• Title/Summary/Keyword: Late Joseon

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The Evolution and Icons of 48 Divinity in Ogchugyeong(玉樞經) (『옥추경』 48신장의 변천과 도상)

  • Koo, Jung-hoe
    • Journal of the Daesoon Academy of Sciences
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    • v.24_2
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    • pp.165-196
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    • 2015
  • This research starts based on the purpose to investigate the evolution and nature of 48 divinity depends on Gu-Cheon-EungWon-Nweh-Seong-Bo-Hwa-Cheon-Jon(九天應元雷聲普化天尊, Highest ruling Entity and Majesty of Heaven by lightning and thunder raising and ruling all the universe which response to the Supreme) as well as to look at the iconography of that. Ogchugyeong(玉樞經) still exercise enormous influence on Korean folk belief neither in the late Joseon Dynasty and the Japanese colonial period nor till now. The reason for authority of Ogchugyeong(玉樞經) is because Ogchugyeong(玉樞經) was the sutras of being used in the original royal families 48 divinity depends on Gu-Cheon-Eung-Won-Nweh-Seong-Bo-Hwa-Cheon-Jon which appears in Ogchugyeong(玉樞經) is created in Korea. 48 divinity is finally approved at 1888, after it started from 41 at the beginning of the deity general theory(神將論) through developing 47. The figure of 48 seems the result of the syncretism with 48 wishes of Buddhism. Okuchugyong was originally China Taoist scripture, but Okuchugyong entered Korea and reproduced a different look. In China Okuchugyong has two volumes and 44 stature of the deity general(神將) but in Korea Okuchugyong changed to have three volumes and 48 stature.

A Study on the Creation and Use of Nokgakseong and Underwater Wooden Fence (조선시대 녹각성과 수중목책의 조성 및 활용에 관한 연구)

  • SHIM Sunhui;KIM Choongsik
    • Korean Journal of Heritage: History & Science
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    • v.56 no.4
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    • pp.230-246
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    • 2023
  • The wooden fence(木柵), which began to appear in the Bronze Age and is presumed to be the oldest defense facility in human history, was used as a fortress for the purpose of further strengthening military defense functions until after the Japanese Invasion of Korea in 1592 in the Joseon Dynasty(壬辰倭亂). As it was established as the concept of a fortress or a fence installed outside a fence castle(城柵) or barracks fence(營柵), its importance as an essential facility for defense was further highlighted. This study is the result of exploring wooden fence that were used as official facilities during the Joseon Dynasty, focusing on literature surveys such as 『Annals of the Joseon Dynasty』 and 『New Jeungdonggukyeojiseungram』 In this study, in particular, the conclusion of this study is as follows, focusing on the use and function of Nokgakseong(鹿角城), underwater wooden fence, installation methods, and materials of wooden fences, is as follows. The conclusions of this study, which focused on the materials of the wooden fence, are as follows. First, as invasions by foreign enemies became more frequent in the late Goryeo and early Joseon Dynasty, wooden fences played a major role as a major out-of-castle defense facility((防禦施設). In addition, wooden fences were modified and installed into various types such as wooden fences(木柵城), Nokgakseong, a fence made up of large branches in the shape of a deer antler, and underwater wooden fences(水中木柵) according to the circumstances of the times, government policy, and location environment. Second, wooden fences were installed in strategic locations in defense facilities for military purposes, such as mountain fortress(山城), fortresses(營), camps(鎭), forts(堡), and castles(邑城) in strategic locations, and were used for defense in case of emergency. According to the urgency of farming, it was installed in accordance with the non-farming season, when it is easy to mobilize manpower to avoid the busy farming season. The size of the wooden fence of the Joseon Dynasty, which are confirmed through literature records, was converted into Pobaekchuk(布帛尺), and the circumference was very diverse from 4,428chuk(2,066m) to 55chuk(25m). Third, Nokgakseong is an efficient combat support facility that is more aggressive than a general wooden fence, and the records of Nokgakseong in the Annals of the Joseon Dynasty appeared during the King Sejong period the record was 20 times, the most. By region, it was found that it was mainly installed in coastal rugged areas such as Pyeongan and Hamgildo(12), which are the 6-jin areas of the 4th Army. Fourth, in the early 15th century, as the royal court established a maritime defense strategy for the coastal area of the southern coast, after the Sampo Invasion(三浦倭亂), riots by Japanese settlers in Sampo in 1510, major military posts including eupseong(邑城), camps, and forts were established. The installation of underwater barriers around various government facilities rapidly increased as a defense facility to block the warships of Japanese pirates around various government facilities. Fifth, between the 15th and 17th centuries before and after the Japanese Invasion of Korea in Sampo, underwater fences were installed in the Southern coast and Ganghwa Island. In particular, in the 15th century, underwater fences were intensively installed in coastal areas of Gyeongsangnam-do, such as Jepo. Pine trees and Oaks are the main materials used for underwater fences, but other materials such as Oldham's meliosma, Loose-flower hornbeam and The vines of arrowroots were also used as materials for wooden fences.

