• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.61-74
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• 2005

Wonsam, a type of korean women's gown in Choseon Dynasty, was used as a small ceremonial costume for queens, crown princesses and princesses and as a grand ceremonial costume for royal concubines and wives of high rank officials. It was also worn as a wedding dress for commoners. In the families of illustrious officials, it was also used as burial accessories or garments for the dead. In this context, Wonsam is a formal dress for the people's most important four ceremonies of coming-of-age, marriage, funeral, and ancestor worship. It is worth emphasizing the costume since it was widely and importantly used by all ranks of women, from royal families to commoners. Through the Wonsam of An-dong Kim Clan's, we can see what the society was like at the end of Choseon Dynasty. First, a status system that strictly divided costumes for each class, was, in many parts, broken down. Second, the highly wrought patterns and texture of fabrics of the Wonsam reveal that it was granted from Court, or, if woven by the Kim family, it is considered to be produced by the Court's craftsman or through technical transfer, considering that the weaving skills used are as good as those in Courts. Third, regarding the precise needlework that is uncomparable to textiles used by other illustrious officials families, the Wonsam is considered to be granted from Court or, produced through the needlework skills that were handed down from needlewomen in Courts. The Wonsam of An-dong Kim Clan's has noble beauty in it, with outstanding weaving skills, fabrics, needlework and shape. Thus, it is no exaggeration to say that it has those qualities to be the standard costume that inherits the tradition of Korean people.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.1-16
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• 2009

Ip-yeong or gat-keun decorate heuk-rip, supplementing its simplicity. When the wind blew, a dynamic beauty was created, especially if the gat-keun was made with long straps of jade or silk. Basically, ip-yeong was a practical chin strap to hold the gat tight on the head. Commoners made ip-yeong by folding cotton cloth or fine gauze. However, as available materials became diversified, people used cloth, jade, agate, amber, coral, gold medallion, rock crystal and bamboo as well, juk-yeong, which was made with bamboo, became popular especially when Heungsun Daewon-gun, the father of King Kojong, decreed that people wear simple clothes. Most records concerning ip-yeong in Chosun-wangjo-shillok, the authentic record of the Joseon Dynasty, are related to forbidding a sumptuous life. The book also suggests that ip-yeong was bestowed by the king or was offered to foreign diplomats as gifts. Ip-yeong doesn't seem to be a unique system for Korea. Based on portraits or paintings where ip-yeong can be found, it seems to have been widely used during the Yuan dynasty and the Goryeo dynasty. The system disappeared in China as the Ming Dynasty was established, but it remained in use in the Korean Goryeo dynasty and through the Joseon. Literature suggests that the same materials were used for ip-yeong from the beginning of Joseon to the end of the dynasty. Guyeongja refers to a ring that connects an ipja to a chin strap. Guyeongja made with silver, bronze and jade still remain. In gungjungbalgi, the royal court inventory book, records of imogarye can be found (1882), where ten pairs of pure gold strap rings and ten pairs of gold-plated ones were used for a royal wedding.

• Journal of architectural history
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• v.29 no.6
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• pp.79-88
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• 2020

During the Joseon Dynasty, the rituals that were celebrated in the palaces were mainly held inside the palace and in the courtyard of the palace. Mats were spread on the floor of the place where the ritual was held. The mats spread in the Joseon Dynasty rituals divided the space in various ways, and in particular, they were spread in a certain form in the spaces of royal wedding, customs, and court banquet. Mats were the primary physical element that divided the royal ritual space of the Joseon Dynasty, and functioned to elevate the general space to the ritual space. In the ritual space, mats were spread inside the palace, and divided the courtyard of the palace into left and right in a symmetrical form to distinguish the hierarchy of the participants. Mats with special and white patterns were spread in the external ceremonial space and mats with flower and colorful patterns were spread in the internal ceremonial space. This was the subdivision of the Confucianism's male-female division through the mat. The pattern of the mat that divided the space of the royal family elders also meant longevity to reflect the filial thoughts of the Confucianism through the mat. Mats were a physical element for subdividing the royal family and the participants in the hierarchy of the space where the ritual is held, and it also performed a subdividing function between the royal participants. In other words, in the Joseon Dynasty ritual space, mats were temporarily spread while the ritual is being celebrated and functioned to elevate the space to a ritual space. It is confirmed that the fact that the mats were temporarily spread to divide the space into the hierarchies according to the status and were subdivided into colors and patterns to perform the function to reflect the subdivision of the royal family according to Confucianism and the statue of filial piety in the ritual.

