• 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.

• Korean Institute of Interior Design Journal
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• v.16 no.4
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• pp.3-11
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• 2007

We study, in this paper, on the decorative design of the Treasure-architectural form for the Silla Buddhist reliquary and this research went through the observation on the Buddhist Reliquaries of the Song-Lim-Sa, the Eastern-Western three floor pagodas in the Kam-Eun-Sa, the three floor pagodas in the Bul-Guk-Sa and the reportedly discovered Nam-Won. The Buddhist reliquaries of these 5 Reliquaries, when compared with those of China and Japan in the same period, they worshiped the Buddhist reliquary as a Buddhist God itself and put them as a part of the architectural decoration, being installed in the construction forms. In the form and the composition of the architecture, we can see those having been designed with very detailed and brightly decorated form. The Buddhist reliquaries in the Song-Lim-Sa and Kam-Eun-Sa, the most important ones in this research, were in a royal palace shape having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. In particular, for the case of Kam-Eun-Sa, the columns in the shape of bamboo trees, the expression of the gates, the terrace of double parts formed of word-shape Man, and the statue of a general with superhuman ability in the shrine explain us the description of the Gyun-Bo-Tap-Pum of Lotus Sutra. After all these researches, we conclude that the Buddhist reliquaries in form of the Treasure-architecture represented the architectural style of the same period as a form of industrial arts and we can see that they tried to use all of their highly skilled and talented methods to describe the Buddhist Pure Land.

• 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.

• Journal of Conservation Science
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• v.38 no.4
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• pp.347-359
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• 2022

Gongsanseong Fortress was registered of a World Heritage Site in 2015 as a representative cultural heritage from the Woongjin Baekje period, and it has been used throughout the entire period from Baekje Kingdom to the Joseon Dynasty. Within Gongsanseong Fortress, the area around Ssangsujeong is presumed the site of royal palace of the Woongjin Baekje. Also, the excavated culture layers of the Baekje Kingdom, the Unified Silla period, and the Joseon Dynasty were confirmed. In this study, paleotopography was modeled by digitally converting the elevation data obtained through surveying the excavation process, and the use of the topography in the Ssangsujeong area was considered by examining the variations in the topography according to the periods. As a result, the topography of the slope around the peak changed by periods, and the topography did not change on the flat land. The topography between the Baekje Kingdom and the Unified Silla period appeared to be almost identical, and it seems that the space of the Baekje period was maintained as it is. Also, during the Joseon Dynasty, it is confirmed that flat surfaces in the previous period were used. However, sediments on the slopes flowed down, reducing the area of the flatland, and architectural techniques that could utilize the natural topography of the changed slope were applied to interpret it as having a different topography from the previous period. In order to model and interpret the paleotopography, excavation data, geological and topographic analysis, and digital data must be secured. It is expected that location conditions and ancient human life can be identified if the analysis technique in the study is applied to other archaeological sites in the future.

• The Bulletin of The Korean Astronomical Society
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• v.46 no.2
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• pp.65.1-65.1
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• 2021

The Donggungilgi (東宮日記) is the daily records of the Siganwon (侍講院), which was a royal office in the Joseon dynasty that took charge of the education for the crown prince who dwelled in the Donggung (East Palace). This literature contains records of meteorological and astronomical observations as well as educational matters. The Sohyeon-Donggungilgi (昭顯東宮日記) includes records from 1625 to 1645, when Prince Sohyeon, the first son of King Injo (仁祖), was the crown prince. We investigate the records of solar halo observations in the Sohyeon-Donggungilgi. For consistency, we restrict our investigation to the period before the second Manchu invasion of Korea (i.e., 1625 to 1635). We extract 2,684 records and classify them into ten events according to the terms in their descriptions. The largest and smallest number of observation records are for the Hun (暈) and Geuk (戟) events (1,794 and 7 records, respectively). To verify what each event represents in modern atmospheric terms, we refer to historical documents of the Seoungwanji (書雲觀志, Treaties on the Bureau of Astronomy) and Cheonmundaeseong (天文大成, Great Achievements in Astronomy). We also calculate the solar altitude based on the observation hour and compare the descriptions to compute simulations provided by Arbeitskreis Meteore e.V.. We find that the descriptions of the Hun, Junghun (重暈), Yi (珥), and Baekhonggwanil (白虹貫日) events indicate a 22˚ halo, 22˚ and 46˚ halos, a parhelion, and a parhelic circle, respectively, Alternatively, we estimate that the Gwan (冠), Dae (戴), Bae (背), Li (履), and Gyohun (交暈) events describe arcs tangent to a 22˚ or 46˚ halo such as a upper or lower tangent arc, a circumzenithal arc, or a parry arc. We suggest that further studies are required for the Geuk event because the descriptions of this event differ from both documents referred to this study. In the sense that the number of observation records of the Geuk event is the smallest, however, this event may describe a rare phenomenon. We believe that this work will contribute to the study of historical records of solar or lunar halos.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.1-15
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• 2015

