• Publications of The Korean Astronomical Society
• /
• v.39 no.1
• /
• pp.13-26
• /
• 2024

The armillary sphere, an astronomical observation device embodying the Orbital Heaven Theory of the Later Han Dynasty in China, holds both historical and scientific significance. It has been produced in various forms by many individuals since its inception in the era of King Sejong in the Joseon Dynasty. A prominent figure in this field was Nam Byeong-cheol (南秉哲, 1817-1863), known for his work 'Uigijipseol' (儀器輯說), published in 1859, which detailed the history, production methods, and usage of the armillary sphere. This text particularly highlights 21 applications of the armillary sphere, divided into 33 measurements, covering aspects like installation, time, and positional measurements, supplemented with explanations of spherical trigonometry. Despite numerous records of the armillary sphere's design during the Joseon Dynasty, detailed usage information remains scarce. In this study, the 33 measurements described in 'Uigijipseol' (儀器輯說) were systematically classified into six for installation, nineteen for position measurement, seven for time measurement, and one for other purposes. Additionally, the measurement methods were analyzed and organized by dividing them into the ecliptic ring, moving equatorial ring, and fixed equatorial ring of the armillary sphere. In other words, from a modern astronomical perspective, the results of schematization for each step were presented by analyzing it from the viewpoint of longitude, right ascension, and solar time. Through the analysis of Nam's armillary sphere, this study not only aims to validate the restoration model of the armillary sphere but also suggests the potential for its use in basic astronomical education based on the understanding of the 19th-century Joseon armillary sphere.

• Proceedings of the Korea Society of Costume Conference
• /
• 2004.08a
• /
• pp.340-341
• /
• 2004

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.40 no.2
• /
• pp.1-13
• /
• 2022

This paper examined the history and development of Gyeongbokgung Palace's back garden based on historical materials and drawings such as Joseon Ilgi(Diaries of Joseon Dynasty), Joseon Wangjo Sillok(the Annals of the Joseon Dynasty), Doseongdaejido(the Great Map of Seoul), Bukgwoldohyeong(Drawing Plan of the Northern Palace), the Bukgung Palace Restoration Plan, Restoration Planning of Gyeongbokgung Palace and the following results were derived. First, it was confirmed that the Back Garden of Gyeongbokgung Palace was famous for its great location since the Goryeo Dynasty, and that it was named Namkyeong at that time and was a place where a shrine was built, and that castles and palaces were already built during the Goryeo Dynasty under the influence of Fengshui-Docham(風水圖讖) and Zhouli·Kaogongji(周禮考工記). Although the back garden of Gyeongbokgung Palace in the early Joseon Dynasty stayed out of the limelight as a back garden for the palace, it has a place value as a living space for the head of the state from King Gojong to the present. Second, in order to clearly identify the boundaries of back garden, through literature such as map of Doseongdo (Map of the Capital), La Coree, Gyeongmudae Area, Japanese Geography Custom Compendium, Korean Photo Album, JoseonGeonchukdoJip(The Illustration Book of Joseon Construction), Urban Planning Survey of Gyeongseong, it was confirmed that the current Blue House area outside Sinmumun Gate was built outside the precincts of Gyeongbokgung Palace. It was found that the area devastated through the Japanese Invasion of Korea in 1592, was used as a space where public corporations were combined through the process of reconstruction during the King Gojong period. In Japanese colonial era, the place value as a back garden of the primary palace was damaged, as the palace buildings of the back garden was relocated or destroyed, but after liberation, it was used as the presidential residence and restored the place value of the ruler. Third, in the back garden of Gyeongbokgung Palace, spatial changes proceeded through the Japanese Invasion and Japanese colonial era. The place with the greatest geographical change was Gyeongnongjae area, where the residence of the Japanese Government-General of Korea was built, and there were frequent changes in the use of the land. On the other hand, the current Gyeongmudae area, the forests next to the small garden, and the forests of Baekak were preserved in the form of traditional forests. To clarify this, 1:1200 floor plan of inner Gyeongmudae residence and satellite images were overlapped based on Sinmumun Gate, and as a result, it was confirmed that the water path originating from Baekak still exists today and the forest area did not change. Fourth, in the areas where the traditional forest landscape was inherited, the functional changes in the topography were little, and major old-age colonies are maintained. The old trees identified in this area were indicator tree species with historical value. Representatively, Pinus densiflora for. multicaulis Uyeki, located in Nokjiwon Garden, is presumed to have been preserved as one of Pinus densiflora for. multicaulis Uyeki planted next to Yongmundang, and has a historicality that has been used as a photo zone at dinners for heads of state and important guests. Lastly, in order to continuously preserve and manage the value of Gyeongbokgung Palace in Blue House, it is urgent to clarify the space value through excavation of historical materials in Japanese colonial era and establish a hierarchy of garden archaeology by era. In addition, the basis for preserving the historical landscape from the Joseon Dynasty to the modern era from Gyeongbokgung Palace should not damage the area of the old giant trees, which has been perpetuated since the past, and a follow-up study is needed to investigate all the forests in Blue House.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.4
• /
• pp.1-21
• /
• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Korean Journal of Heritage: History & Science
• /
• v.49 no.1
• /
• pp.84-97
• /
• 2016