Enjoyment Culture of Garden through Poet(詩) and Text(書), Painting(畵) in the 18·19th Century, Hanyang(漢陽) (시(詩)·서(書)·화(畵)를 통해 본 18·19세기 한양(漢陽)의 원림 향유문화)

  • Kim, Dong-Hyun;Choi, Jong-Hee
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.33 no.2
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    • pp.36-48
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    • 2015
  • This study aims to contemplated the enjoying culture of Gyeonghwasejok's garden in late Joseon dynasty. It was track down the behavior from cultural perspective by using recorded in literature. The results were as follows. First, Gyeonghwasejok was the main principal of the garden at Hanyang in Joseon Dynasty. There are established residence in the downtown and make a garden. Garden organizer recognized to fine conditions of residences even crowded downtown. As a result people tried to include habitation and garden culture for preserve their cultural benefit. Secondly, Seongsisanrim culture has appeared of common in site selection of garden for occupies the scenic beauty. Garden was surrounded by scenic beauty. Garden organizer was formed archival culture for owning the beautiful landscape through creation of guguk(九曲), designation of space and lettering on rocks. Thirdly, Formation of the collection culture was placed of various ornaments inside garden. A behaviour of landscape view and ornaments appreciation led to the archival culture such as Won-rim-gi(園林記) and essay(小品文). Moreover, hold a friendship meeting for sharing garden culture. Fourthly, Attention of flowering plants was extended to development of gardening hobby such as fashion of pot-planting, planted to exotic tree. It was know that the plants are recognized as favorite elements by target of appreciation according to introduction of plants inside garden. In addition, facility of horticulture and kitchen garden were placed inside garden. Fifth, Influx of chinese garden culture influenced construction of garden space in late Joseon dynasty. Garden organizer recognizes garden as a ideal space by garden aesthetics that Hojungcheonji(壺中天地). And the imitation of Chinese garden culture such as collecting of Chinese's ornaments has become a high-level culture.

A Study on the Persons Enjoying the Landscape of Daegodea in Hamyang and Space Hegemony through Analysis of Poetry and Letters Carved on the Rocks (시문과 바위글씨로 본 함양 대고대(大孤臺)의 경관 향유자와 장소패권(場所覇權))

  • Rho, Jae-Hyun;Lee, Jung-Han
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.1
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    • pp.10-21
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    • 2014
  • This study focuses on the landscape of Daegodae(大孤臺), a prominent rock placed at the side of Namgae Stream in Hamyang, and the person who enjoy the landscape. Through the analysis of the letters such as names carved on the rocks based on ancient poetry and stone walls, the study examines the characteristics of the landscape and the space of Daegodae and the phase of hegemony to enjoy the landscape and space. The result of this study is as follow.2) There are 5 Seowon(書院: lecture halls) nearby Daegodae identified in the ancient map has 5 auditoriums nearby, and three-dimensional volume and eccentricity of the Daegodae is impressive. Daegodae, named by Noh Jin(1518~1578) in 16th century, was used in a variety of ways, including viewing, game, recreation, and meeting, by the staff of the lecture halls including Namgae Seowon(南溪書院), as a result of analyzing the ancient document Go-dae-il-Loc(孤臺日錄) written by Jung Kyung-Woon(鄭慶雲: 1556~?). The structure of Daegodae is that there is Chunggeunchung(淸近亭) on the rock face of the top and Sanangjae(山仰齋) to the west around the memorial stone for Yang Hee(梁喜: 1515~1581). The upper part of the foundation of Daegodae with 11m high and $10m^2$ wide to the east and west was widely used for lecturing and poetry reading. To the north and west of the foundation were the writing of Kim Jeong-Hee(金正喜: 1786~1856) with the words 'Seoksong Chusa(石松 秋史)' carved on the rock and the remains of a dead tree that is presumed to have been called as 'Seoksong'. They are the landscapes that further enhance the history and authenticity of this place. The two kinds of letters carved on the rock 'Daegodae Gaeeunseo(大高臺 介隱書)' and 'Mukheon JungGeunSang(鄭近相: 1893~1934)' were recorded each by Jung Jae-Gi(1811~1879) and his grandson Jung Geun-Sang, which are, as the outcome of exclusive space possession and space hegemony, the signatures indicating that they were the persons who enjoyed this place during the late Joseon and Japanese colonial era. In other words, Daegodae had some implied meaning of preoccupancy of the place as Gujolyangseonsengjangguso since the middle of Joseon, and the place was passed down as a buddhism lecturing and memorial venue called "Dungbukganghoiso Cheonryungjaeseonhyunjangguso" after going through the space hegemony of Jung Jae-Gi and Jung Geun-Sang during the late Joseon and Japanese colonial era each, Nevertheless, a number of letters carved on the rock identified also imply that 'Hadong Jung(河東鄭氏)' and 'Pungcheon Noh(豊川盧氏)' were those who enjoyed the landscape of Daegodae and the center of the space hegemony. The "letters carved on the rock of Daegudae" is another case of cultural landscape and traditional gardening space that serves as the representation of the will of enjoying the landscape in this place and the history of space hegemony.

