• Journal of the Korean Society of Food Culture
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• v.34 no.5
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• pp.495-507
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• 2019

This study investigates the Gabo Jaedong Jemuljeongnyechaek, which is the recording of the darye executed over a period of a year in 1834 ($34^{th}$ year of reign by King Sunjo) in the latter part of the Joseon Dynasty, two years after the death of Princess Bokon, the $2^{nd}$ daughter of King Sunjo. Accordingly, we examined the types of darye (tea ceremonies) and the characteristics of the composition of foods at ancestral rites of the royal families of Joseon. Moreover, we also analyzed the cooking methods and characteristics of food terminologies used in the darye. This includes 39 categories of food and ingredients used for tea ceremonies held for one year, on behalf of the deceased Princess Bokon in 1834. The darye for the monthly national holiday was held along with the darye on the $1^{st}$ and the $15^{th}$ day of every month. The darye for rising up and the birthday darye were held on May $12^{th}$ and October $26^{th}$ of the lunar calendar, being the anniversaries of the death and the birth of Princess Bokon, respectively. The birthday darye and the darye for New Year's Day, Hansik ($105^{th}$ day after winter solstice), Dano ($5^{th}$ day of the $5^{th}$ month of the lunar calendar), and Thanksgiving "Chuseok" were held in the palace and at the burial site of the Princess. During the darye for rising up in May and the Thanksgiving darye at the burial site in August, rituals offering meals to the deceased were also performed. The birthday darye at the burial site of Princess Bokon featured the most extensive range of foods offered, with a total of 33 dishes. Foods ranging 13~25 dishes were offered at the national holiday darye, while the darye on the $1^{st}$ and the $15^{th}$ of the month included 9~11 food preparations, making them more simplified with respect to the composition of foods offered at the ceremony, in comparison to the national holiday darye. The dishes were composed of ddeok, jogwa, silgea, hwachae, foods such as tang, jeok, jjim, hoe, and sikhae, and grain-based foods such as myeon, mandu, and juk. Foods offered at the burial site darye included 12~13 dishes comprising ban, tang, jochi, namul, chimchae, and jang. Meals offered at the darye had a composition similar to that of the daily royal table (sura). Darye recorded in the Jemuljeongnyechaek displayed characteristics of the seasonal foods of Korea. Jemuljeongnyechaek has detailed recordings of the materials, quantities, and prices of the materials required for preparations of the darye. It is quite certain that Jemuljeongnyechaek would have functioned as an essential reference in the process of purchasing and preparing the food materials for the darye, that were repeated quite frequently at the time.

• Industry Promotion Research
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• v.8 no.3
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• pp.125-136
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• 2023

This study tried to establish a system of service paradigm by re-examining the Korean play culture through the people who play in the era of King Jeongjo and revealing the integration of modern service culture. The results of this study are as follows. First, King Jeongjo inspired the autonomy and creativity of the participants through the patronage of Changdeokgung Palace and led the renaissance era of Joseon as a creative play. The creative play of the service industry is reborn as a place of innovation that realizes development through a communicative intellectual network. Second, the 60th birthday Jin Chan-yeon and the aesthetics of slowness that evoke artistic play are the language of innovation that transcends language and culture. Artistic play becomes a channel of communication to share happiness with people around the world based on absolute beauty and aesthetic sensibility. Third, Jeongjo was a humanist in Joseon. This humanistic ideology leads to humanistic religion. K-service, which uses religious play as a medium, has a turning point towards healing and happiness as all participants in the service experience sacredness. There is an implication in that it pioneered a service culture by presenting a new paradigm by combining play and service, and laid the groundwork for building a unique area in global business.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.162-179
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• 2016

This study examined the 17th century wedding ceremonies of princes and princesses recorded in the "Garyedeungrok(嘉禮謄錄)". The Joseon dynasty royal weddings were held outside the palace, so it could have influenced wedding ceremonies of commoners. Royal weddings for princes and princesses were considered to be on a level between that of a king and commoners. Wedding procedure of princes and princesses was carried out under the leadership of the royal family who officiated at a marriage with the king's approval. In addition, kindred of the king and high-ranking officials participated as the maid of honor in the wedding parade. This was completely different between the royal wedding and the scholar-gentry ones. A difference between the prince and the princess was that the princess paid her respect to the shrine of the house of her groom after the wedding ceremony. However, there was no process for the prince's bride. There also existed a wide disparity in the wedding goods of princes and princesses. The prince and the king's son-in-law both held a wedding ceremony to wear Chopo, but there was a difference in decoration or quantity of Danlyeong(團領) Cheollik(帖裏) Hoseul(護膝) belts. Only princes were allowed to use the ornamental knife and the embroidered pouch. While both the princess and prince's wife wore No-ui(露衣) and Jangsam(長衫) as the wedding clothes, there was discrimination of position in terms of hair decoration, Hwalhansam(闊汗衫), skirt, Hosu(胡袖) and Ni-ui(裏衣). There was also a difference of quantity of Jeogori and skirts, as well as various styles of gold decorations in order to distinguish the Gongju(daughter of the king) and the Gunju (daughter of the crown prince)'s position.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.176-188
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• 2013

