee, Yeonsagee, Sangsagee, Dahoegee, Yungjapan and some others. Haesagee is a tool that winds thread from a skein to a spool. Hapsagee is a tool that combines more than two yarns together. Hapseon is for combining thicker threads. Yeosagee is not a process of scouring for refining, but is assumed to be a tool to twisting yarn. There are no information left about the shape or working methods of Sangsagee but it is considered to be a tool for doubling several threads together. Based on the existing artifacts and painting of Dahoe, it is assumed that threads were woven on usually a round plate or bowl. Youngjapan is considered to be a tool for making tassels. This shows that Dahoejangs made tassels and it was completely separate from making Maedeups. There, it is evident that Dahoejangs made cords as well as tassels but the work of Maedeupjang were constricted to only making Maedeup with the cords given to them.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.113-114
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• 2015

본 연구는 조선시대 관폭도를 중심으로 옛 선인들의 명승 인식 태도에 관하여 살펴보고자 하였다. 연구결과 폭포 표현은 폭포의 형상이나, 조망하는 대상에 있어서 차이가 있지만 관념 산수에서의 폭포가 지니는 의미는 변하지 않았다. 폭포는 이상향과 속세의 경계이면서 동시에 관조의 매개체가 되었고, 단순히 풍경의 의미가 아닌 관조적 대상의 장면으로 인식하는 경향이 컸다.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.2
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• pp.49-63
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• 2012

The popular landscape paintings in Jaseon Dynasty had become the prototypes of the paradise of people and played the essential role in making the typical types of garden in those times. The representative types of the paintings include , , and etc. They made ways to produce the typical types of Joseon landscape gardens such as 'Dowon Type Gardens', 'Gugok Type Gardens', 'Prospect Type Gardens' and 'Gilji Type Gardens' etc. The types of garden above showed their landscape characteristics corresponding with the types of painting respectively. The 'Dowon Type Gardens' mostly located at the mountain valley showed enclosed landscape suited for refuge it corresponds with the composition of . The 'Gugok Type Gardens' mostly located at the long and winding valley composed of sequential sceneries with open and enclosed views corresponding with the composition of . The 'Prospect Type Gardens' located mostly m the hilly sites holds open views contrasting with the earlier types, and activated with the influence of . The 'Gilji Type Gardens' influenced by extended their territory beyond the main garden and made the vicinity areas, including the whole village, a paradise in respect with feng shui. Most of the garden types in Joseon Dynasty have alternated the bipolar characteristics of Prospect and Refuge in time and area respectively.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.217-253
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• 2020

This study analyzes the principles of the 'Earthly Paradise' (仙境, the realm of immortals), 'Virtuous Concordance of Yin and Yang' (陰陽合德), and the 'Reordering Works of Heaven and Earth' (天地公事) while combining them with Joseon art. Therefore, this study aims to discover the context wherein the concept of Taiji in 'Daesoon Truth,' deeply penetrates into Joseon art. Doing so reveals how 'Daesoon Thought' is embedded in the lives and customs of the Korean people. In addition, this study follows a review of the sentiments and intellectual traditions of the Korean people based on 'Daesoon Thought' and creative works. Moreover, 'Daesoon Thought' brings all of this to the forefront in academics and art at the cosmological level. The purpose of this research is to vividly reveal the core of 'Daesoon Thought' as a visual image. Through this, the combination of 'Daesoon Thought' and Joseon art will secure both data and reality at the same time. As part of this, this study deals with the world of 'Daesoon Thought' as a cosmological Taiji principle. This concept is revealed in Joseon art, which is analyzed and examined from the viewpoint of art philosophy. First, as a way to make use of 'Daesoon Thought,' 'Daesoon Truth' was developed and directly applied to Joseon art. In this way, reflections on Korean life within 'Daesoon Thought' can be revealed. In this regard, the selection of Joseon art used in this study highlights creative works that have been deeply ingrained into people's lives. For example, as 'Daesoon Thought' appears to focus on the genre painting, folk painting, and landscape painting of the Joseon Dynasty, attention is given to verifying these cases. This study analyzes 'Daesoon Thought,' which borrows from Joseon art, from the perspective of art philosophy. Accordingly, attempts are made to find examples of the 'Virtuous Concordance of Yin and Yang' and Tai-Ji in Joseon art which became a basis by which 'Daesoon Thought' was communicated to people. In addition, appreciating 'Daesoon Thought' in Joseon art is an opportunity to vividly examine not only the Joseon art style but also the life, consciousness, and mental world of the Korean people. As part of this, Chapter 2 made several findings related to the formation of 'Daesoon Thought.' In Chapter 3, the structures of the ideas of 'Earthly Paradise' and 'Virtuous Concordance of Yin and Yang' were likewise found to have support. And 'The Reordering Works of Heaven and Earth' and Tai-Ji were found in depictions of metaphysical laws. To this end, the laws of 'The Reordering Works of Heaven and Earth' and the structure of Tai-Ji were combined. In chapter 4, we analyzed the 'Daesoon Thought' in the life and work of the Korean people at the level of the convergence of 'Daeesoon Thought' and Joseon art. The analysis of works provides a glimpse into the precise identity of 'Daesoon Thought' as observable in Joseon art, as doing so is useful for generating empirical data. For example, works such as Tai-Jido, Ssanggeum Daemu, Jusachaebujeokdo, Hwajogi Myeonghwabundo, and Gyeongdodo are objects that inspired descriptions of 'Earthly Paradise', 'Virtuous Concordance of Yin and Yang,' and 'The Reordering Works of Heaven and Earth.' As a result, Tai-Ji which appears in 'Daesoon Thought', proved the status of people in Joseon art. Given all of these statements, the Tai-Ji idea pursued by Daesoon Thought is a providence that follows change as all things are mutually created. In other words, it was derived that Tai-Ji ideology sits profoundly in the lives of the Korean people and responds mutually to the providence that converges with 'Mutual Beneficence.'