Analysis by Bat Symbol of Paintings and Crafts in late-Joseon Period: Focused on museum collections (조선후기 박쥐상징 회화와 공예품의 분석-박물관 소장품을 중심으로)

  • Eom, So-Yeon
    • KOMUNHWA
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    • no.69
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    • pp.41-62
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    • 2007
  • This thesis is focused on the bat symbol, especially prevalent crafts’ pattern in late Joseon period on museum collections. For the use and reperception of them, I am aimed for appropriate analysis of bat symbol by co connotation which reflects the characteristics on number.plastic.color symbol. This point of view, bat idea and bat paintings in Joseon period will be the source of meanings to the denotation of bat patterns. In the museum collections, bat paintings and patterns are calculated 324 objects. By functional classification, the bat patterns on dwelling-crafts for the royal and for the people will be discussed. In result, the bat paintings were only a few, however, usually connoted Taoist hermit with super-natural powers.longevity.protector of Lightning-God.praying for long life, which were based on Taoism. Meanwhile the bat symbol of dwelling-crafts for the royal projected the longevity and prosperity of king and queen. By he Five Blessings and good auspices in Ching dynasty, number of '5.4' implied 'Five Blessings', Through the correct recognition of homo-phone, "a bat(蝠, fu)=happiness(福, fu)$\rArr$five bats(五蝠)$\rArr$Five Blessings(五福 )." In the case of bat symbol on the dwelling-crafts for the people, especially its for women, it expressed on the metal-decoration of furniture and paper-crafts. In the metal-decoration, the signified of bat symbol were expellant-evil('guard') that of characteristic signifier, white-silver color, number '1' and 'flying-type'. The bat symbol on paper-crafts for the people signified 'double happiness'.harmony.sons with number of '2', 'Five Colors' and the transformation of 'flying-type'. Accordingly, the bat symbol on the dwelling-crafts for the people marked 'happiness and guard', because the people had concrete cognition the bat symbol as a denotation of 'happiness and 'guard' by itself

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The manage of a public office who 'Junsangseo(典牲署)' and Official Road(官路) of lower officials(參下官) at the 17th - 18th century (17~18세기 전생서(典牲署)의 관직 운영과 참하관(參下官)의 관로(官路))

  • Na, young hun
    • (The)Study of the Eastern Classic
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    • no.69
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    • pp.45-82
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    • 2017
  • This paper aims at concrete examination of the 'Official Road(官路)' of the late Joseon Dynasty through government administration of the 17th - 18th century 'Junsangseo(典牲署)'. Until now, the study of the central political system in the Joseon Dynasty was mainly studied by the politically important bureaucrat 'Dangsanggwan(堂上官)', and even if he studied the 'Official Road(官路)', he was a student from the a graduate of Mungwa(文科) and the 'Clean and imfortant Official(淸要職)' connected with it It was examined mainly. As a result, this research attempts to elucidate the routes of 'non - Clean and imfortant Official(非淸要職)' who have not been studied so far. However, it is difficult to deal with all the 'lower officials(參下官)' reaching 263 in total, so it was targeted at the 'Junsangseo(典牲署)' where the 'List of official(先生案)' exists in the 17th - 18th century. In chapter 2, we examined the historical value of 'List of official(先生案)' and were able to secure the confidence of the materials. In Chapter 3, we specifically examined the origins of officials from the 'Junsangseo(典牲署)', the official route, and the occupation. As a result, the 'Junsangseo(典牲署)' 'lower officials(參下官)' was predominantly from the 'Munum(門蔭)'. In addition, I confirmed that I was stepping on a public road that roughly promoted one rank. The number of days in office has also been promoted satisfying the court occupation days. Although this is an analysis limited to 'Junsangseo(典牲署)', it seems that 'lower officials(參下官)' of 'Junsangseo(典牲署)' had gone through routes and routes that were roughly similar to the 'lower officials' of the main office. If we can assume this, we can understand the character of the late Joseon Dynasty 'lower officials(參下官)' by understanding the character of 'lower officials(參下官)' of 'Junsangseo(典牲署)'. To declare this, more case analysis is necessary, and it is necessary to convert a lot of 'List of official(先生案)' data scattered nationwide into DB.