One of the assimilation policies of Japanese imperialism for the permanent domination in the colonial Joseon is the theory of integration of Japan and Joseon. The theory of integration of Japan and Joseon is a logic that Joseon (Korea) and Japan (Wae) were connected to the same ancestor on the basis of ancient myths. Also it is the assimilation ideology to justify the Colonial rule of those days through the objectification of historical identity or affinity of political and cultural relations of ancient Korean peninsula and Japan (Wae). Japan reorganized our history to meet the colonial point of view, as part of the assimilation policies based on the theory of integration of Japan and Joseon. On the other hand Japan attempted to objectify them through archaeological research and the reinterpretation of the historical remains. The survey, reinterpretation and tourist of the historic sites in historic cities such as Gyeongju and Buyeo were promoted in this context. In particular, the Buyeo, a capital of Baekje, was emphasized upon the close relevance and affinity between Sabi, Baekje and ancient Asuka (飛鳥) in Japan through research and reinterpretation on the Historic Sites. Based on them, Historic Sites Tourism was conducted by reconstructed historic sites toward the colonial Korean. In addition, after the Sino-Japanese war in 1937, Japan tried to realize the politics of space by upgrading and idealizing Buyeo as homeland or Shinto (神都) related to Japanese ancient mythology of the Asuka culture. This paper investigated in what context research, reinterpret and tourist of the historic sites progressed on Buyeo area and how it had soaked through the general public in the Japanese colonial era. First, it is on historic sites. Historic sites research on Buyeo area made an attempt by Sekino Tadashi in 1909 for the first time and the re-excavation of the old burial mounds and temple sites during the Japanese colonial period. Sekino set up a cultural relationship and influences between the ancient China (梁), Korea (百濟) and Japan (倭). Also, he emphasized that Sabi, Baekje largely received influence of Chinese culture and Baekje and Japan Asuka culture had closely relations and affinity. These views had been consistent during the Japanese colonial period. Second, it is the reinterpretation on Historic sites. Buyeo Historic Sites Preservation Society (Buyeo Gojeok Bojonhoe) was established in 1915 and Osaka Kintaro, curator of Baekje exhibition hall redefined the relationship between ancient Japan and Baekje as perspective of the assimilation ideology through the post contextual interpretation. In particular, they emphasized on the close relevance between Baekje's Historic sites and Japan, through the reinterpretation of Nakhwaam, Goransa and Cheongmasanseong. Third, it is the tourist on Historic sites. Buyeo Historic Sites Preservation Society played a leading role in Tourist on Historic sites at the Buyeo region. The main tourist destinations and course were restructured through a reinterpretation on the historic sites. Japan would like to show Buyeo as ideology area, homeland of ancient Japanese culture, toward the Koreans under Japanese colonial era. Thus, research, reinterpretation, and tourism on Historic sites were promoted while they were closely related to each other. The promoting body was Joseon Chongdokbu and pro-Japanese interest group. It's point was 'made' and 'shown' by the eyes of others and a rediscovery of Buyeo as representational space of colony.