• Publications of The Korean Astronomical Society
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• v.25 no.4
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• pp.141-154
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• 2010

In the beginning of the Joseon dynasty, the Royal Astronomical Bureau (觀象監, shortly RAB) was established. After the double RAB had settled down by King Sejong (世宗), it continued to function until 1907. Before the Japanese invasion of Korea in 1592, the Joseon court had the Inner RAB in the Gyeongbok Palace (景福宮) and the Outer RAB in the Northen District Gwangwha-Bang (北部廣化坊) at the western side of the Changdeuk Palace (昌德宮). In the reign of King Sukjong (肅宗) the double system of the RAB was transformed into the Geumho-Gate (金虎門) Outer RAB and the Gaeyang-Gate (開陽門) Outer RAB. During the reconstruction of the Gyeongbok Palace in the early reign of King Gojong (高宗), the Gaeyang-Gate Outer RAB was replaced by the Yeongchu-Gate (迎秋門) Outer RAB in 1865. All RAB had the Royal Astronomical Observatory (觀天臺, RAO hereinafter), so called the Soganui-platform (小簡儀臺) on which the Soganui (小簡儀) has been put. The Soganui (小簡儀) is a small simplified armillary sphere. While the Gwangwha-Bang RAO handed down from the reign of King Sejong still exists, other RAOs, such as Gyeongbok Palace RAO, Gaeyang-Gate and Yeongchu-Gate RAOs, do not remain. According to our study, the Changgyeong Palace (昌慶宮) RAO was not indeed the RAO with the Soganui.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.355-387
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• 2008

The purpose of the study was to decide Korean translation and the copying period of "Korean Translation of " and to look all around their characteristics in different versions carefully until now. The "Korean Translation" is a collection of Korean-translated romance and love stories excavated by a professor Kim,Il Geun, and there is not a little meaning in the context of novel history in the point of view of 'Korean translation of a court possession'. Arranging conclusion of the study generally, it is as follows. (1) Considering phonological phenomena, grammar and vocabulary in the study of Korean language, it is presumed that they would be translated into Korean and copied between the regime period of the King Sukjong and the regime period of the King Yungjo in the Joseon Dynasty. For, they were composed of a middle declaration of copied 'Myeoknambon "Korean Translation of Taepyeonggwanggi(태평광기)"' and 'NakseonJaebon(낙선재본)' between the middle of the 17th century and the middle of the 18th century and the regime period of the King Jeongjo in the Joseon Dynasty appointed as the background period of the novels should be excepted. Consequently, through the Korean Translation, we can confirm that the novel scope between the 17th century and the 18th century in Korean novel history was widened until 'The Royal Court' and 'Women'. (2) In the side of vocabulary, the "Korean Translation" also has not a little meaning in the side of a collection translated in the Royal Court. It doesn't have new vocabularies, but partial vocabularies as '(Traces:痕)' '(Clean eyes:明眸)', ' (Sail:帆)', '(Get up:起)', '글이플(Weak grass:弱草)', '쇼록(Owl:? 梟 or 鴉?)', '이 사라심(This life:此生)', and '노혀오매(Look for:訪)' are good data in the study of Korean language. (3) The "Korean Translation" is a valuable data about translation and copying of a court novel and we can discover intentionally changed parts and partially omitted sentences rather in the than in the . There are differences between a translation book and a copying book and we can catch sight of intention of translation and unsettledness of copying in the second work. Therefore, we can know that the "Korean Translation" has a double context which one work is translated and a work in different version is derived, compared to a simple copy. (4) The "Korean Translation" has a close relation with "Hangoldong(閒汨董)", but it doesn't regard the same copy as a foundation. The basic copy of translation of the "Korean Translation" is a different version of the same line as "Hangoldong" and "Jeochobon(저초본:정명기 소장본)" and is more similar line to "Hangoldong", but it is also not the same basic copy. (5) Considering that the "Korean Translation" doesn't has a distinct relation with the "Hangoldong", there is no correlation between the "Korean Translation" and and the "Hangoldong" and . In addition, we could not discover a writer's identity between the two.

• (The) Research of the performance art and culture
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• no.23
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• pp.105-158
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• 2011

