• Journal of architectural history
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• v.29 no.2
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• pp.53-62
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• 2020

This study focuses on the architectural changes of stele pavilion at the royal tombs of Joseon Dynasty. Throughout the survey on overall forty two stele pavilions, they were classified into basic type, expanded type, and 4-side corridor type. Basic type was usually used for general small stela, while expanded type was for extraordinarily large ones. 4-side corridor type, however, turned out to be used for both small and large stela and has appeared only during King Gojong period(高宗年間, 1863-1907). When it was first applied at Geonwolleung(健元陵) in 1870s, the purpose of 4-side corridor type seemed to stabilize the enlarged structure due to the size of the larger stele. Later, 4-side corridor type was repeated for small stela at Hongneung(洪陵) and Yureung(裕陵) in 1898 and 1904 respectively, to express higher dignity of Daehan Empire(大韓帝國). This type of plan continued to other pavilions in the center of Seoul such as Kinyeombijeon(紀念碑殿) and Seokgojeon(石鼓殿) that were built in 1903 with sophisticated proportion and multiple brackets. This architectural change implies that stele pavilion itself has become more significant than stele inside.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.201-225
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• 2020

In the late Joseon Dynasty, ideas in folk religions were closely related to Daoist themes. There were, for instance, folk ideas centered on Prophecies of Jeong Gam (鄭鑑錄 jeonggamrok) that developed into 'raising island-armies (海島起兵說 hado gibyeongseol),' the future utopian movement known as the 'South Joseon Faith (南朝鮮信仰 namjoseon sinang),' and faith around 'Maitreya's Descensionist-Birth (彌勒下生 mireuk hasaeng).' People aimed to transform their country based on these ideas. Associated folklore tended to come from fengshui (風水) and books on prophecies and divination (圖讖 docham), and both of these drew heavily upon Daoist concepts. On the other hand, Daoist texts began being translated as national projects under King Cheoljong (哲宗), and many more were translated and published later under King Gojong (高宗). The nature of these Daoist texts mostly consisted of either morality books (善書 seonseo) or precious scrolls (寶卷 bogeon). The problem was that these ordinances and the Daoist texts of regents were among the main causes of civil war during the Qing Dynasty. In this regard, the translation of the Daoist texts conducted as a national project provided a theoretical basis for the people wishing to foment civil war or transformation. This raises the question of why King Gojong implemented a Daoist translation project in his nation. In an effort to answer this question, this article summarizes the popular ideas of the late Joseon Dynasty and explains how they were closely related to Daoism. In addition, this article summarizes the facts about how Daoism has emerged from a national crisis but developed a function of protecting the state (鎭護) in Korean history. Further described is the situation under which Daoism was summoned during the Japanese Invasion of Joseon (壬辰倭亂). Analysis is provided to show that King Gojong's intention was to translate Daoism due to Daoism's role in protecting the state. In addition, the relationship between current Daoist rites and customs in Korea and King Gojong's dissemination of Daoist oaths and vouchers is confirmed.

• Journal of architectural history
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• v.17 no.4
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• pp.43-64
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• 2008

Kyeongbokgung succeeded in regaining its status as a royal palace after the reconstruction that began in the second year of King Gojong(1865) only to have most of its buildings taken down in the early 20th century. Fortunately, however, there is the Pukkwoldohyong(Map of North Palace), which drew out each of the buildings of Kyeongbokgung and their arrangement in details in 1907 when the royal palace lost its original appearance. And there is another plot plan of the royal palace at the Korea University Museum, which labeled it Kyeongbokgung-Baechido(Planning Map of Kyeongbokgung Palace). The map presents almost the same plan as Pukkwoldohyong in terms of making and expressive methods, being estimated to have been made in 1888 since its building arrangement doesn't show the changes made after 1890. The map also offers more information about the uses of each building than Pukkwoldohyong and matches the excavation results of the relics. Kyeongbokgung-Jeondo(Map of Kyeongbokgung Palace), which is recorded to be made during the reconstruction of the palace in the early years of King Gojong in historical materials, describes the shapes and arrangements of the buildings in a concrete and realistic fashion. The Kyeongbokgung-Baechido seems to be one of the plans made in the process of restoring and repairing buildings that were lost or destroyed in fire. The Kyeongbokgung-Baschido has the following historic values; 1) it provides dues to estimate the early state of the palace after the reconstruction during the reign of King Gojong. In fact the Sujeongjeon and Heungbokjeon show the early state of the reconstruction; 2) it contains data with which to understand the changes to the palace after 1890, around which they added Hamhwadang and Jibokjae; and 3) it offers information about the uses of the palace's buildings from 1885 to 1880 with its descriptions of the building purposes and relationships regarding the life in the palace.