• Journal of Conservation Science
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• v.34 no.6
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• pp.557-568
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• 2018

The manufacturing techniques were studied by investigating a precise analysis on wall structure, features of materials and the painting layer of the bracket mural paintings at Daeungbojeon Hall in Naesosa temple. The wall frame is a single-branch structure, and The mural paintings are composed of 3 layers which are a support layer, a finishing layer and a painting layer. The support layer and the finishing layer are an earth wall that sand and clay such as Quartz, Feldspar, and etc. are mixed. The support and the finishing layers have a combination of medium particle sand and smaller than fine particle sand in the approximate ratios of 0.8:9.2 and 6:4, respectively. Therefore, the aforementioned ratio of sand with medium or large particles is relatively higher in the finishing layer than the support layer. As a result of a precise analysis on the painting layer, it has a relatively thick ground layer for painting which is maximum $456.15{\mu}m$ by using Celadonite or Glauconite and the paintings were colored by using pigments such as Atacamite, Kaolinite or Halloysite, Oxidized steel, and etc. on it. The manufacturing style and the painting techniques of an earth wall are included in the category of the Joseon Dynasty style that have been studied up to now, but the facts that the finishing layer has a high content of sand and a middle layer and chopped straw have not been identified. These are remarkable points in terms of structure and materials, and can be crucial in the evaluation of the state of conservation of mural paintings or preparation of a conservation plan.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• (The)Study of the Eastern Classic
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• no.66
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• pp.331-362
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• 2017

The paintings of the Eight Drunken Immortals refer to the paintings based on an influential poem called "The Song of the Eight Drunken Immortals" by Du Fu, a Chinese poet from the Tang Dynasty. This poem is about the eccentricity of the Eight Immortals known for their love of drinking. The Eight Drunken Immortals have been widely appreciated among East Asian intellectuals, and their stories have also been translated into paintings. Greatly influenced by Li Gonglin's Painting of the Eight Drunken Immortals, people in China have the tendency to create similar scroll paintings, using contour drawing tools. Meanwhile, in Korea, the paintings of the Eight Drunken Immortals have been widely appreciated both as a type of visual art embodying the Drunken Immortals' taste for the arts and as a meaningful object conveying the people's wish for longevity and eternal friendship. According to historical records, the paintings of the Eight Drunken Immortals from the Ming Dynasty were drawn on eight-fold folding screens using a sophisticated ink wash painting technique. In the meantime, the Painting of the Eight Drunken Immortals appreciated by King Jeongjo from the Joseon Dynasty was a colored landscape painting with small human figures on an eight-fold folding screen. Since the recent discovery of Yi Han-cheol's Painting of the Eight Drunken Immortals on an eight-fold folding screen, it has now become possible to imagine how renowned artists such as Kim Hong-do and Kim Yang-gi would have made the narrative figure paintings. In particular, the story of Li Bai, one of the Eight Immortals, was the most famous one often told in the paintings. After the 19th century, there was even an entire panel of narrative folding screen made about Li Bai. As painting manuals and outline drawings were pervasively used, the narrative paintings on Li Bai were mass-produced among commoners. As you can see from this, the Eight Drunken Immortals have been visually represented as thirsty souls who are not disconnected from the world, as honest men of refined taste for the arts, and as protagonists of an object that conveys the people's wish for longevity and eternal friendship. In other words, the paintings of the Eight Drunken Immortals embody multiple undertones: as paintings based on Du Fu's poems and as narrative paintings on the Eight Immortals.

• Journal of architectural history
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• v.21 no.1
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• pp.7-26
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• 2012

Nakseonjae in Changdeokgung Palace was established at The King Hunjong's 13rd year (1847), the mid-19th century. It was constructed for own rests of King Hunjong and the residence of Kyungbin (king's concubines), and is showing features of upper-class houses from several points such as rustic architectural types by getting out of authoritative aspects as king's shelter space within the palace, block and floor distribution that separated spaces for men and women, simplicity in structures and styles, and non-colorful painting etc. This study aims at tracing on which architectural types did the upper-class houses within Hanyang (modern Seoul) at late Joseon Dynasty have and what was characteristics of Nakseonjae. The resemblance between Nakseonjae and the upper-class houses was very little differences from scale aspects, and floor plan shapes of Anchae (women's quarters) and Sarangchae (men's quarters) were followed basic common styles. Also, resemblance could be confirmed in the structural styles too. Characteristics of Nakseonjae are showing apparent differences from clearance compositions such as hall configuration etc. Nakseonjae was king's dwelling place, and spaces for house's collateral functions such as kitchen, stable, and warehouse etc together with shrine were unnecessary, and such places were substituted into servants' quarters for assisting the Royal family. In detailed structural styles, column's size was larger 3cm or more than the upper-class houses, and its height was higher to the degree of 30~60cm. Besides, formality as king's shelter space was raised more in decorating aspects, and Nakseonjae was implemented by getting architectural influences from Qing Dynasty of China. This study induced features of Hanyang's upper-class houses at the 19th century by supplementing distribution and space configurations at existing cases of Seoul and Gyeonggi area together with house diagrams having been collected by Gaokdohyung (site and floor plan) of Jangseogak Library, and confirmed resemblances and differences with Nakseonjae, that is, features of Nakseonjae. Through the result, this study judges a fact that architecture of Nakseonjae seemed to be affected from conveniences of upper-class houses within Hanseong, and also architectural styles and distribution types of Nakseonje would give influences to the upper-class houses.