• Journal of the East Asian Society of Dietary Life
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• v.8 no.4
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• pp.536-553
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• 1998

Korea supposed the place of origin of soybean. Although it is speculated that it was edible in the era of the Three Kingdoms(A.D. 5-9C), there is no documentary evidence. The first record about the edibility of tofu was written down in the Goryeo dynasty, and there was several documents that tofu was exported to China and Japan in the Chosun dynasty due to excellent manufacture skills for tofu. Tofu has been a good source of protein as a food for the common people, though there were not many traditional kinds. Especially, tofu has been an important vegetarian foodstuff in a Buddist temple, and has been used for vegetable soup and skewered greens necessary for the sacrificial rites of the humbler class as well as of the royal court. We frequently made sliced raw tofu and fried tofu, and it was used for broil, stew, and casserole as well as stuffing. In addition, tofu and its bean-curd dregs were applied of making soy. In China it is assumed that tofu has been eatable since the time of the Han(AD. 1C). Chinese tofu and its products are various and generally 20 different varieties are used. There are many dishes applied of tofu. salted and plain tofu were used as Chinese appetizer dishes. Plain, salted, skinned or deep-fried tofu was stir-fried in an hot oiled pan with vegetables, meats and fishes. Additionally, there are a variety of tofu dishes utilized stewing, frying, steaming, and soup cookeries. Tofu first appeared in the era of the Nara(8C) of Japan and was come into wide use in the era of the Aedo(Tokyo). In Japan tofu and its products are various and introduced in Shojin cookeries prevalent in the Buddist temples. It is especially noticeable that frozen or skinned tofu was used for these. Japanese tofu cooking is more delicate than Korean and Chinese ones, and Japanese people do not use oil. Instead, they in general utilize steaming and broiling cookeries. In the western countries the history of tofu edibility is short. However, their practical application of tofu in the dietary life is very positive.

• Food Quality and Culture
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• v.3 no.2
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• pp.69-73
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• 2009

Sun-cuisine is a traditional Korean side dish. This study examined the methods used to prepare Sun-cuisine in 11 Korean recipe books published over the last 100 years. The main ingredients of Sun-cuisine were typically vegetables, fins, fur, feathers, meat, legumes and mushrooms dipped in wheat flour or mung bean starch powder and stuffed with various minor ingredients known as "so". These dishes are highly seasoned and boiled in meat stock or steamed in a double boiler, after which they were sprinkled with toppings. Various materials are used as the main ingredients. When vegetables were used as the main ingredients, they were sprinkled with salt, sliced and stuffed with beef or mushrooms. Meat stock was then poured on top of the vegetables and they were steamed. A total of 38 food materials were used as the minor ingredients, while 25 materials were used as seasonings and six foods were used as toppings. Pine nuts were widely used as a minor ingredient, seasoning and topping. Sun-cuisine is generally made using various powders such as starch or wheat flour. Sun-cuisine was a kind of royal court food in the past that was served as a side dish. Recently, Sun-cuisine is eaten less often because its cooking process is too delicate and complicated. Therefore, additional studies to enable the modernization of the Sun-cuisine cooking process should be conducted with the goal of revitalizing the beauty and taste of this traditional food.

• Fashion & Textile Research Journal
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• v.12 no.1
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• pp.31-37
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• 2010

The purpose of this study is to investigate the causes of clothes phenomenon of the ruling class women on the Heian period of Japan in the aspects of politics, economics, society, culture, and religion. The findings of the study are as follows. The main characteristics of the Heian period of Japan may include a rare sense of internationalism, low sense of nationalism, and frequent cases of political intrigue. However, noble culture, centered on royal court, was flourished and it enabled to develop sophisticated and graceful culture. During the Nara period and the Heian period (from $8^{th}$ to $12^{th}$ century), there were enormous changes in the clothes, starting from the mid $10^{th}$ century. The clothes of the ruling class in the Heian period underwent changes from the imitative clothes-imitating the clothes of the Tang age of China- to Japanesque clothes-adding the aesthetic consciousness of Japanese ruling class people. Particularly, the clothes of the ruling class women became massive, majestic, and decorative. The changed clothes had also features such as layered look, utilizing underwear as outer garments, using a wide variety of colors, and using hard and solid materials to make clothes. It can be concluded that the clothes of the ruling class people in the Heian period were affected by plural factors such as national and international political situation, economics, society, culture, and religion. The clothes were used by ruling class people as means of expressing their noble and sophisticated beauty, which led to produce humanistic beauty. The Heian period can be described as an era of the highest reach of humanity.