This research examines embroidery panels of Hwarot belonging to the Victoria and Albert Museum (the V&A). There are a total of seven objects and are all disassembled into clothe pieces. They were classified into two groups according to their acquisition year. One group, four objects, was acquired by the Museum in 1920. Considering their materials, embroidery threads, techniques and formative characteristics of patterns, it can be assumed that the objects formed an original dress, Hwarot. Although they look very similar to the embroidery patterns of Hwarot belonging to National Folklore Museum of Korea, they are more finely embroidered with very thin embroidery thread that uses the Jarisu technique. There are some differences in used embroidery threads and embroidery skills between Hwarot artifacts of the National Museum of Korea and the V&A. The embroidery of the National Museum of Korea used thicker threads and longer (approximately 0.7cm) Jarisu stitch techniques. With these details, they would have been made in different time periods. Comparison of the V&A and Changdeok Palace' Hwarot objects show that their patterns' motifs are almost similar but the pattern units, expressions and embroidery techniques are different. Regarding the colors of their patterns, it is noticeable that the peonies are generally expressed in reddish and the lotus patterns are expressed in either bluish or purplish color. It seems that they are contrasted with red-colored flowers and show harmony between yin and yang symbolically. Three artifacts of another group were acquired in 1925. Two of them show patterns almost the same as those of the sleeves of Hwarot (no.33156, no.33158) in Chicago Field Museum collection. The pattern of the remaining object is very similar to Hansam of Hwarot (no.33158).

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.1 s.149
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• pp.94-105
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• 2006

This study is focused on the man's costumes of Sadangpae(the troupe of performers) shown in Gamrotaenghwa (감로탱화) during the late Chosun dynasty. Originally Gamrotaenghwa was used as a painting for a Buddhist praying ceremony, 또Young-ga-cheon-do-je(영가천도제). It shows us the lives of the commoners in those days. Gamrotaenghwa reflects the changes of costume style in the late Chosun period. The early styles of po(포, coat) for male performers in the 17th century were changeui(창의) and dopo(도포), which had the front panels(seop) overlapped deeply and sleeves that got wider as time passed. After the 18th century, Male performers wore a simpler coat such as sochangeui(소창의), which had narrow sleeves and long slits on the both sides. Especially the coats of acrobats were fastened on the center front with buttons. Heuklip(흑립: black hat), somoja(소모자: small cap) and jeonlip(전립: wool hat) were used as hats for the male performers. Originally, heuklip was the hat that represented the noble status: yangban(양반). However, it was popularized among the commoners in the late Chosun period. As time passed on, the heuklip became more popular and its shape also changed. Somoja and jeonlip were shown throughout the entire Gamrotaenghwa. Unlike heuklip, those were common hats for Sadangpae. The costumes of entertainers shown in Gamrotaenghwa were very similar to those of the commoners. However, it seems that there were some differences of the costumes depending on the roles they performed.

• Journal of the Korean Society of Food Culture
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• v.33 no.3
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• pp.217-228
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• 2018

This study aimed to develop unique, local "food tourism" products by finding specialized items that combine tourist attractions, such as folklore or hot springs. Traditional ingredients were analyzed with ancient texts for the methods of research. A brand image was made possible utilizing hot spring lore and other regional stories. The tofu products were produced using local specialty beans. Products, such as tofu residue cake and willow bean tea, were made with the tofu residue. After the products were completed, the sensory test began at the local tourist attraction. Asan City's food tourism product willow tofu was made with beans that were given as compensation for building the Onyang temporary palace according to the Annals of the Joseon Dynasty and the willow tree that appears in Sunshin Lee's anecdotes. After the preference test between normal tofu and willow-extract tofu was conducted to measure the product potential of willow tofu, among the sample extracts, 0.04% of the willow extract showed a significant preference. The hot spring tofu-residue cake was baked using tofu residue and vegetable olive oil to substitute for animal oil, such as butter, or margarine. After the sensory test targeting the adults was conducted, both products displayed significant product potential with average scores above 5.0. Willow tree bark, which has antioxidation and anti-inflammatory effects without a bitter taste or strong smell, was proven to bean appropriate ingredient for leached tea. The nutty flavor of leached tea was enhanced by roasted green kernel black beans and willow tree bark. The sensory test showed that the leached tea and tofu received a high preference rating on both color and flavor.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.233-252
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• 2021

The Gwan ceremony (冠禮) is a coming-of-age ceremony that takes place through traditional Gwan (冠: the hat) and clothes in the traditional era. The rite is performed by wearing hats and clothes three consecutive times (三加禮). It was an important rite which meant that underage children were formally recognized as members of society. This study examined costumes of people who participated in various coming-of-age ceremony rites in the Ming dynasty imperial court of China. For the research data, this study mainly used authentic chronicles (正史), codes of law and books on Ming dynasty rituals. This study examined the costumes used in the coming-of-age ceremony for the emperor, Prince Imperial, Emperor's eldest grandson, and emperor's sons. The results of this study were divided into an analysis of the document structure, institutional changes by time, characteristics of costumes, and characteristics of the rite. Of particular note in their ceremony, the emperor is presupposed to be a 'human already full-equipped with virtue', which means that the costume is worn only once. It is a case in which the emperor's absolute identity is revealed through the rite and costume.

