• Journal of Korean Historical Folklife
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• no.57
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• pp.197-228
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• 2019

This study was conducted under the judgement that there was a need to make several mentions by reference to studies about the spatial composition of the traditional village. The judgement was not about the dimension that there was a problem about the spatial composition of the existing village but that it would be effective to make a fresh reorganization of it in a little more detail. As a result, this study presented seven spaces in the spatial composition of the traditional village. It attempted to analyze it by dividing it into four spaces such as ① natural space, ② residential space and work space, ③ moving space and boundary space and ④ play space and ritual space to fit its basic nature. First of all, it made a pictorial presentation of the basic form of the spatial composition of the traditional farming village in the late Joseon Dynasty which was most general and whose form has been handed down up to the present. And it described the composition of each space accordingly. It was not intended for a specific village. So it presented the historical change, the behavior of the members surrounding the village and a difference according to the nature of the village, which were judged to be very important in explaining the items of the composition of each space. As a result, it was found that the spatial composition of the traditiona Korean village well embodied the framework of their life in terms of their view of nature, lifestyle and worldview. The view of nature acted on the spatial composition of the village as a whole and is well reflected in the natural space in particular. Their lifestyle is reflected in the residential space, farming space, moving space and play space, and their worldview is spcifically mirrored in the boundary space and ritual space. In particular, this study focused on how to take a look at the element of Feng-Shui in discussing the spatial composition of the village.

• Fashion & Textile Research Journal
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• v.15 no.3
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• pp.406-413
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• 2013

The objective of this research is to find out status and consciousness about shrouds according to changes of Jeju's rural funeral ritual while reviewing Jeju's traditional shrouds. Consciousness of customs regarding tradition is much stronger in Jeju Island. Since it was said that shrouds and changes of funeral ritual have very systematic correlation according to the result of precedent researches, changes of funeral rituals of Jeju's rural area were examined. At the same time, consciousness about traditional shrouds of Jeju people was also studied. As the result of examination through literary investigation, visits to rural homes, visits to production places of Jeju's shrouds and interviews with grandmothers designated as human cultural assets of traditional Jeju shrouds, etc, it was found out that Jeju's rural funeral rituals had been rapidly changed since 2000. Traditional Jeju shrouds are also disappearing. In particular, old women of Jeju have considered preparation of their own and their husbands' shrouds in advance as a virtue. However, as it gradually became more difficult to produce and prepare traditional shrouds at homes and as the space of funeral was changed from their own houses to hospitals and/or commercial funeral homes, it was found out that a ratio of people's using general shrouds sold in market was increased and it is believed that this kind of trend will be accelerated more and more in the future.

• Journal of architectural history
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• v.3 no.2 s.6
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• pp.47-66
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• 1994

Chosun dynasty had accepted the Confucianism as a means of governing whole society and in its practical aspect ${\ulcorner}$Garye${\lrcorner}$ and the ceremonies of family ritual regarded as important. As a result, after mid-Chosun dynasty family ritual was begun to popularized on a national scale, and the socio-culture system which was interrelated with it changed into confucian ones. These fill-scaled change, on the other hand, resulted into the change of spatial use and plan type of yangban houses. In this aspect, this study intends to clarify the influence of family ritual on spatial use of yangban houses through the comparison between ideal pattern and behavioral one of family ritual. And this study made Gwanhonrye except Sangjerye an object because these two ceremonies were peformed in sucession in those day's behavior. The research setting is the Korean traditional society prior to modernization. The collected materials are based on ethnographic information as well as personal documents, public records, field works and the books on family ritual. The methodology for the present study is primarily based on the comparison study between available documents and field work. Especially, as the books on family ritual include some explanatory diagrams of the ideal pattern, these diagrams are compared with another ones made by the author of the behavioral pattern. The major findings are as follows. Firstly, in the aspect of Gwanhonrye's process, the ideal pattern is similar to the behavioral one. But even the essential course of the ideal pattern of Honrye is 'chinyoung', it has never been accepcted in Chosun dynasty on account of 'seoryubuga'. Secondly, even though the names of the performing space of family ritual are different each pattern, the methods of spatial use in processing these two ceremonies are similar. In other words, according to the books on family ritual the major performing spaces of Gwanhonrye are 'chungsa' and 'jungchim', but in practical process of both ceremonies 'sarangchae' and 'anche' are used. Lastly, as family ritual like Gwanrye and Honrye had been practiced at yangban houses after mid-Chosun dynasty as mentioned above, the spatial arrangement had to be changed to a certain extent.