• Journal of Ginseng Culture
• /
• v.4
• /
• pp.13-37
• /
• 2022

Even before recorded history, the Korean people took ginseng. Later, poetry passed down from China developed into a literary style in which intellectuals from the Silla, Goryeo, and Joseon Dynasties expressed their thoughts concisely. The aim of this paper is to find Korean poems related to ginseng and to look for their semantic network. To this end, "Korea Classical DB ", produced by the Institute for the Translation of Korean Classics, was searched to find ginseng poems. As the result of a search in November 2021, two poems from the Three Kingdoms Period, two poems from the Goryeo Dynasty, and 23 poems from the Joseon Dynasty were searched. An examination of these poems found that the first ginseng poem was "Goryeoinsamchan," which was sung by people in Goguryeo around the 6th century. Ginseng poetry during the Goryeo Dynasty is represented by Anchuk's poem. Anchuk sang about the harmful effects of ginseng tributes from a realistic point of view. Ginseng poetry in the Joseon Dynasty is represented by Seo Geo-jeong in the early period and Jeong Yakyong in the late period. Seo Geo-jeong's ginseng poem is a romantic poem that praises the mysterious pharmacological effects of ginseng. A poem called "Ginseng" by Yongjae Seonghyeon is also a romantic poem that praises the mysterious medicinal benefits of ginseng. As a scholar of Realist Confucianism, Dasan Jeong Yak-yong wrote very practical ginseng poems. Dasan left five ginseng poems, the largest number written by one poet. Dasan tried ginseng farming himself and emerged from the experience as a poet. The story of the failure and success of his ginseng farming was described in his poems. At that time, ginseng farming was widespread throughout the country due to the depletion of natural ginseng and the development of ginseng farming techniques after the reign of King Jeongjo. Since the early 19th century, ginseng farming had been prevalent on a large scale in the Gaeseong region, and small-scale farming had also been carried out in other regions. What is unusual is Kim Jin-soo's poem. At that time, in Tong Ren Tang, Beijing (the capital of the Qing Dynasty), ginseng from Joseon sold well under the "Songak Sansam" brand. Kim Jin-Soo wrote about this brand of ginseng in his poem. In 1900, Maecheon Hwanghyeon also created a ginseng poem, written in Chinese characters. Thus, the semantic network of Korean ginseng poems is identified as follows: 1) Ginseng poetry in the spirit of the people - Emerging gentry in the Goryeo Dynasty (Anchuk). 2) Romantic ginseng poetry - Government School in the early Joseon Dynasty (Seo Geo-jeong, Seonghyeon, etc.). 3) Practical ginseng poetry - Realist School in the late Joseon Dynasty (Jeong Yak-yong, Kim Jin-soo, Hwang Hyun, etc.). This semantic network was extracted while examining the development of Korean ginseng poems.

• Journal of architectural history
• /
• v.22 no.4
• /
• pp.73-82
• /
• 2013

This study aims to find architectural characteristic of Nam-kwan-wang-myo as known as Nam-myo, Especially focusing on difference between before and after it's reconstruction in 1899. Nam-kwan-wang-myo is a shrine for Kwan-woo who was warlord in ancient china. Belief of Kwan-Woo was introduced to Korea in Japanese invasion of 1592 and the shrine was built in 1598. Belief of Kwan-Woo diffused for the late Joseon, during the reign of Gojong, many people have faith in Kwan-Woo including the king. There was four Kwan-wang-myo around the Hanyang at that time. In 1899 a fire of unknown cause broke out at Nam-kwan-wang-myo, so the main buildings burned down. The king instructed reconstruction of the shrine even though there was in financial difficulties, it had done in the midst of a national crisis. The buildings almost restored as before. The buildings in the shrine has strong characteristics of Chinese architecture because it made by people of the Ming dynasty. Two side-by-side roofs, accumulated brick exterior are important architectural feature, but also all the buildings in the mail hall area Surrounded by the closed-connected fence is hard to find examples in Korea traditional architecture. And Nam-kwan-wang-myo just had maintained architectural characteristics including layout of buildings, shape of the each building until it's reconstruction(1899).