• Journal of the Korean Society for Library and Information Science
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• v.29
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• pp.345-382
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• 1995

The type printing of first Ch'ing dynasty term in China is worthy to be studied because the type printing during that period included metal type, wood type, and clay type as well as the development phase was similar to Chosun dynasty culturally and technologically. This paper studied typography during the first Ch'ing dynasty term, including Shunzhi(1662-1722), Yongaheng(1723-1735), Qianlong(1736-1795), Jiaqing(1796­1820) period. The main results of the study is as follows. 1. The main body of type printing was bookstore, lecture-hall, and individual as well as the royal court that is the central government. 2. The content of type edition covers classics, history, philosophy, and literary works. Specifically, even though Wuyingdienjuzhenban series is excluded, the content includs study of the classics, class of the history, class of the philosophy, literature works that include collection works and novel and government official bulletin. 3. The printing technique of bronze type was very popular In Beijing. Jiangsu, and Taiwan. It's scale and production technique was more elaborate than in Ming dynasty. 4. Wood type was very popular in Beijing, Jiangsu, Zhejiang, Anhui, Sichuan, and Fujian. In addition to wood type, chinese ware type was applied to book printing in Shandong. However, most of them were wood type and they were used after Qianlong period. 5. The production technique of type was skilled enough to present the fine view of a style of type. The typesetting technique was improved as much as woodblock printing. With regard to the making technology of Chinese ink, the light and darkness of chinese ink was not even sometimes. But, the technology was improved significantly when comparing with the failure experience of printing that chinese ink was not developed in early type invention. 6. In case that the book was printed in bookstore with the intention of profit and the number of book was large, the proofreading attitude was rough. However, overally, it was made correction carefully applying the various methods of proofreading. 7. The support of government made a great contribution in the area of all printing technology, including production, typesetting, and brushing of type.

• Journal of the Korean Society of Costume
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• v.5
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• pp.65-81
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• 1981

I referred to documents to study the origin and the progressing process of textiles. Cotton seeds were first imported from China by Mun, Ik Jem at the end of the era of Koryeo, and cotton had several different names such as mok-myen, cho-myen, gil-pae, baek-chep-za, tap-po, ban-ki-wha, dong-yep-po and so on. Since the era of the Three Kingdoms, people had heard of cloth of superior quality but it was not certain whether it was imported from China or made in our country. It seems that cotton was not made during that period, white silk, hemp cloth, and ramie fabric were produced. At that time, linen was called cotton by mistake. After importing cotton seeds from China, all the people began to plant them and made their clothes from them. At the beginning of the Yi Dynasty, the weaving technique was dependent on China. However, the government persuaded farmers to plant them. At that time cotton was used as a means of purchasing instead of money. Silkworms raising started during the era of the Three Kingdoms and it was widely spread at the beginning of the Yi Dynasty. In order to encourage sericulture' spinning and weaving instruments were installed in the royal palace and the queen with sher court maids demonstrated how to spin and weave. The activity was named "chin-jam-ye." Linen was the representative of all textiles and it was also very popular. The technique of weaving had already been highly developed at the era of Silla. During the era of the Three Kingdoms people used "bang-chu-cha" as a weaving instrument. They discovered several new hand machines in the period of the Yi Dynasty: they were instrument of removing seeds, spinning wheel, hemp cloth loom and so on, and we find the remains of them these days.

• Journal of architectural history
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• v.29 no.1
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• pp.65-76
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• 2020

This paper attempts to study on the substantial characters of the sangryang-muns written for the constructions of Sudara-jang and Beopbo-jeon at Haein-sa in the years of king Gwanghae and king Injo. On that basis, it also attempts to declare the first time that the Buddhist Order firstly used long sangryang-mun, and to presume the backgrounds of the constructions. The results are as follows: First, the queen, Mrs. Ryu and court ladies of king Gwanhae had participated as donators to the constructions. Therefore, it is supposed that the constructions had been promoted by the queen's Buddhistic beliefs as well as the commemoration of the 6th award of eulogistic posthumous title to king Gwanghae. Second, throughout the history of Korean Buddhism, long sangryang-mun was firstly used in the construction of Sudara-jang. Therefore, we can see the fact that long sangryang-mun was introduced to the Buddhist Order, as donation by royal families. But the long sangryang-mun couldn't be suitable for the traditional customs of Buddhism, the monks wrote additionally the Balwon-mun, so to speak, the pryer address. Third, the sangryang-mun of Beopbo-jeon was written in the mixed format of long sangryang-mun and traditional Balwon-mun. It is supposed that the Buddhist monks wanted to keep the traditional customs. Four, in the late period of J oseon dynasty, the same formats as the sangryang-muns of Sudara-jang and Beopbo-jeon have been widely used in the various Buddhist buildings. Consequently, it is supposed that these three sangryang-muns were the embryonic formats for the major types of the late Buddhist building sangryang-muns.

