• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.81-91
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• 2013

Chongsanbyeolgok is one of Goryeo songs which might be composed in Goryeo dynasty, the composer of which is not known as well as other Goryeo songs. Balsang songs is structured with eleven songs that has been composed newly by King Sejong in Joseon Dynasty for using at Jongmyo (royal ancestral shrine), Johoe (royal audiences), performance, Gangbo is one of 11 songs in Balsang. In Sejongsillok, it is written that Balsang was composed by taking the melody and rhythm of gochwiak (processional music) or hyangak. Thus, it is interesting to know how gochwiak and hyangak, especially Chongsanbyeolgok affected structure and rhythm of Gangbo. As an analytical result of Gangbo and Chongsanbyeolgok, Gangbo consisted of 48 Haeng(line) repeated Chongsanbyeolgok's melody (10 Haeng) by three times. That is, 1-16, 17-32, and 33-48 Haeng of Gangbo excerpted from Cheongsanbyeolgok's melody, and those melodies of Gangbo are same or similar to Chongsanbyeolgok. In this report, Gangbo, one of Balsang's musics in Jos대n Dynasty is proven to be excerpted from the melody of Chongsanbyeolgok in Goryeo Dynasty and repeated.

• Journal of Astronomy and Space Sciences
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• v.32 no.1
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• pp.73-80
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• 2015

The Yang-gyeong-gyu-il-ui (兩景揆日儀) is a kind of elevation sundial using three wooden plates. Sang-hyeok Lee (李尙爀, 1810~?) and Byeong-cheol Nam (南秉哲, 1817~1863) gave descriptions of this sundial and explained how to use it in their Gyu-il-go (揆日考) and Ui-gi-jip-seol (儀器輯說), respectively. According to Gyu-il-go (揆日考) there are two horizontal plates and two vertical plates that have lines of season and time. Subseasonal (節候) lines are engraved between seasonal (節氣) lines, subdividing the interval into three equal lines of Cho-hu (初候, early subseason), Jung-hu (中候, mid subseason) and Mal-hu (末候, late subseason); there are 13 seasonal lines for a year, thus resulting in 37 subseasonal lines; also, there are 12 double-hour (時辰) lines for a day engraved on these plates. The only remaining artifact of Yang-gyeong-gyu-il-ui was made in 1849 (the $15^{th}$ year of Heon-jong) and is kept at the Korea University Museum. We have compared and analyzed Yang-gyeong-gyu-il-ui and similar western sundials. Also, we have reviewed the scientific aspect of this artifact and built a replica. Yang-gyeong-gyu-il-ui is a new model enhanced from the miniaturization development in the early Joseon Dynasty and can be applied to the southern part of the tropic line through a structure change.

• Journal of Astronomy and Space Sciences
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• v.32 no.1
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• pp.63-71
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• 2015

During the reign of King Sejong (世宗, 1418-1450) in the Joseon Dynasty, there were lots of astronomical instruments, including miniaturized ones. Those instruments utilized the technical know-how acquired through building contemporary astronomical instruments previously developed in the Song(宋), Jin(金), and Yuan(元) dynasties of China. In those days, many astronomical instruments had circles, rings, and spheres carved with a scale of 365.25, 100, and 24 parts, respectively, on their circumference. These were called the celestial-circumference degree, hundred-interval (Baekgak), and 24 direction, respectively. These scales are marked by the angular distance, not by the angle. Therefore, these circles, rings, and spheres had to be optimized in size to accomodate proper scales. Assuming that the scale system is composed of integer multiples of unit length, we studied the sizes of circles by referring to old articles and investigating existing artifacts. We discovered that the star chart of Cheonsang yeolcha bunyajido was drawn with a royal standard ruler (周尺) based on the unit length of 207 mm. Interestingly, its circumference was marked by the unit scale of 3 puns per 1 du (or degree) like Honsang (a celestial globe). We also found that Hyeonju ilgu (a equatorial sundial) has a Baekgak disk on a scale of 1 pun per 1 gak (that is an interval of time similar to a quarter). This study contributes to the analysis of specifications of numerous circular elements from old Korean astronomical instruments.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.45 no.6
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• pp.10-16
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• 2013

