• Conservation Science in Museum
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• v.22
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• pp.53-68
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• 2019

Two lime-soil mixture barrier tombs were excavated from the tomb complex of the Woo Family of the Danyang Wu clan dating to the Joseon dynasty in Godeung-dong, Seongnam-si, Gyeonggi-do. Relevant records offer information for more precisely dating these tombs and identifying their occupants. Tomb No. 4, in which a married couple was interred, has a corbeled square ceiling and inscriptions and paintings on its outer walls. The conservation treatment and an infrared inspection revealed that they were intended to express mourning. Tomb No. 6 has a corbeled rectangular ceiling and a single individual interred within. As the basic structure of the tomb was partially damaged in the process of disassembling it while moving the burial site, it was planned to exhibit the tomb outdoors after the remains and relics are collected. However, as the conservation treatment revealed the presence of funeral fans and pitch, and since the remaining structure clearly demonstrates the features of lime-soil mixture barrier tombs from the Joseon dynasty, the plan was changed following a meeting of an advisory council that decided in favor of presenting the tomb indoors. According to the analysis, the pitch is assumed to be resin of a rather low purity due to the immixture of foreign substances. The two tombs are expected to serve as important materials for related research, such as changes by period in the forms of Joseon-era tombs.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.168-182
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• 2014

Several Sungsi Gardens were built up in Old West Village during the period of the Joseon Dynasty. Most of them were painted as True-View landscape painting. This study aims at examining original locations of representative gardens of the Old West Village by empirical investigation of related True-View landscape paintings. It seeks to demonstrate the garden landscape in True-View landscape painting by utilizing ArcGIS, 3D topographic modeling to observe geographical locations and landscape more realistically. After forming 3D topographic modeling of estimated locations of the gardens, location of objects at composition of 3D modeling similar to True-View landscape painting was found by shifting viewpoints. And by overlapping the cadastral map on the modeling, we could verify the current lot number of the garden sites. The interpretation of processes and results are as follows. In the early stage, Chungpunggye garden was built at the very end of Mt. InWang valley. The site is hidden from the outside, and appeared as 'Enclosed Landscape'. In the middle stage, Chunghuigak garden was built between Okryu-dong valley and the surrounding ridge. It appeared as 'Semi-Opened Landscape'. In the late stage, Seowon garden was built at the highest level of the ridge among the research areas. It appeared as 'Prospective Landscape'. In the last period, Songsukwon garden, was built at a point of contact of the ridge end and surrounding residential area. So it appeared as 'Opened Landscape' to the town. In other words, the location, landscape and social function of the gardens in Old West Village had been gradually opened in Joseon Dynasty.

• Journal of Conservation Science
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• v.27 no.4
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• pp.371-380
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• 2011

For studying of the characteristics and structures of material in lacquer layer in Joseon Dynasty, 6 types and 7 pieces of sample were observed with the optical microscope and the polarizing microscope. For analyzing, SEM-EDS and FT-IR were used and TOF-SIMS was also used on trial. The former is directly varnished on the iron layer so the sample includes more iron component than the others. In the results of the trial analyzing in TOF-SIMS, it is possible to verify the minerals on the foundation layer with the infinitesimalsample. The analysis results of lacquer layer with FT-IR are compared with previous studies and all the samples have the spectrum of the lacquer. Through the result of the Joseon lacquer layer, there are not many samples, however, when it compared with unified Silla, the period of the Three States, and the previous era, the lacquer layers are simpler than the relics from previous era. It looks to have the relation with the simplification of manufacturing method because of expanding of the using of lacquer wares.

• The Korean Journal of Archival Studies
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• no.62
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• pp.225-258
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• 2019

Since the opening of Joseon in 1876, the photographic records of the late Joseon Dynasty and the period of the Korean Empire exist more than expected, considering the technological level and the social situations at that time. Photographs related to Korea can be distributed in various forms, such as illustrations of books printed to introduce Korea to Western society, plates of graphic journalism like newspapers or magazines, vintage prints, photo-postcards, stereo-photographs, card-type photographs, and lantern slides. There are still a great deal left in various archives of the Europe, America, Japan and Korea. According to related researchers, Korean-related photographs taken between 1863 and 1910, since Koreans were first photographed, were at least 3,000 to 4,000 cuts and the photo postcards issued was 25,000. It is said that most of them exist. This paper categorizes two ways of producing and distributing photographic records related to Korea, which were early modern times. The subjects of the photographs are clearly Korea or Koreans, but most of the producers of these photographs were Westerners and Japanese, who were imperial servants of imperialism. In the case of photography, there is a great possibility of distortion of the facts depending on the needs or perspectives of the producers. In order to correct the distortion, not only the contents of the photograph but also the intention of the producer, the production and the communication status should be grasped. This is because the problem of reading photograph records accurately and fairly in an age where there is no real experience is the cornerstone for understanding modern Korea correctly and broadly studying the Modern History of Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.3
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• pp.56-71
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• 2013