Discourse on Awaiting an Immortal in Honam Daoism and the Birth of Kang Jeungsan (호남 도교의 진인대망론(眞人待望論)과 강증산의 탄강(誕降))

  • Jung Jae-seo
    • Journal of the Daesoon Academy of Sciences
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    • v.41
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    • pp.1-25
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    • 2022
  • This paper examines whether the dynamic and practical nature of Daoism has a significant relationship with the messianic figure Kang Jeungsan (姜甑山) via Honam (湖南) Daoism's Jinindaemangron (眞人待望論, discourse on awaiting an immortal). To this end, the historical implementation of Daoism's social transformation of consciousness in China and Korea is explored, and then the circumstances of Honam Daoism, in particular, are considered. Following that, analysis turns to the 'Jinindaemangron' in the late Joseon Dynasty that developed in Honam. As a result of the discussion, Daoism's social transformation of consciousness was expressed in China through the anti-establishment activities of the early Daoist groups such as Wudoumidao (五斗米道) and Taipingdao (太平道), movements that sought to build utopias. Throughout this process, the term, zhenren (眞人, 'jinin' in Korean), that originally meant 'master,' was transformed into the idea of a future savior. In the case of Korea, the dynamic and practical nature of Daoism can be found in the preface of Nanrang tombstone (鸞郎碑序) written by Choi Chi-won (崔致遠) which was later inherited by the Danhak sect (丹學派) practitioners who struggled against Buddhist monastics. Additionally, examined is the Docham theory of geomancy (圖讖說) that rose after Goryeo, the prophecy of 'Mokjadeuksul (木子得國說 a Lee clansman shall attain the kingdom)' that appeared thereafter, and the Prophecies of Jeong Gam (鄭鑑錄)'s 'Jinindaemangron' in the Joseon Dynasty. Next, the circumstances of Honam Daoism can be considered with regards ti Choi Chi-won and Doseon (道詵) in ancient times, and it can be confirmed that Nam Gung-du (南宮斗) and Kwon Geuk-jung (權克中) were entangled behind Kang Jeungsan. The close relationship among the Daoist Jeong family of Onyang (溫陽鄭氏), the Koh family of Jangheung (長興 高氏), and Kwon Geuk-jung was also confirmed in this study. Finally, in dealing with the 'Jinindaemangron' of Honam in the late Joseon Dynasty and the birth of Kang Jeungsan, Honam Daoism's intense consciousness of social transformation receives first focus, and this is expressed through Prophecies of Jeong Gam, and the religious ideologies of Donghak (東學) and Namhak (南學). These expressions are analyzed through Song of Gungeul (弓乙歌), composed by Jeongryeom (鄭磏), and through Daesoon Jinrihoe's The Canonical Scripture (典經). As a result, it can be confirmed that the messianic significance of the Kang Jeungsan's advent lay on the basis of the people's desire for an ideal future, which is a notion that had been ripening for several centuries.

Buddhist Sculptures from Seongbulsa Temple in Hwanghae-do Province as Seen through Gelatin Dry Plates and Archival Materials from the Collection of the National Museum of Korea (국립중앙박물관 소장 유리건판과 기록자료로 본 황해도 성불사(成佛寺)의 불교조각)