This study aims to carry out the final evaluation on the deterioration stability of dewaxing and strengthening treatments devised to conserve and restore the beeswax-treated volumes of the Annals of the Joseon Dynasty. Thus, this study artificially deteriorated dewaxed Hanji, strengthened Hanji and beeswax-treated Hanji with optimized processing conditions applied, and comparatively analyzed the deterioration characteristics of each kind of Hanji. As a result of this study, it turned out that there was the loss of physical strength and the value of $L^*$ was increased and the values of $a^*$ and $b^*$ were decreased from removing beeswax after dewaxing by supercritical fluid extraction (SFE). Also deteriorated strength during dewaxing was reinforced by strengthening treatment with methylcellulose and it showed higher strength than beeswax-treated Hanji. From the evaluation on deterioration stability after dewaxing and strengthening, it turned out that deterioration stability of strengthened Hanji is the superior. Therefore, it is presumed that conservation of aged beeswax-treated Hanji can be improved and extended when dewaxing and strengthening are applied under optimum conditions.

• Journal of Cadastre & Land InformatiX
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• v.49 no.1
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• pp.145-156
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• 2019

This study analyses land related problems and its features which stems from a concession established by the imperialist countries from the late Joseon Dynasty to the Japanese colonial period. In order to achieve the purpose of this study, literature review related to the installation of the treaty ports and a concession was conducted and a chronological analysis was applied. As a result of the study, the East China Sea and the Japan were opened by the Western powers in prior to the East Asia region, Korea was an open harbor port led by Japan, which had experience installing an open harbor. In this circumstance there was a system that allowed foreigners to freely reside and exercise exertion rights (exercise one's extraterritoriality), which was a disadvantage to Joseon. In addition, the Japanese-style land area unit "Pyeong" was used in Japan's highly influential prefecture, and later became the basis of the unit of land used in the 1910 land survey project.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.8
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• pp.77-86
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• 2018

The purpose of this study is to examine the condition of the architectural location and the history of Yeongbojeong and investigate the motivation which formed the YuSik space and the poetical circles of it. And another purpose of the study is to discover how Yeongbojeong, located in a military camp in Western coast, displayed the poetic scenery so to be the poetic summer house among so many Nujeongs in Joseon. Yeongbojeong is currently located in Soseong-ri, Ocheon-myeon, Boryeong City, Chungnam. Yeongbojeong has the biggest size among all the summer houses in the country with 24 architectural rooms. And Yeongbojeong is not only the summer house in which people could simply see its scenery, but beyond the poetic space of Joseon, it was the unique poetic summer house which enables poets and calligraphers to enjoy imaginary freedom. The time range of the study was from the building of Yeongbojeong in 1504 to its demolish in 1901, and its space range was taken focused on the particular scenery which was seen from around Yeongbojeong. To investigate the architectural aspect of Yeongbojeong, the existing records about the summer houses, "OcheonGoonJi" and the landscape paintings etc. were referred. The travel records and poems in the work collection of the famous poets who explored Yeongbojeong were referred to examine the formation of the Yeongbojeong poetical circles. The result of the study shows the process that Yeongbojeong had become the famous national place with scenery and how it became the most visited YuSik space. And this study figured out the full account of Yeongbojeong poetical circles which had been formed by so many poets of the country for 4 hundred years.

• (The) Research of the performance art and culture
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• no.32
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• pp.427-463
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• 2016

This article deals with five main theories about the origin of Yeonwahdae(蓮花臺), a Korean court dance(jeongjae; 呈才) and its transmission process through the age from Chinese Dang(唐) and Song(宋) to Goryo(高麗) and Joseon(朝鮮) in Korea. As a result, it was found that there was a significant difference between Chinese Chaj-u(?枝舞) dance and Korean Yeonwahdae, and furthermore there was an enormous change as it came to Joseon period in the number of performer, costume and music. Therefore, it is seriously necessary to select, restore the main version of Yeonwahdae in each period, and to make an effort to create new version of Yeonwahdae that reflects the spirit and taste of our time. Besides, it is important to inherit the inner spirit of Yeonwahdae as well as its outer appearance. Shortly, the main purpose of Yeonwahdae performance at present should be to reflect the most important, urgent issues of our time thereby to pray the welfare and prosperity of our country.