• Journal of architectural history
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• v.29 no.6
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• pp.101-112
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• 2020

This study focuses on the construction of Gyeongbokgung Palace in the second year of King Gojong's reign, which has been spotlighted for political and economic history. The author analyzed the contents of wood procurement with the Yeonggeon Diary, which records each day of construction site. The results are as follows: First, the 2nd year of King Gojong's reign, Yeonggeon of Gyeongbokgung Palace, was a new building that reflected the old system and 270 years of changed environment on the existing site. Despite the poor economic conditions, it began with years of effort and voluntary volunteer work and dedication. Second, the priority of timber transport was recruiting people in the whole process and the supply and demand of transportation tools. Carrying lumber from the mountains to the riverside and floating it at the right time were all a matter of manpower. Soldiers and carts were used to carry timber that arrived in Hangang River to the construction site. The cart was a consumable product, so it was necessary to continuously use the wood to make cart at the site. Third, fire and flood were the biggest obstacles to the Yeonggeon schedule of Gyeongbokgung Palace. Especially the fire was fatal. It was difficult to extinguish the fire in temporary structure, where was the storage for wood to construct. These disasters greatly affected the construction cost and construction period. Wood procurements of Gyeongbokgung Palace were based on public offerings. At the same time, recycled materials from other palace wood and nearby houses, nationwide buying of private mountain wood, the logging of royal tombs and some of the buildings of Gyeonghui Palace and Changgyeong Palace were relocated.

• Journal of architectural history
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• v.27 no.2
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• pp.89-100
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• 2018

The stylobate for expanding the external stage area was the most frequently installed installment out of the installments installed for royal court ceremonies. The stylobate was installed for various ceremonies such as funeral rites, ancestral rites, customary formalities, state examination, feasts for celebrating a honored guest of the court, queen's silkworm cultivating ceremony, heir appointment, the presentation of honorary titles for the king or queen in honor of their merits, and entertainment of foreign dignitaries. The exact period stylobates came to be used for the play stage. The stylobate consists of the 紅座板, 屯太木, 竹欄間, 足木, and the 層橋. Depending on the 足木, the substructure of the stylobate, the stylobate could be divided into the 長足木, 中足木, 短足木, 平足木 type. The detail structure of the stylobate changed in form from the jokmok and duntaemok that appeared until the time of King Seonjo, into the 長屯太木, 短屯太木, and the 短短屯太木 during the time of King Heonjong. With the introduction of the 中足木, materials began to become more segmented and the structure stronger. According to existing records, while the height of the stylobate was not significantly high prior to King Seonjo's reign, the 十四層雲橋 and the 十三層層橋 introduced during the time of Emperor Gojong was designed to reflect his rank in external ceremonies while the eight story step bridge was exhibited in internal ceremonies to reflect the rank of Queen Mother Sinjeong. From here, we can deduce that the fourteen and thirteen story cloud bridges representing the king was of a higher grade than the eight story step bridge which represented the queen mother. Finishing by adding boards to the lower part of the stylobates began to appear in the time of King Seonjo. During King Heonjong's reign, the lower finish became gentrified with a thin board called 修粧板, and yeomupan 廉隅板 for decorating the edges of the stylobates were installed. Such style of finishing the lower part of the stylobate with boards mostly appeared in elaborate feasts 進饌 and celebrations 進宴 within the royal court 內宴. The stylobates appeared to have served not only practical purposes such as expanding the stage area, but also as installments which realize the authority and prestige of the royal crown. They were installed according to the purpose of the ceremony and the rank of the participant. In short, stylobates became established during King Seonjo's reign, became segmented and gentrified during King Heonjong's reign, and began to take height variations during Emperor Gojong's reign to reflect the rank and authority of the king and queen mother. As such, it can be considered another characteristic of Joseon Dynasty architecture.