Due to the system of sending selected hyanggi(local entertaining woman) to the government office in Seoul after the abolition of the system of gyeonggi(entertaining woman in capital area) during the reign of King Injo(1595~1649), the kyobang-jeongjae(local dance performed for the provincial government office) had gotten into the court to be performed at the royal banquet as gungjung-jeongjae(court dance), one of which was seonyurak(dance of boating). It used to be performed for finale of the royal banquet in the late Joseon Dynasty and appeared in several uigwes(record for royal banquet) since its first appearance in the wonhaeng-eulmyo-jeongri-uigwe, documented in 1795, the 19th year of the reign of King Jeongjo. Considering that the yeoggi(female entertainer) responsible for the court dance, seonyurrak was the seonsanggi(selected entertaining woman from provinces) from the northwestern provincial villages such as Euiju, Ahnju, and Seongcheon etc., we can assume that the baettaragi, one of kyobang-jeongjaes whould have been getting into the court to become the seonyurrak as court dance. The baettaragi, kyobang-jeongjae of northwestern province that affected the development of the court dance, seonyurak was created as performance executed by entertaining women of kyobang(local supervisory office for entertaining women) on the basis of the fact that the envoy of Joseon dynasty to the Ming dynasty could not help but taking a sea route when Amaga Aisin Gurun had a grip on the northeastern area of China during the shift of power from Ming to Qing. There had been a lot of banquets for envoys in the northwestern province because of its geographical feature as gateway to trip to China and the baettaragi used to be performed by entertaining women belonged to local provincial office to consolate the sadness of separation with those who destined to depart to China and to hope for their safe return. The kyobang-jeongjae, baettaragi of northwestern province is recorded as performance with sorrowful song to put the pain of parting into work, according to many related documents. It puts together painted boats as props, the march of a couple of dancer dressed up as soldier with marching music called gochiak, the song and musical accompaniment before getting on boat, the dramatic expression of sailing, and the farewell song praying for safe return etc. It turns the situation of dispatching envoys for China by sea into performance with combination of music, song and dance. Created in this way, the kyobang-jeongjae, baettaragi had been performed at the various banquets for envoys departing for China and it affected the formation of court dance or gungjung-jeongjae called seonyurak through the activities of selected local entertaining women. It also exerted influence on other similar performance in provincial area because of the returning home of the selected local entertainers who finished their performance in Seoul and it had been performed with different variation at local banquet including locality in it.

• SUVANNABHUMI
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• v.12 no.1
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• pp.131-142
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• 2020

This article explored how the introduction of the Gregorian calendar transformed the Buddhist traditional practices of a noble class family who lost power in the royal court during the emergence of the British in Upper Myanmar. It examined in micro-level, the said changes by way of Wekmasuk Wundauk U Latt's diary, which recorded the social and economic conditions of Mandalay, then the capital of the Myanmar kingdom, from 1886 to 1898. When Burmese kings reigned in Mandalay, the court closed on Sabbath day, when the Buddhist Burmese went to monasteries to fulfill religious obligations. The introduction of the Gregorian calendar turned Sunday into a regular day off, which left Sabbath day to be used for more work. This prevented the then noblemen to attend to monastic duties as they had to use the day, for example to go to the bank to draw their pension. This research reveals that the Gregorian calendar has transformed the day off from "holy day" to "holiday."

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 2008.10a
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• pp.13-16
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• 2008

The aim of this study is to analyze the daylight performance at Changdeokgung Nakseonjae that is the representative and most well preserved Korean royal palace. As a result of measuring illuminance and luminance, direct sunlight is cut off by the eaves and reflective light from the court comes in the inside of the upper floor. As the layer of window is increased, daylight is decreased and the illuminance distribution is more stable because of decreasing of illuminance change. This study would be used as preliminary data for applying characteristics of lighting environment of Korean royal palace to modern architecture.

• SUVANNABHUMI
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• v.7 no.2
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• pp.177-196
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• 2015

This study on Mahāsammata Model of Kingship in Mrauk U Period from the 15^th to 18^th centuries attempts to demonstrate how the kings of Mrauk U or royal officials tried to claim this legitimating model of kingship and how they accepted this model of kingship and under what conditions the legitimate order of this model was lost. Vital to the adaptation of Mahāsammata model of kingship in the Mrauk U period is the claim that Mrauk U's rulers were direct lineal descendants of the first Buddhist king of the world, Mahāsammata and thence the clan of Gotama Buddha, Sākiya clan. This ideological model of kingship has a recognizable effect on the political stability of Mrauk U kingdom. While the Mahāsammata model of kingship performed as a belief of legitimizing kingship within the arena of royal court, the kings of Mrauk U tried to perform the related models of Mahāsammata, the ideal models of Buddhist kingship as dhammarāja and a cakkavatti. However, the conditions that fail to maintain the Mahāsammata model of kingship saw the weakening of the other related models of kingship, which eventually led to the decline of the kingdom.

• Mycobiology
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• v.51 no.5
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• pp.281-287
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• 2023

The symbiotic association between fungus-gardening termites Macrotermes and its fungal symbiont has a moderate degree of specificity-although the symbiotic fungi (Termitomyces) form a monophyletic clade, there is not a one-to-one association between termite species and their fungus-garden associates. Here, we aim to determine the origin and phylogenetic relationships of Termitomyces in Oman. We used sequences of the internal transcribed spacer region (ITS) and the nuclear large subunit ribosomal RNA (LSU rRNA, 25S) gene and analyzed these with sequences of Termitomyces from other geographic areas. We find no evidence for more than a single colonization of Oman by Termitomyces. Unexpectedly, we find Termitomyces in Oman is most closely related to the symbiont of M. subhyalinus in West Africa rather than to those of geographically closer populations in East Africa.