This study was carried out to investigate the construction background of multi-functional vacant grounds in the rear gardens of Kyeongbok Palace and Kyeongun Palace, by understanding the building history of multi-functional vacant ground during the Joseon Dynasty with a special reference to the places formed in the period of King Kojong. The multi-functional vacant grounds in the Palace were the important element from the political aspect of Joseon Dynasty, and became an infrastructure of a state - run organization. The vacant space between Kwangyeonlu(廣延樓) and Haeonjeong, the whole region of Yeolmujeong(閱武亭), Seochongdae(瑞蔥臺), and Chundangdae(春塘臺) were investigated as the multi-functional places, where the events were held for the royal family in the Changdeok Palace after the establishment of the Joseon Dynasty. Various events such as the archery competition, official examination and military training were held at the places. After the inauguration of King Kojong, Kyeongmudae(京武臺) was made in the process of the reconstruction of the Kyeongbok Palace. The Kyeonghee Palace was used as the off-palace rear garden after the year that King Kojong returned to the Kyeongun Palace. The characteristics of two spaces were to apply the space organization of the Changdeok Palace into the rear garden outside of Sinmumun(神武門), Kyeongmudae at Kyeongbok Palace and the pedestrian overpass was established to connect the spaces efficiently in Kyeonghee Palace. Especially, the multi-functional vacant ground in the rear garden during the period of King Kojong functioned as the place to show off the internal and external independence of a nation and to show the authority and dignity of King at the point of time that accelerated the plundering Joseon Dynasty by Japanese imperialism powers, beyond the meaning of national event space that had existed before, such as official examination or archery test. In addition, the fact that the multi-functional vacant ground used as training place for military exercise where many people were mobilized was considered to reflect the contemporary situation.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.180-203
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• 2020

In this study, the period before the Gwanbok of meritorious vassals' portraits was expressed in the acheongsaek-Heuk-Danryung was defined as the first period, and the costumes worn in portraits of meritorious vassals from Gaeguk (1392) in the early Joseon Dynasty to Jwali (1471) during the era of King Seongjong were reviewed. The portraits(1476) of Jeokgae meritorious vassals (1467) depicted as the Gwanbok of acheongsaek Heuk-Danryung were excluded. Among the copies that are currently considered to be portraits of meritorious vassals belonging to the first period, the portraits of Lee-je, Lee Cheon-woo, Ma Cheon-mok, Shin Suk-ju, Seol Gye-jo, and Lee Sung-won were selected, and the formative characteristics of Gwanbok components were examined. The Samo of Sam-Gongsin in the early Joseon Dynasty had a low height, a rounded end, and the side wings were narrow and short. However, since King Danjong, Jeongnan·Jwali meritorious vassals retained a higher form, and the side wings were twice as long. It was also confirmed that the pattern was not expressed in the side wings. The Danryung was expressed in light-colored Danryung without specific colors at the beginning of the country. After King Sejong, the Heuk-Danryung system for Yebok began, but it was not reflected in the Gwanbok of meritorious vassals' portraits, and was expressed as damhongsaek-Danryung after King Danjong. The pattern was not expressed on the exterior of the Danryung, and inner-wrinkled Mu was expressed on the side line. The Dapho and Cheolrik, the undergarments of the Danryung, were also confirmed as being blue (the Dapho) and green (the Cheolrik) after the Jeongnan meritorious vassals. The early Sam-Gongsin's Pumgye was expressed by rank belt, but as the system of rank badge was established after King Danjong, it began to express the Pumgye by rank badge and rank belt. Among the portraits of meritorious vassals, the rank badge was expressed only in the portrait of Sin Suk-ju, a Jeongnan meritorious vassal. As Hwaja worn on the Danryung, Heuk-hwa were confirmed in the Sam-Gongsin portraits of the early Joseon Dynasty. However, in the portraits of Jeongnan and Jwali meritorious vassals after King Danjong, the Baek-hwa was confirmed. In addition, in the seam parts of the Heuk-hwa and Baek-hwa identified in some portraits of meritorious vassals, Hwi decorated with yeongeumsa were identified, and it was found that the Hwaja decorated with Hwi were the Hyeopgeum-hwa worn by the 3rd rank and above.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.318-345
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• 2013