Changgyeongwon emerged as pleasure grounds following the creation of a museum, zoo and botanical garden in Changgyeonggung Palace during the Japanese colonial period. Pleasure grounds offer space for entertainment and have maintained the image of a paradise apart from reality. This study examined the creation process of pleasure grounds within a royal palace and the following spatial changes. By analyzing the image of Changgyeongwon as an artificial paradise, this study explored its landscape and cultural aspects. Literature reviews on the intention and process showed that the Changgyeongwon pleasure grounds were created as a 'royal garden' for the amusement of Sunjong, as well as 'public pleasure grounds' in the process of colonization. It was one of the first public spaces open to everyone who could afford the entrance fee. The layout of Changgyeongwon was studied by a comparison and analyzation of modern plans and photographs. It was composed of the central museum zone, northern botanical garden zone, and southern zoological garden zone. A conservatory and greenhouse to exhibit and maintain tropical plants were intensively built in the botanical garden zone while an aviary was created on the zoo pond. In the vicinity of the aviary a vivarium was constructed. Museum exhibition facilities included a main building as well as existing buildings, and a western flower garden was created between the buildings. Space for children including a playground and horse-riding course were created in the 1930's. The paradisiacal image and pleasure grounds culture of Changgyeongwon were studied as follows. Firstly, it shows that Changgyeongwon's paradisiacal image where rare animals and exotic plants were open to the public was promoted by the zoo and botanical garden. This led to the creation of new popular leisure activities such as flower appreciation and animal watching. Secondly, Changgyeongwon offered an urban leisure space, symbolizing the 'non-urban nature within the city' where the urban residents could escape from the daily routine. Thirdly, Changgyeongwon was known for its 'fantastic night landscape' by its night opening during the cherry blossom season. This cherry blossom viewing at night sadly degenerated by various shows and drinking, and as a result, an image of a deviant paradise was given to Changgyeongwon. Changgyeongwon contributed to creating a new space with its diverse facilities, and the public embraced the urban culture through experiences of pleasure and entertainment.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.1-13
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• 2020

This study closely analyzed poems and paintings related to Beijing-Palgyeong, as well as ancient maps and ancient writings. Through the study, people who read this study can consider, Beijing-Palgyeong's the process of changing times, changing landscape perception, physical and symbolic landscape elements, structural analysis, national management relationships, and finally how it was localized as symbolic place. The view point of the Beijing-Palgyeong is distributed in four places, one outside and one inside the city. Outside of the capital city of Beijing-Palgyeong were concentrated in Seosan(西山) where the resting place of the emperor and the center of the landscape view of Beijing. The view point of Beijing-Palgyeong inside the capital city is located in two places in the royal palace's Imperial Garden and in two villages around the fortress. In other words, Beijing-Palgyeong was selected as a place closely related to the imperial family, emperor, and royal palace from the time of its initial creation. Since then, many scholars, including the emperor, have used it for national management through Won(元), Ming and Qing Dynasty, and it have become more and more characteristic of 'The capital city of eight scenic views'. The two places inside the capital city praised the Gods and Emperors in the same way. Outside the capital city, the two sites depict the comfortable lives of the people who are governed by the emperor and depicting the village landscape around the city. In the end, it can be seen that most of the Beijing-Palgyeong are related to imperial palaces and emperors. If you look at the physical landscape of Beijing-Palgyeong by element, it mainly contains the contents of national management and the emperor's eulogy. Qianlong Emperor established the Beijing-Palgyeong in 1751 through the construction of a monument. A four-character on the front of the monument, and inscribed with a seven-word written by the person on the back. It can be said that Qianlong Emperor's Beijing-Palgyeong were intended to show off the results of Manchurian rule through the material symbol of the monument. Beijing-Palgyeong have been transformed into a landmark, and modern people use it as an indicator of the Beijing-Palgyeong.