  • Heo Hyeonguk
    • Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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    • v.1
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    • pp.278-305
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    • 2024
  • Gelatin dry plate photographs dating to the Japanese colonial era and the official documents from the Japanese Government-General of Korea Museum in the collection of the National Museum of Korea are significant materials documenting cultural heritage in North Korea before it was severely damaged in 1950 during the Korean War. There has been an increase in recent years in studies of Buddhist sculptures in North Korea based on these photographs and documents. This paper presents some new comments on the Buddhist sculptures at Seongbulsa Temple in Hwangju, one of the most famous temples in Hwanghae-do Province, based on the related existing research outcomes. This paper aims to facilitate a more comprehensive understanding of the Buddhist sculptures at Seongbulsa Temple by chronicling its history based on historical records, examining its current status, and exploring in detail the production dates and backgrounds of the Buddhist sculptures featured on gelatin dry plates. Prior to Korea's liberation from Japan in 1945, Seongbulsa housed at least seven sculptural items: two Bodhisattva statues, four Buddha statues, and a triad. Two items are from the early Goryeo period, one is from the late Goryeo period, three are from the early Joseon period, and one is from the late Joseon period. Among them, two surviving items are noteworthy. One is the early Goryeo-era Stone Seated Bhaishajyaguru Buddha photographed in Eungjinjeon Hall at Seongbulsa Temple. A close examination of a schematic drawing of the sculpture's pedestal made at the time it was photographed reveals that its material accords with the materials used for the headless Stone Seated Bhaishajyaguru Buddha and pedestal currently found in the old Sangwonam Hermitage site in the Inner Geumgang Valley of Jeongbangsan Mountain. This accordance could mean that the statue is a new significant example of early Goryeo Buddhist sculpture in North Korea. The other notable sculpture is the Gilt-bronze Seated Amitabha Buddha Triad created in 1454 (the second year of the reign of King Danjong) and discovered in Geungnakjeon Hall at Seongbulsa. This statue is currently in the collection of the Sariwon History Museum in Hwanghae-do Province. It is an important example of a dated small gilt-bronze Buddhist statue from the early Joseon period found in North Korea. This paper is a case study of Buddhist sculptures in North Korea, focusing on Seongbulsa Temple. Further utilization of the National Museum of Korea's gelatin dry plates will contribute to developing the study of the history of Korean Buddhist sculpture.

Material Analysis of the late 19th century to 20th century Women's Hats Ornaments in National Folk Museum of Korea (국립민속박물관 소장 19세기 말~20세기 여성용 쓰개 장식의 재질분석)

  • Lee, Sae Rom;Oh, Joon Suk;Hwang, Min Young
    • Journal of Conservation Science
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    • v.35 no.2
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    • pp.169-176
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    • 2019
  • The material composition of 19 ornaments used for women's hats in the late $19^{th}$ century to $20^{th}$ century, which are kept at National Folk Museum of Korea, was analyzed using SEM-EDS. Sixteen ornaments were composed of $Na_2O$ and PbO, which form adifferent lead glass from those that have been excavated or handed down since ancient times in Korea. The chemical composition analysis has confirmed that two ornaments belong to the mixed alkali glass, while one belongs to the potash glass IIItype. This lead glass is similar in composition to the Japanese craft lead glass that was imported to Joseon during the Japanese colonial era. It is estimated that the lead glass ornaments used in women's hats in the late $19^{th}$ century to $20^{th}$ century were made from raw materials imported from Japan or made from lead glass used for crafts in Japan. This shows that jewelry such as jade and amber, which have been traditionally used in the modern and present ages, have been replaced by craft lead glass imported from Japan.

The aesthetic appreciation boundary of Honam Yang-ban House in the Late Chosun Dynasty- Focused on the House of Kwon Hee-moon (조선(朝鮮) 후기(後期) 호남지방(湖南地方) 양반가옥(兩班家屋)의 심미경계(審美境界) 고찰 - 전북 장수의 권희문(權熙文) 가옥(家屋)을 중심(中心)으로 -)

  • Kwon, Yun Hee;Kim, Kui Suk
    • The Journal of the Convergence on Culture Technology
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    • v.7 no.4
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    • pp.461-469
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    • 2021
  • Houses contain our own characteristics and philosophy. As a Yangban house in the late Joseon Dynasty, the house of Kwon Hee-moon was constructed over 250 years to the present. Therefore, this house can more objectively examine the aesthetic ideals, such as the thoughts and philosophies of the house owners across the generations. The name of Sarang-Chae is Ui-Wang-Seo(嶷汪棲), it shows thoughts and philosophies symbolically. Ui(嶷)·Wang(汪) mean the elements of nature, and Seo(棲) symbolizes living together, It is aesthetics of Nature, aesthetics of Human boundary. Aesthetics of Nature boundary is aesthetics of Ui(嶷)·Wang (汪), so it is clear and fine. Aesthetics of Human boundary is aesthetics of Seo(棲), so it has meditation and purity. As such, the aesthetic ideal of Kwon Hee-moon's house pursues the ideal of life. Through the aesthetic boundary of the house of Kwon Hee-moon, we can understand the aesthetic boundary of Honam Yang-ban House in the Late Chosun Dynasty.