This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.6
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• pp.64-79
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• 2021

In Korea, mountains constitute 60 percent of the total land area. For a long time, mountains have been deeply involved in people's daily lives, acting as a significant layer of culture. For those reasons, it would be meaningful to shed light on the values of the mountain culture of Korea and seek various ways to utilize them. Therefore, this study aims to explore Korea's mountain enjoyment culture, considering the mountain leisure in the Joseon Dynasty period, when the heritage of mountain enjoying culture was prevalent, and that of the present era. For the analysis, hiking records of the Joseon Dynasty and present-day hiking blog posts related to three famous mountains in Korea were examined. Findings show that people stayed in the mountains for a long time in the Joseon Dynasty, concentrating on the landscape deeply, and various academic and artistic cultures flourished there. In contrast, contemporary people regard the mountain merely as a space to access the peak and climb down quickly within a day. Therefore, the landscape of the mountain cannot be used as a cultural asset beyond natural scenery. However, there are several positive aspects to today's climbing culture. For example, it is easy to obtain information on climbing and feasible ways to conduct various sizes and concepts of hiking due to the development of technology and transportation. In order to develop Korea's unique mountain enjoyment culture in the future, we should propose a 'leisurely hike' that allows people to enjoy the mountain scenery fully and sublimating it into culture, rather than being hiking that is limited to climbing. In addition, it is essential to create suitable spaces, arranging them appropriately to utilize the history and humanities context of the mountain, and connect local facilities and the workforce, thereby causing the development of various mountain enjoyment cultures.

• (The) Research of the performance art and culture
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• no.35
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• pp.441-470
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• 2017

This paper deals with three issues related to influx and change of the Confucian Shrine Ritual Music. First, the musical instrument of the Akhakgwebeom-wooden frame-form used in the current Confucian Shrine Ritual Music is not a form that came in when the Daesung-Aak of the Song Dynasty was introduced in 1116, but it is a Yuan Dynasty form brought from the Ming Dynasty, in the 19th year of King Kongmin. In the Song Dynasty of the Goryeo Yejong era, when Daesung-Aak came in, there was not yet 'Baeso', a musical instrument of the Akhakgwebeom form, which first appeared in the Yuan Dynasty. A new musical instrument named 'Baeso' appears with the 'So' in the later period of King Gongmin, and it is very likely that this 'Baeso' is the musical instrument of the present Akhakgwebeom form. Second, although the form of the 'So' in the Joseon Dynasty recorded in the Akhakgwebeom was followed by the Chinese one, but the pitch and arrangement are the one of the pitch of '12 Yul and 4 Cheongseong' and the arrangement of the pitch from left to right. Third, in the 1930s, the whole form was the same as that of the Akhakgwebeom, but there existed two types, which several pipes stick together or pipes fall apart. But since then, as seen in the musical instrument located at Kyungpook National University Museum and in instruments currently used in Confucian Shrine Ritual Music, only musical instruments exist which pipes fall apart. It is unclear for what reason and to what extent the 'So' were so transformed, but it would be appropriate to re-establish the form of the 'So' in the musical and historical point of view.

• Journal of the Korean Geographical Society
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• v.45 no.5
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• pp.647-668
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• 2010

As well as "Sangyeongpyo," "Gogyeong-Jeongripyo," table of national road transportation system is important to comprehend identity of national geography in Joseon era even if it had not been researched yet. The aim of this study is to divide type of these tables and find its genealogy through mainly analyzing the road network and land names. As the result of this research, "Yeojigo," topographical researches of Korea, edited by Shin Gyeong-Jun as a palt of "Dongguk-Munheonbigo" official book in natural history of the Joseon Dynasty published in 1770, might be identified as the origin for all copy of "Gogyeong-Jeongripyo." Then "Gogyeong-Jeongripyo," can be divided into at least three major types; almost direct descent of "Yeoji go" as 'type1', minor modification as 'type2', and hybrid edition(type3) with second type that quoted many land names as route information from "Dorogo," another topography specialized for road transportation. Since "Dorogo" was also composed by Shin, after all, all genealogy of "Gogyeong-Jeongripyo" came from him.