• Journal of architectural history
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• v.32 no.1
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• pp.61-72
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• 2023

Korean architecture classifies Banja (the decorated flat of the ceiling visible from the inside) of Royal Palaces into two types: Woomul(water-well, 井) banja, which inserts rectangular wooden board into lattice frame, and paper banja, which applies paper to the flat ceiling. Such classification was established in the 19th century. Before that, Banja was classified according to what was inserted into the lattice frame, either wooden or paper board. At first, the banja that used paper board was widely installed regardless of the purpose or nobility of the building. However, since the 17th century, the use of paper board banja became mostly restricted to Ondol (Korean floor heating system) rooms which are characterized by private usage and the importance of heating, and it was considered inferior to wooden board banja in terms of rank or grace. The contemporary paper banja was mainly installed in low-rank ondol rooms until the late 19th century to early 20th century, when roll-type wallpaper was introduced from the West and the paper banja came to decorate the King's and Queen's bedrooms. The traditional paper board banja benefits heat reservation, reduces the weight of the ceiling, and allows the adjustment of the lattice frame size. Furthermore, it can feature unique artistry if covered with blue, white, or red Neung-hwa-ji (traditional flower pattered paper).

• The Bulletin of The Korean Astronomical Society
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• v.46 no.2
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• pp.65.1-65.1
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• 2021

The Donggungilgi (東宮日記) is the daily records of the Siganwon (侍講院), which was a royal office in the Joseon dynasty that took charge of the education for the crown prince who dwelled in the Donggung (East Palace). This literature contains records of meteorological and astronomical observations as well as educational matters. The Sohyeon-Donggungilgi (昭顯東宮日記) includes records from 1625 to 1645, when Prince Sohyeon, the first son of King Injo (仁祖), was the crown prince. We investigate the records of solar halo observations in the Sohyeon-Donggungilgi. For consistency, we restrict our investigation to the period before the second Manchu invasion of Korea (i.e., 1625 to 1635). We extract 2,684 records and classify them into ten events according to the terms in their descriptions. The largest and smallest number of observation records are for the Hun (暈) and Geuk (戟) events (1,794 and 7 records, respectively). To verify what each event represents in modern atmospheric terms, we refer to historical documents of the Seoungwanji (書雲觀志, Treaties on the Bureau of Astronomy) and Cheonmundaeseong (天文大成, Great Achievements in Astronomy). We also calculate the solar altitude based on the observation hour and compare the descriptions to compute simulations provided by Arbeitskreis Meteore e.V.. We find that the descriptions of the Hun, Junghun (重暈), Yi (珥), and Baekhonggwanil (白虹貫日) events indicate a 22˚ halo, 22˚ and 46˚ halos, a parhelion, and a parhelic circle, respectively, Alternatively, we estimate that the Gwan (冠), Dae (戴), Bae (背), Li (履), and Gyohun (交暈) events describe arcs tangent to a 22˚ or 46˚ halo such as a upper or lower tangent arc, a circumzenithal arc, or a parry arc. We suggest that further studies are required for the Geuk event because the descriptions of this event differ from both documents referred to this study. In the sense that the number of observation records of the Geuk event is the smallest, however, this event may describe a rare phenomenon. We believe that this work will contribute to the study of historical records of solar or lunar halos.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.42-56
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• 2012

This study was carried out to investigate the construction characteristics and the landscaping design skill for Wiyiam at Ongnyucheon(玉流川) in the rear garden of Changdeok Palace focusing on constructing technique, space composition and transformational process of the site. The results of this study were summarized as follows; First, Wiyiam of Ongnyucheon was constructed as garden ornament which was modified the huge bedrock into the shape of the mountain. The waterfall of Wiyiam was originally made of torrent which water flowed into the bottom, but it was reconstructed to take the effect of Inak(離落: the method to drop water from high place) by carving rock into square shape at the era of King Gojong(高宗). Second, main characteristics of Wiyiam appeared in Donggwoldo was the hill built up with a square pond and ground at the back of Wiyiam and the profound scenery of mountains and stream from the view of Wiyiam. Also, pavilions such as Soyojeong(逍遙亭), Cheongujeong and Taegeukjeong(太極亭) built in Ongnyucheon seemed to be constructed as the spots to appreciate the view and waterfall sound of Wiyiam. Also the spots were not bounded by the function of creating special water systems such as Cheongujeong pond and Taegeukjeong pond and showed the outstanding landscape design skill to make people feel unusual interest from each spot. On the other hand, this study considered that the evening scenery of Wiyiam, beautiful sound of falling water, unusual water system with beautiful plant materials were landscaped for the function of the psychological peace and stability to the appreciators. Lastly, the extreme change of space composition in Ongnyucheon was assumed as a strategy to improve the existing poor drain environment by confirming that the mountain stream and wall of Soyojeong were removed and drainage in both side of Soyojeong was installed in the 21th year of King Gojong's reign(1884).