• Journal of Korea Technical Association of The Pulp and Paper Industry
• /
• v.47 no.4
• /
• pp.168-176
• /
• 2015

The history of paper folding had continued before that the paper manufacturing technique was spread in the 3rd century and it was used for witchcrafts and rituals. Fold means as was used with the word Cheop and Jeopji. In the Three Kingdoms period, the conical hat with fabric spread as customs, then it was made of the paper that led the popularization of paper folding form the early Joseon Dynasty. Paper crafts and living things with paper are mostly derived from fabrics except the paper written for saint's name related God. In the period of the tribe nation, witchcrafts and rituals brought to Japan via the Korean Peninsula, as a result Kami which means God in Japanese that becomes the paper. The first folding fan was made to develop from the fan, Baekseopsun in the end of Goryeo Dynasty. It was an outstanding application of paper folding crafts. Since the early Joseon Dynasty, paper flower folding has considered as the virtue of savings and has developed one of the Korean traditional paper arts. Paper folding has also developed in the practical uses like the other Korean paper arts but paper folding that was developed as seasonal customs, playing or religious purpose showed a different trend from Korean paper arts.

• Journal of Korea Technical Association of The Pulp and Paper Industry
• /
• v.44 no.6
• /
• pp.9-14
• /
• 2012

Currently a variety of efforts to conserve and restore the injured the Annal of the Joseon Dynasty are continued and many studies about the aging pathway of the beeswax-treated volume have being progressed. In this study, two chambers were set up to assess the influence of VOCs(Volatile Organic Compounds) generated in process of beeswax deterioration. One chamber was closed and the other was continuously ventilated in order to remove the VOCs. In results, the acid compounds of beeswax-treated Hanjis aged in closed chamber was more than that aged in ventilated chamber. The folding endurance of beeswax-treated Hanjis aged in closed chamber was lower than that aged in ventilated chamber. Accumulated acid compounds of beeswax-treated Hanji in closed chamber may cause accelerated aging and strength decrease. In conclusion, accumulated acid compounds can accelerate the aging of beeswax-treated Hanji and cause the severe deterioration of inside of beeswax-treated volume. Therefore, to preserve more safely beeswax-treated volumes of the Annals of the Joseon Dynasty, it is essential that VOCs emitted from beeswax-treated volume are ventilated.

• Journal of the Korean Society of Costume
• /
• v.58 no.8
• /
• pp.63-73
• /
• 2008

From the ancient Korea to the late Joseon Korean fur and leather had been preferred in and out of Korea for their good quality and excellent manufacturing skill. Since Unified Silla (A.D.676${\sim}$A.D.936) Korean fur and leather were manufactured divisionally by workmen specialized in materials and products, and such manufacturing process was succeeded to Goryeo and Joseon. Manufacturing of fur and leather was consisted of as follows: hunting and butchering - peeling - beating with a paddle and removing fat - oil manufacturing - drying - tanning, then cutting and sewing, and there was a special caring method. In order to make good fur and leather, each process of manufacturing needed particular techniques and all available methods were tried to have tender fur and leather by using smoking, excrement, lime, vegetable tannin and even cerebral liquid. And also required mouth-chewing and hand-pounding with a lot of time and of labor Keeping furs resilience and flexibility, sowing several skins together, even when the after-all-process skin was converted into clothes, was much more difficult than sewing fabric. Thus, the manufacturing cost was as much expensive as skin materials, and the volume of manufacturing of fur and leather was also limited. Therefore, fur and leather must have been popular for scarcity value in the manufacturing process, and this scarcity must have caused an extreme luxury of fur.