• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.32-45
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• 2012

The purpose of this research is to better understand the Dongmyo, the Eastern Shrine of GuanYu and the military costumes of the Joseon period andto develop different cultural contents. By studying relevant literature, confirmations were made about the various types of costumes and their historical changes. During the reign of King Yeongjo, the ceremonial conductors often wore armors, and the king wore a different military costume. During the reign of King Jeongjo thereafter, the ceremonial costumes were codified in the book, the Chun-gwan tonggo(General Outline for the Ministry of Rites), along with the costumes for the musicians and lower officials. However, the military features were weakened in the late Imperial Joseon years. In terms of costumes, it would be best today to restore the ceremonies of the Shrine of Guan Yu during the period of King Jeongjo. All the costumes for different figures of the Shrine are clearly confirmed, and by emphasizing the main features of the ceremonials of the Shrine, it is possible to differentiate the ceremony from other restoration activities in Korea. For the Guan Yu statue, the hat is square shaped and decorated with nine bead strings, it is dressed with a red dragon coat and a violet inner coat. This study presents methods for the restorations of the original costumes for the individual figures of the ceremonials, with necessary theoretical explanations. The king wears the lamella gold armor, while different ceremonial officials wear differentiated armors according to their different ranks. All the civil and military officials who attend the ceremony wear military clothes with horse's mane hats and swords. The musical conductor and directors are expected in armors and participating musicians also have to wear armors according to the Akhak Gwebeom (Basics of Music).

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.94-113
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• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.

• Journal of the Korean association of regional geographers
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• v.12 no.1
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• pp.44-58
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• 2006

This study of Shintoism is to inquire the relationships between social-political ideology and place of Shinto shrine(神社). In Korea, the Shinto shrine was a place of the center of Japanese colonial policy that symbolized the goal of Japanese Imperialism. This was one of the strategies of "Japan and Korea Are One". Before the China and Japan War in 1937, the number of shrines amounted to 51 sites, 12 of them were closely related to open ports, and the others were located at inland major cities. They also were associated with railroad transportation systems that tied coast and inland major cities. This spatial distribution of shrines was so called "Shrine Network" that was essential in tracing Japanese invasion into Korea. It was an imperial place where Japanese residence and colonial landscape were combined together to show the strength of Japanese Imperialism. Most of shrines were located at a hill with a view on the slope of a mountain and honored Goddess Amaterasu and the Meiji Emperor. I presume from these facts that Shinto Shrine was a supervisionary organization for strategic purpose. The Jeonju Shrine was located on a small hill, Dagasan(65m) where commanded a splendid view of Jeonju city and honored Goddess Amaterasu and the Meiji Emperor. It was a place which was adjacent to Japanese residence and colonial landscape. The Dagasan was changed as a symbolic site for Japanese Imperialism. But, after liberation in 1945, the social-political symbol of the hill was changed. By the strong will of civil, there was a monument to the loyal dead and the national poet, Yi Byeng-gi placed for national identity at the site of the demolished Jeonju Shrine. Dagasan as a place of national identity, shows the symbolic decolonization and the changing ideology. After all, this shows that political ideology is represented in a place with landscape.

• Journal of architectural history
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• v.17 no.2
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• pp.83-102
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• 2008