• Journal of architectural history
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• v.27 no.3
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• pp.27-42
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• 2018

This study aims to reinterpret Jeonggwanheon(靜觀軒) in terms of its use and architectural style after restoration work through the recently discovered [Deoksugung Palace's original plan](1915). It is presupposed that the existing interpretation of Jeonggwanheon, such as its status as the banquet hall of the Imperial Empire and the place where Emperor Gojong enjoyed coffee here, was a fantasy made from the transformation after the 1930s. When it was built around 1900, Jeonggwanheon arranged small and large rooms around the corridor in the center, and the porch surrounded the three sides of the building. From 1900 to 1907, there is no remaining record telling us who did what or when something happened in Jeonggwanheon except for several portraits of Emperor Gojong and his son which were drawn in 1902. The mixed use of brickwork and wooden porch are found in many of American style houses built in Incheon and Seoul at that time. Especially, the style and decoration of wooden porch seem to be influenced by Queen Anne style in the 19th century in America.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.207-241
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• 2007

This paper investigates the royal collection of paintings and calligraphy during King Gojong's (高宗) reign (1897~1907) based on the function of the Jipgyeong-dang Hall (緝敬堂), situated at "sleeping realm (寢殿)," Gyeongbok Palace. Using the surviving palace records and art works this study argues that the date of building the hall is approximately confined to the year of 1890. Not being matched with the general opinion that the Jipgyeong-dang Hall was used for the official meeting with envoys, this hall functioned as the main place for royal audience and the storehouse for archives. The role of Gojong as collector and patron was essential not only to the maintenance of the collection but also to the strengthening of royal authority just before the Japanese annexation in 1910. The specific titles of the collection at this hall can be verified through the Catalogue of the Books, Paintings, and Calligraphy Exposed to the Sun at Jipgyeong-dang Hall (緝敬堂曝曬書目) dating to the nineteenth century. The records of the catalogue inform us that more than 1,000 paintings and pieces of calligraphy, inkrubbings from old steles, manuals for painting, and encyclopedia concerning art theories from Korea, China, and Japan were preserved there. The collection of Jipgyeong-dang Hall resulted from Gojong's policy to foster the collection of contemporary Chinese and Japanese art works and various catalogues. Standing behind the Gyeongbok Palace, the Jibok-jae Hall (集玉齋) also preserved the diverse sources of practical learning, as did the Jipgyong-dang Hall for Gojong. The enormous royal collections by Gojong might have been constructed in accordance with the royal artistic taste and the artistic milieu of the late Joseon period. The surviving royal catalogues confirm this assumption as documentary evidence.

• Publications of The Korean Astronomical Society
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• v.35 no.1
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• pp.1-16
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• 2020