• Journal of Korean Society of Archives and Records Management
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• v.7 no.1
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• pp.111-128
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• 2007

This paper aims to examine into the public document management regulations of Gungnaebu(宮內府) at the last period of Daehan(大韓) Empire. Gungnaebu(宮內府), newly established as a political consequence of Gabo(甲午) Reform, had managed the affairs of Royal Court all through several political changes. Many of the main contents of public document management regulations were established after 1907. These regulations and methods have a significant meaning in that they have great affect on the prototype of today's public document management. Moreover, such regulations include the departments in charge of public document management, procedures for official documents handling, provisions on compilation and preservation, the formulation of records compilation classified table and provisions on records list and lending, in detail. They suggest us many points because they are the matrix of the methods of records and archives management which had been applied through Joseon(朝鮮) colonial government, even after the foundation of Republic of Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.3
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• pp.25-38
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• 2000

The research follows several steps. First, the chinese 'WangSung' and 'KungSi' System are verified positively. Next, the structure of palace in Choson Dynasty is deduced based on those chinese systems. Finally, the common system that is also applied in other government-operated spaces is found. The result can be summarized as follows. It is clarified from reviewing the chinese 'WangSung' and 'KungSil' Systems that the 'OyoiCho' is located in 'WhangSung(the imperial city) but out of' KungSung(the palace). Therefore, the research points out that all sort of theories explaining the 'OyoiCho' of Choson Dynasty is a space of 'in-place' are false. The palace system of Choson dynasty seeks the substantiality grounded on the substantial function of 'SamCho(three spaces)' rather than its strict principle dividing main spaces by several doors-'KungMoon' Moreover, it is also certified that the 'ChonChoHooChim' system, literally the political court is located at the front and the private section is at the other(back) side, is directly applied on the palace of Choson Dynasty. This idea has been developed into 'inner and outer' concept and repressed in palace as the 'OyoiChon(outer palace) and NaeChon(inner palace)' concept. conclusion, the research suggests that the dual concept in space such as 'ChonHoo(front and back) and 'NaeOyoi(inner and outer)' basically comes from 'Eum Yang' theory and influences in building other government-operated spaces: for example 'ChongMyo(the royal ancestors shrine)', 'SoWon(a private school of Choson dynasty), 'HyangKyo(a local school annexed to the Confucian shrine)' and 'KwanAh(a governmet agency)'

• Korean Institute of Interior Design Journal
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• no.9
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• pp.77-85
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• 1996

The purpose of this study is to examine losely how the Rococo style, which reached its summit in the history of French furniture, was realized in its social background and mode of life. Based ion this examination , this study will explore desirable directions for developing our domestic furniture design. For this purpose , existing literature will be referred to and analyzed to arrange into a new system. Rococo furniture style was the product of joyous and aristocratic living . This was based upon the historical development of French interior design, established by the national mode of Versailles Palace. Hereafter, royal style came into fashion paralleled with the luxuries of the court. Pursuit of new , interesting or beyond-expectation fashions encouraged the creation of new and imaginative forms and designs . The elegnant taste of customers, the new techniques of furniture manufacturing , and the unique sales strategies of merchants were social phenomena which contributed to the development of Rococo furniture. Furthermore , Louis XV`s private and personal life led to society`s pursut of comfortable and convenient living . Under these circumstances, small and cozy rooms for various uses came into the interior. Accordingly, the scales of furniture became smaller and any types of furniture with their own uses and feminine nature were manufactured , especially by the bnistes. Rococo furniture with fmine beanty and refined line, beatifil proportion and elegant sculpture, and solidity and clarity in general , is not only furniture for the use of man, but also furniture in harmony with man. As we see the stages of development and the characteristics of Rococo furniture, development of Korean furniture is a common task which can be accomplished through the participation of the designer, manufacturer, seller and consumer. Based on this co-operation , the furniture industry must make an improvement in furmture design, lestablish a permanent store in which new works are displayed. publicize activities and sales, promote exhibitions and seminars, and encourage technical development through the government and other interested organizations.

• Korean Institute of Interior Design Journal
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• v.17 no.4
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• pp.11-22
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• 2008

This study aims at clarifying the circumstances under which the Korean Pavilion was constructed at the 1900 Paris Universal Exposition, and major architectural features of the pavilion building, In particular, this thesis studies the construction history of the Korean Pavilion newly developed by Comte de Mimerel on the part of France following the sudden death of Baron Delort de Gleon during the construction of the Korean Pavilion, as well as architectural features of the draft design. The Korean Pavilion designed by Comte de Mimerel completely reproduces Keunjeongjeon of Gyeongbok Palace, faithfully complying with the then design tendency of the exposition. Mr. Young Chan Min, the Vice Chairman of the Seoul Organization Committee, positively participated in the construction process, and traditional carpenters in Chosun, together with Mr. Young Chan Min, were dispatched to Paris to engage in the construction of the pavilion building. This is substantially in contrast to the earlier design. According to the analysis in this study, although the Korean Pavilion designed by Comte de Mimerel was primarily built with the fund of the French Government and under the French architectural system, as a result of the Korean Government's positive participation in the construction process, it was decided to use Geunjeongjeon, the symbol of Chosun, as a model of the pavilion, and therefore, the Korean Pavilion was recognized by the Europeans as a monument of complex and sophisticated civilization. Furthermore, commercial and colonialistic expressions, which were found in the earlier plan, are rarely found in the Korean Pavilion designed by Comte de Mimerel, and we can see that this is the result of the attempt to fully reproduce Geunjeongjeon, the major building of the Chosun royal court, in building the Korean Pavilion.