In the book of , it is recorded that the names of ingressive stone stairs to the main shrine were Cheongwoongyo(blue cloud bridge) and Baekwoongyo(white cloud bridge) and the names of stairs to the paradise hall were Yeonwhagyo(lotus bridge) and Chilbogyo(seven treasure bridge). But, the ingressive stone stairs to the main shrine and the paradise hall are single consecutive stairs with 2 levels respectively. Because of this, it is rather hard to clearly designate the names to the upper level and the lower level stairs. But, of the stairs to the Paradise hall, the lower stairs have a carving of lotus, and the upper stairs have seven stairs. In this aspect of artifacts, we can safely assume that the upper stairs are Chilbogyo and the lower are Yeonwhagyo. But, for the ingressive stairs to the main shrine, there is no such artificial hint. So, it is difficult to designate the upper and the lower stairs for the two bridges. Especially, it is not clear whether the descriptive order of "lower stairs upper stairs" in the names of Yeonwhagyo and Chilbogyo can be applied to the names of stairs to the main shrine. It is because the general descriptive order is "upper lower" rather than "lower upper." Even though there have been many studies on the Bulguksa temple, the study on the ingressive stone stairs to the main shrine has not made till now. Therefore, the study on the position of Cheongwoongyo and Baekwoongyo stairs can have its validity. In this paper, the positional approach to Cheongwoongyo and Baekwoongyo has been made in following aspects: First, the temple structure of Bulguksa; Second, the five element theory of oriental philosophy and the Book of Changes; Third, the directional consciousness of Buddhism. Through the aspects, the validity of up-down position of Cheongwoongyo and Baekwoongyo has been sought. In this research, it can be concluded that the upper level of ingressive stone stairs to the main shrine of Bulguksa is Cheongwoongyo and the lower level is Baekwoongyo. When considered in the Buddhist directional consciousness, it forms the total structure of "East-Cheongwoongyo South- Baekwoongyo West-Yeonwhagyo North-Chilbogyo."

• Economic and Environmental Geology
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• v.42 no.1
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• pp.73-84
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• 2009

The stone Buddha and Shrine of Unjusa temple (Korean Treasure No. 797) at Hwasun formed in Koryo Dynasty is unique style which faces each other the back parts of south and north within the stone Shrine. The stone Buddha and Shrine is highly evaluated in historical, artistic and academic respects. But, the stone properties have been exposed in the open system various aspects of degradations weathered for a long time without specific protective facilities. To inquire into relative deterioration and environmental factor, air temperature and relative humidity of the stone Buddha and Shrine were monitored for a year of the indoor and outdoor, respectively. As a result, the temperature shows increase and decrease according to the seasons in the tendency to clear. While the relative humidity is high to keep all four seasons. Highly relative humidity environment induces dew condensation on the interior of stone Buddha and Shrine. The dew condensation is recorded at the spring, summer and winter season. The summer season is double the total of spring and winter season. In the case of summer, dew condensation is long time continued due to high temperature and relative humidity that is kept by more than nearly 100%. There is progress towards chemical weathering throughout dissolve rock properties and alteration on the rock surface. In the case of winter, dew condensation is not kept for a long time as summer. In the winter, which showing a below zero may add physical weathering throughout moisture that happen by dew condensation to repeat freezing and thawing. Therefore, the reduction plan of the relative humidity effect on dew condensation should be prepared.

• Journal of architectural history
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• v.22 no.4
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• pp.73-82
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• 2013

This study aims to find architectural characteristic of Nam-kwan-wang-myo as known as Nam-myo, Especially focusing on difference between before and after it's reconstruction in 1899. Nam-kwan-wang-myo is a shrine for Kwan-woo who was warlord in ancient china. Belief of Kwan-Woo was introduced to Korea in Japanese invasion of 1592 and the shrine was built in 1598. Belief of Kwan-Woo diffused for the late Joseon, during the reign of Gojong, many people have faith in Kwan-Woo including the king. There was four Kwan-wang-myo around the Hanyang at that time. In 1899 a fire of unknown cause broke out at Nam-kwan-wang-myo, so the main buildings burned down. The king instructed reconstruction of the shrine even though there was in financial difficulties, it had done in the midst of a national crisis. The buildings almost restored as before. The buildings in the shrine has strong characteristics of Chinese architecture because it made by people of the Ming dynasty. Two side-by-side roofs, accumulated brick exterior are important architectural feature, but also all the buildings in the mail hall area Surrounded by the closed-connected fence is hard to find examples in Korea traditional architecture. And Nam-kwan-wang-myo just had maintained architectural characteristics including layout of buildings, shape of the each building until it's reconstruction(1899).