We report a calendar sheet for the 31st year of the reign of King Gojong (1894) (hereafter, calendar sheet 1894) in Korea, which calendrical data in a single page. This calendar sheet 1894 is composed of 14 rows by 14 columns (about 190 cells), and various calendrical data are recorded such as the sexagenary circle of the first day in each month, 24 solar terms, full moon day. In this paper, we compare calendrical data of 1894 calendar sheet with those of the almanac based on the Shixian calendar (hereafter, annual almanac) of the same year. Our findings are as follows. First, we find that the year is expressed using the reign-year of the king of the Joseon dynasty differently from using the reign-style of China in the annual almanac those times. Other calendar days of this calendar sheet are the same as those of the annual almanac in term of lunar dates, 24 solar terms, sexagenary days and so forth. Second, we find that the calendar sheet 1894 contains memorial days for 64 lineally ancestors of the Joseon royal family. These royal memorial days appears in the annual almanac two years later (i.e., 1896). Third, as the most distinctive feature, we find that the symbol of 工 kept every two cells. It was found that the cells can be filled with three days as the maximum number of days and then are labelled the same symbol 工 every second cell. This feature allows us to get the first year in which this kind of calendar sheet was published. It is conjectured one of 11 years, such as 1845, 1846, 1847, 1873, 1874, 1875, 1876, 1877, 1878, 1879 or 1880. We also think that the format of the calendar sheet 1894 has influenced on the Daehan-Minryeok (Korean civil calendar sheet) of 1920.

• Journal of the East Asian Society of Dietary Life
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• v.1 no.1
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• pp.31-42
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• 1991

Since the year 1795(in the 19th year of King Jungjo), the form of Banquet Record was established. In the year 1827(in the 27th year of King Sunjo), the formality of Banquet was made at Ja-kyung Palace for the first time. Thereafter it was utilized by all banquets, So it was called the“model of courtesy”. The compostion of Jinchan Uigue of the year 1887(in the 24th year of King Gojong) was identified as follows; Banquet Record was composed of 4 Volumes. In Preface, there were Data choice(Taekil), Personal rank his name(Zwamok), Pictures of ceremonies(Dosik). In 1st Volume, there were King's order(Jungyo), Answer of King's question(Yeonseol), Musuic Record(Akjang), Compliment for King(Chisa), Poem for royal family(Junmun), Procedure of ceremony(Uiju), Works of theauthorities concerned(Samok), Resource indices(Gyemok), Letters from chief of the authorities concerned (Gyeas), Official letters(Imun), Letters to headquarters from local officers(Negwan). In 2nd Volume, there were Consult for budget(Pummok), Letters from to local officers from head quarters(Gamyul), Banquet menu(Chanpum), Utensil item(Gijong). In 3rd Volume there were repairment(Suri), Arrangement(Besul), Umbrella and flag for ceremonies (Ui Jang), Guard(Uiwui), List of quests(Neyebin), Ministers(Munanjesin), Musician and dancer's name and costume (Gongryung), Musical instrument(Akgipungmul), Rewards(Sangjum), Expenditure of banquet(Jaeyoung).

• CELLMED
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• v.14 no.2
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• pp.2.1-2.10
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• 2024

Through big data analysis of the 'Joseonwangjosilok', this study examines the perception of ginseng among the ruling class and its utilization during the Joseon era. It aims to provide foundational data for the development of ginseng into a high-value cultural commodity. The focus of this research, the Joseonwangjosilok, comprises 1,968 volumes in 948 books, spanning a record of 518 years. Data was collected through web crawling on the website of the National Institute of Korean History, followed by frequency analysis of significant words. To assess the interest in ginseng across the reigns of 27 kings during the Joseon era, ginseng frequency records were adjusted based on years in power and the number of articles, creating an interest index for comparative rankings across reigns. Analysis revealed higher interest in ginseng during the reigns of King Jeongjo and King Yeongjo in the 18th century, King Sunjo in the 19th century, King Sejong in the 15th century, King Sukjong in the 17th century, and King Gojong in the 19th century. Examining the temporal emergence and changes in ginseng during the Joseon era, general ginseng types like insam and sansam had the highest frequency in the 15th century. It appears that Korea adeptly utilized ceremonial goods in diplomatic relations with China and Japan, meeting the demand for ginseng from their royal and aristocratic societies. Processed ginseng varieties such as hongsam and posam, along with traded and taxed ginseng, showed peak frequency in the 18th century. This coincided with increased cultivation, allowing a higher supply and fostering the development of ginseng processing technologies like hongsam.