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.38-53
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• 2012

The transition process of the Balhae's capital system(都城制度) is a step-by-step marker of the completion of the state's governing system(支配體制). The most important subject in investigating the formation process of the capital of Balhae is Shanggyeongsheng(上京城). That's because Shanggyeongsheng(上京城) with a threefold-castle structure(三重城) of royal palace(宮城)-internal castle(內城)-external castle(外城) in the side-to-side checkerboard type symmetrical structure has the most paradigmatic castle structure not only in Balhae but also in East Asia. Despite the fact that such structure of Shanggyeongsheng(上京城) has a lot of similarities in the type with Sudangchangansheng(上京城) in Chungwon, scholars were skeptical that it had the same structure with Sudangchangansheng(上京城) at the time when transferring the capital. If we review the result of excavation of Shanggyeongsheng(上京城) and the findings of the senior scholars, it can be understood that Shanggyeongsheng(上京城) has not only the structure of Sudangchangansheng(上京城) but also accepted the principle of construction projected in it. It was confirmed that there is room for reconsideration on the theory of step-by-step construction(段階別築造) which was claimed based on the point that the construction like today's construction was impossible with the level of national power at that time in that the layers whose difference in construction time between the place No. 2, the central point of the royal palace, and the palaces No. 3~5 could be found were not identified, in that the whole Shanggyeongsheng(上京城) was planned by the same standard scale and finally in that there is a good possibility of accepting Samjoje(三朝制). The Shanggyeongsheng(上京城) is the result of the construction conducted by careful planning from the beginning, and with its close relation with the King Mun's(文王) policy of civilian government(文治), it shows that the governing system of the state was completed during the reign of King Mun. Therefore, the construction of the capital and the principle of construction(造營原理) projected in it are based on the premise that the Chungwon culture(中原文化) was being understood to a considerable level, and this means that the view of the world(天下觀) that he wanted to implement expanded throughout the whole Balhae.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.46-61
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• 2023

Various Buddhist metal artifacts were excavated from the Heungjeon-ri Temple site from 2014 to 2020, such as gilt-bronze openwork decorations, a bronze kundika, a lion incense burner with a handle and lion weight, and so on. The gilt-bronze openwork decoration founded from the main hall of the western area is believed to have been used for the decoration of the Buddhist temple, and it is considered to be the best example of the gilt-bronze openwork decorations of the unified Silla that have been discovered so far. The incense burner with a handle and lion weight excavated from Heungjeon-ri Temple site is the earliest example of the style. The bronze kundikas excavated at the Heungjeon-ri Temple site have a more developed style than those of Ingaksa Temple. The bronze bowl and bronze bowl with a lid are similar to those excavated from the Anapji, Hwangryongsa Temple site, and Inwangdong Temple site. So these bronze vessels seem to have spread from the capital city to the provinces. Bronze seals excavated from the Heungjeon-ri Temple site are similar to those of the Hwangnyongsa Temple site in form and font. So, it was considered that they were produced and sent by the royal palace. In addition, "梵雄官衙之印" on the seal can be said to show that Heungjeonri Temple site was related to the organization of the monks at the time. The Buddhist metal artifacts excavated from Heungjeon-ri Temple site are believed to have been used from the early to mid-9th century at the temple by the Seon Order monk who was the main character of the monument. It can be said to be an important example of how the royal palace of Unified Silla and local crafts had a two-way influence, not a one-way influence, from the first half to the middle of the 9th century.