• Journal of architectural history
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• v.22 no.4
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• pp.73-82
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• 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
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• v.47 no.4
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• pp.168-176
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• 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
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• v.44 no.6
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• pp.9-14
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• 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
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• v.58 no.8
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• pp.63-73
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• 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.

• Journal of the Korea Furniture Society
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• v.26 no.1
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• pp.31-50
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• 2015

This study analyzes traditional form and figurative characteristics of Ottchil Painting based on objective relics about long lasted Ottchil Painting and related literature as our country's national culture. Study range is among Lolang (Nangnang), Three Kingdom Dynastys (Koguryo, Baekje and Shilla), Unified Shilla Dynasty, Koryo Dynasty, Joseon Dynasty, Modern times and Contemporary. The method of study is after theoretical consideration of Ottchil Painting through related literature, adduced figurative characteristics of related Ottchil Painting by time period with case-study methods such as excavated relics and historical basis. Ottchil Painting consists of color, which is derived from Ottchil mixed with a mineral pigment of powder and various patterns and drawings using different techniques. The methods of Ottchil Painting are Myohoi, Yanggam, Gakhoik, Younma, Balsoa and Toiso. The techniques of Ottchil Painting of our country is established by splendid and unique for about 1,600 years revolved around Myochilchaehoi technique and Myoyuchaehoi technique started at Unified Shill a Daynasty and through Koryo, Joseon Dynasty, Modern times and Contemporary. Also, such this Ottchil Painting form of red in the inside and black in the outside, which is wood based, the rest is bamboo sheath and framework from Geonchil based and the figurative characteristics presented the traditional Patterns of Lotus, Phoenix, arabesque, bird, animal, cloud, marble and letter with red Ottchil, yellow Ottchil, or five colors Ottchil.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.11
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• pp.6884-6889
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• 2014

To understand the governing institutions' arrangement in an old city of the late Joseon dynasty, it is necessary to compare and weigh the detailed old map with regional geographical records Eupji. In particular, the investigation of 'Closure Land Registration Map' is indispensable, which was made in the period of the Japanese occupation. This study aims to restore the urban land lots arrangement of Cheonan-Gun's old center part in the initial period of the Japanese occupation, using the oldest 'Closure Land Registration Map(1940)' of Cheonan-Gun. The results of this study will be helpful in understanding the governing institutions' arrangement of Cheonan-Gun in the late Joseon dynasty.

• Journal of architectural history
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• v.26 no.2
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• pp.53-66
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• 2017

The purpose of this study is to estimate the location and space configuration of Sauidang(四宜堂), which is a house in the late Joseon period. Sauidang was built by Hong Man-hoe(洪萬恢), the last son of Princess Jeongmyeong(貞明公主), was used as a house for Pungsan Hong clan(豊山 洪氏) for approximately 150 years, and is now defunct. However, the existence was estimated through Sauidang-ji("四宜堂志") compiled by Gwan-am Hong Gyeong-mo(冠巖 洪敬謨) in 1824. Based on the mention that "Sauidang was located in Hundo-bang(薰陶坊) of Ihyeon-dong(梨峴洞)" and the literature referring to "the site of Myeongryegung Palace(明禮宮)", this study estimated the location of Sauidang. Maps and photographic data in the modern age enabled us to examine the utilization cases of medium- and large-sized lots by examining the correlation with the current Embassy of the People's Republic of China in the Republic of Korea. In addition, it was possible to estimate the spatial configuration of Sauidang with a focus on words to clarify the detailed explanation of Sauidang mentioned in the literature and spatial relationship.

• Publications of The Korean Astronomical Society
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• v.30 no.3
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• pp.789-800
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• 2015

During the Joseon dynasty, the Gwansanggam (觀象監, The Royal Astronomical Observatory) was the royal administration in charge of Astronomy (天文), Geography (地理), Calendars (曆), Astronomical and meteorological observation (測候), and Timekeeping (刻漏). Of those affairs, the Astronomical Almanac compilation was most important. In this paper, we study the education and selection of astronomical officials in the 19th century during the Joseon dynasty, focusing on Astronomical Almanac officials. According to this study, their main area was calendar calculation, and they were involved in Astronomical Almanac compilation for nearly 40 years, until they resigned. In addition, they served as Samryeok-susulgwan (三曆修述官, Official for calendar calculation by the $Sh{\acute{i}}xi{\grave{a}}n$ calendar), and Ilgwa-gamingwan (日課監印官, Official printing supervisor). To undertake these core duties, an official had to pass several examinations and courses. The Gwansanggam (after Gwansangso) carried out the educational function for the officials. In particular, reserved officials of the astronomy division had to be educated starting with a trainee course.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.26-40
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• 2009

The custom of the flag sticked in a military cap involves the symbolic mark. That is, it makes the procession of an army clear and makes the convenience of activity possible. This custom was uniquely practiced at several countries. At Il dynasty($1258{\sim}1411$), Timurid dynasty($1369{\sim}1508$), Mughal dynasty($1526{\sim}1858$) was succeeded this custom by based on blood relationship for $13th{\sim}16th$ century on the diachronic viewpoint. And these countries have cultural correlation by regional paradigm, namely Islamic cultural area. Meanwhile, this custom of Ming dynasty and joseon dynasty appeared in $15th{\sim}17th$ century as official system. Expecially, one of joseon dynasty maintained for a short time than other countries because of jangpyo[章標] system which was more efficient than the sticked flag. On the synchronic viewpoint, this custom was the common and necessary status quo for the efficient expansion of territory and military management.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.76-91
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• 2011

During the era of Joseon Dynasty when the Confucian ideas were prevailing all over the manners of living, most women were usually living separated in the boudoirs, the isolated living quarters exclusively for women, where they used to do much troublesome needleworks for the traditional kerchiefs and embroideries for which they poured out their souls and hand skills. And therefore, nowadays, such works are deemed much valuable for either formative or artistic point of view, and their legitimate cultural designs are receiving much publicity from a number of mass communications as one of the national competitive powers. Thus, I, the researcher for the subject study, have completed 1-year researching lessons on the traditional kerchief and embroidery of Ms. Hyeon-Hee Kim, the Mater-hand, at Korea Traditional Handicrafts Institute of Korea Cultural Heritage Foundation, and then engaged myself in the creative works relevant to the subject by cultivating the power of understanding to such field, restoring the techniques of the traditional handicrafts, reconstructing them into the modern sensual descriptions, and also trying to apply various transformations and modifications to them.