• SUVANNABHUMI
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• v.2 no.2
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• pp.1-28
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• 2010

This paper offers a brief introduction to Vietnamese folk paintings. The discussion compares Vietnamese folk paintings with the Korean folk painting tradition. Among the main purposes of this paper is the exploration of directions for future research on Vietnamese folk paintings. Vietnamese folk paintings, although extensively influenced by their Chinese tradition of minjian nianhua (folk New Year pictures), form an independent tradition, reflecting the local lifestyle and religious practices of Vietnam. However, compared to Korea or Japan, China remains the dominant source of influence for Vietnamese folk paintings. They were either created using a combination of painting and woodblock printing techniques, which was also the case with minjian nianhua, or using multicolor woodblock printing techniques. In cities like Hang Chong, the combination of painting and woodblock printing techniques was used mainly, following the customary practice in Yangliuqing in Tianjin, China, in which colors were added to the drawing printed from the woodblock. Meanwhile, folk paintings produced in rural areas such as Dong Ho are wholly color woodblock prints, similar to minjian nianhua from Yangjiabu in Weifang. In Lang Sinh, simple drawings, intended for casual purposes, were also created using the combination of woodblock printing and painting techniques. Folk paintings produced in cities and rural areas were distinct from each other, not just in techniques, but also in terms of style and theme. Vietnamese folk paintings show a certain degree of thematic similarity with Joseon folk paintings. This is mainly due to the fact that the two countries' folk paintings developed and evolved in parallel with their Chinese counterparts, minjian nianhua. Also noteworthy is the fact that Vietnamese folk paintings, while they share the simplicity and candidness of Joseon folk paintings, are at the same time somewhat more decorative than the latter. For best results, future research on Vietnamese folk paintings should be conducted together with research on minjian nianhua. Traditional pigments constitute an important area of research in this field. Attention should be also paid to the religious paintings of ethnic minorities in Vietnam, as they are discovered in the future.

• Journal of architectural history
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• v.32 no.5
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• pp.81-94
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• 2023

Haeju was home to the Hwanghae-do Provincial Office and a hub for supporting the northwestern regions of Korea. Local commerce expanded in Haeju during the late Joseon period based on its abundant resources and regional products, leading it to evolve into a large city. King Seonjo temporarily resided in Haeju while seeking refuge from the Japanese Invasions of Korea, and Yi Yi (sobriquet: Yulgok) secluded himself in Seokdam in Haeju in his later years. King Seonjo's residence in Haeju and Yi Yi's retirement there boosted interest in the city among the literati and influenced its places of scenic beauty. The development of its local history and literary achievements were documented in a wide variety of historical records and visual materials. Eight scenic views in Haeju became famous through a poem written by Seong Su-ik in the late sixteenth century. Around the mid-eighteenth century, eight new scenic views became popular. Local officials and travelers from other regions produced a vast body of prose and poetry focusing on the landscape and society of Haeju, playing a crucial role in raising awareness of its scenic attractions. Most surviving visual materials related to Haeju were created in and after the nineteenth century. Many of them illustrate both landscapes and the everyday lives of people. Among them, paintings of scenic spots created by Jeong Seon (sobriquet: Gyeomjae), who never actually visited Haeju in person, raises some of the issues posed by relying on indirect materials. In contrast, Eight Scenic Views of Haeju, which is presumed to have been produced by a local painter, appears to have accurately highlighted the characteristics of each scenic spot. Moreover, Haejudo, a folding screen presenting a panoramic view of Haeju, incorporates content from paintings depicting eight scenic views, in this case Eight Scenic views of Haeju. This practice can be observed in visual materials of other provincial cities.

• Cross-Cultural Studies
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• v.48
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• pp.67-106
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• 2017

This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.