• (The) Research of the performance art and culture
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• no.38
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• pp.225-248
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• 2019

is a ritual song which is song in Mangmuk-gut of Hamgyeongdo. is known as it block sal(煞). The study on was done in comparison with . So it is necessary to discuss centering on , and to understand its ritual role with narrative. In this article, I have paid attention to the space of . The space is consisted of inside and outside the village. In the process of solving grudge of the deaths, I confirmed that the problem of the individual extends to the problem of the village. Although the problem is solved through the joint response of the villages, in the process the effect of the problem such as losing and sacrifice the members is in the whole village. So blocking Sal of the village is done for the complete solution. Furthermore, song in individual ritual, but it can be said that the function of the is extended to the role of the Maeul(village)-gut.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.89-97
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• 2016

This study looked at the sacrifice space building in the Changbai Mountain area to a specific era in terms of the cultural landscape. The scared of Changbai Mountain how changes in history came despite the regime and national change, interpretation of the reason was the scared maintained. The results of this study are as follows. First, Replacement of the regime in the Republic of China in the Qing period, ethnic diversity, underwent a cultural acceptance. So Changbai Mountain nature of sacrifice, the divine subject has formed the changes. Second, the Qing Royal sacrifice space Wangji Temple(望祭殿) have formed a unique cultural space and the sacrifice of authoritative content with only space. The Republic of China period, a new folk beliefs were born between the defense in the face of the Han Chinese migration and settlement process. Build Sacrifice space of Rulai Temple(如來寺) and Shanshenlaobatou Temple(山神老把頭廟). Third, the spatial relationship between the priest and the Changbai Mountain area Wangji Temple(望祭殿) is the power of space as vertical space. Rulai Temple(如來寺), Shanshenlaobatou Temple(山神老把頭廟) is located in the Changbai Mountain and horizontal space was obedient to the space. Fourth, the sacrifice ritual Wangji Temple(望祭殿) of the Qing Dynasty is the only ritual sacrifice of satisfaction. It is cut off depending on the abolition of imperial power. Currently, public ritual sacrifice is commonplace rituals and sacrifices of the Qing Dynasty is only formally underway. In conclusion, as it has been maintained for the sanctity historically Changbai Mountain. Changbai Mountain sacrifice space was changing through the acceptance of the replacement of the regime and culture of ethnic offerings from a single culture of the Qing Dynasty. Currently, to form a sacrifice space and culture overlap through a mutually acceptable.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.22-32
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• 2021

The Seonwonjeon(璿源殿) in the Deoksugung Palace was initially the ritual space for the royal family affiliated with the Gyeongungung Palace during the Korean Empire. It is currently, however, empty, as a landscape restoration and maintenance plan is established as a part of the restoration project for the Seonwonjeon area. The following results were obtained through the historical investigation of the original form and examination of similar cases. First, the original topography of the backside grove, which had been in the Seonwonjeon area, is 3.0-5.0m higher than the base of the building, and a terraced flower bed(花階) was installed on the border of the green to set off the difference in a scenic way. Second, the backside grove was composed with fruit trees to bear fruits used in rites and pine trees which symbolize the ritual space. Third, resting places were established at both ends of the site for the convenience of visitors without interrupting the atmosphere of the sacred ground. A trail was also created inside the backside grove along with minimum landscape elements, including functionally required items, such as the signboard, bench, tree guard, ramp, street lights, and landscaping lights. Fourth, the information on original planting in the palace and ritual space was extracted through historical materials, such as literatures, antique paintings, and photographs along with site surveys. Based on the information acquired, a planting plan was established for the courtyard, pedestrian road, resting places, terraced flower bed, pine grove, and fruit tree garden, which constitute the landscaping space of the Seonwonjeon area.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.45-57
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• 2017

The royal tombs of the Joseon Dynasty are divided into the entrance space of the inner and outer spirits in accordance with the characteristic of the ritual act. In each space, the ritual facilities are arranged and managed according to the characteristics of ritual acts and space. In the case of the Joseon royal tombs listed in the World Heritage List in 2009, further conservation and management of the original form is required, and the need to restore the original form is required. Especially, Yungneung and Geolleung requires landscape management in accordance with the World Heritage site management regulations, for example, management of horizontal 60 degrees view. This study aims to propose a prototype verification, preservation and restoration plan for the landscape around the core area of the damaged source. Through the verification of the old literature and field investigation, conservation and restoration plan is proposed for the landscape of the ridge, the water system, the scenery around the ridge line, and the historical scenery.

• Journal of architectural history
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• v.21 no.1
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• pp.83-98
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• 2012

The starting point of this study is the concerning of simple behavioral pattern that whoever enters the inner space with taking off his shoes should go out from the position where he laid his shoes. The using of Ondol (floor heating room) and Maru (lifted wood floor) had changed the architectural space from chair-sitting to floor-sitting space, and it also made the behavior of taking off the shoes at the entrance of building and stepping on the lifted floor. This simple behavior has possibility to make lots of changes to the culture of architectural design. With this noticeable point, this paper is talking about the cultural feature of Korean traditional architecture, especially about the influence of tanking off and putting on shoes. The matter of shoes has changed diverse aspects of building and layout planning. It maximized the difference between front and rear part of building and characterized the lateral extension of Korean traditional house. The ritual space also had evolved from chair-sitting to floor-sitting space according to the type of ritual behavioral pattern. The change on the single building level had influenced on the layout planning of architectural complex. For examples, the parallel layout of ChangDeok-gung palace and the long sequential process to the main pavilion of Buddhist temple are the result of the matter of shoes. And NuGak(樓閣), the double-storied pavilion, on the axis of entering sequence's node is one of the unique planning elements that makes possible to go through the building without taking off the shoes and also makes upper level space for staying. In short, Korean traditional architecture that has the chair-sitting spatial origin of the East Asian cultural sphere has pursued new architectural issues and planning methods according to evolution to the floor-sitting culture.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.