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.156-179
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• 2016

Yatsushiro Shrine on the island of Kamishima located in Ise Bay, Japan, contains many cultural artifacts with ancient mirrors in significant numbers. Also included among the artifacts are horse gags and reins that are clearly of the same lineage as the horse harnesses from the unified Shilla era and Goryeo era in Korean history. Type classification and position establishment were carried out on the horse reins kept in the Yatsushiro shrine, including items such as those mentioned previously. Type A horse harness can be classified into 3 types. Based on this classification scheme, the harness type in the Yatsushiro shrine was found to belong to the most recent period. The blacksmith workshop that made the harness was producing iron wares and bronze wares, and it possessed metal forging and metal casting technologies. Note, however, that it was primarily a workshop where iron wares were made. The parts that were visible from the outside when the harness was attached were made from composite bronze, and the reins and bridle linkage were made from iron. Such integration of bronze ware production techniques and iron ware production techniques was an attempt at enhancing the practicality and embellishments on the harness.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Journal of the Korean Society of Food Culture
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• v.27 no.6
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• pp.598-606
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• 2012

The aim of this study was to comparatively analyze the differences in Jinseol (ritual table-setting) and Jesu (ritual food) from the cultural perspective of ancestral ritual formalities regarding Bulcheonwijerye of Admiral Yi Sun-Sin, which is being held in Asan-hyeonchungsa shrine, Tongyeong-changnyangmyo and Namhae-chungyeolsa. The results are summarized as follows. A total of 32 types of Jemul (ritual food) in 6 rows in Asan-hyeonchungsa shrine, a total of 30 types of jemul in 6 rows in Tongyeong-changnyangmyo, and a total of 12 types of jemul in 2 rows in Namhae-chungyeolsa were prepared for the ritual table. In the Asan-hyeonchungsa shrine and Tongyeong-changnyangmyo, cooked foods have been used for jesu, whereas raw, uncooked foods have been used for jesu in Namhae-chungyeolsa. In the Asan-hyeonchungsa shrine, Gaeng (Kook) for liquid soup of Tang (stew) and Tang (5-tang) for the solid ingredient of stew have been prepared for a ritual table. In Tongyeong-changnyangmyo, fish Kook for Gaeng and So-tang (tofu stew) for Tang have been prepared for the ritual table. In Asan-hyeonchungsa shrine, Yukjeok (beef slices broiled on a skewer), Gyejeok (chicken jeok) and Eojeok (fish jeok) have been stacked together as Dojeok on a ritual table whereas in Tongyeong-changnyangmyo, Yukjeok, Sojeok and Eojeok have been placed on the ritual table as Pyunjeok (one by one). In Namhae- chungyeolsa, raw pork meat has been placed on the ritual table. As Po (a dried meat or fish), dried fish and dried seafood have been used in Tongyeong-changnyangmyo, whereas raw beef meat has been used in Namhae-chungyeolsa. Although Namul (cooked vegetables) and Mulkimchi (watery plain kimchi) are placed on ritual table for Asan-hyeonchungsa shrine, only Namul and Saengchae (raw vegetables) is used in Tongyeong-changnyangmyo and Namhae-chungyeolsa, respectively. Bulcheonwijerye for the same person, Admiral Yi Sun-Sin, has different characteristics according to the shrines. Accordingly, there is a need to preserve and succeed bulcheonwijerye of Admiral Yi because it is a traditional culture in ancestral rituals.

• Journal of the Korean Institute of Landscape Architecture
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• v.18 no.4
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• pp.45-71
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• 1991

The landscape systems in Korean island settlements can be recognized as results of ingabitants' ecological adptation to the isolated environment with the limited natural resources. Both the fishery dominant industry in island society and ecological nature of its environments seem to have influenced on inhabitants' environmental cognition as well as the physical landscape of island villages such as its location, spatial pattern in each village, housing form and so on. This study was done mainly by both refering to the related documents and direct observations in case study areas, and results of the study can be summarized as follows. 1. In general, the landscape of an individual island seems to take more innate characteristics of island's own, corresponding to the degree of isolation from mainland. That is, while the landscape of island in neighboring waters takes both inland-like and island-innate landscape character at the same time, the one in the open sea far from land takes more innate landscape character of all island's own in the aspects of village location, land use and housing density etc. 2. The convex landform of most islands brings about more centrifugal village allocation than centripetal allocation in most inland villages. And thus most villages in each island face extremely diverse directions different from the south facing preference in most inland rural villages. 3. Most island villages tend to be located along the ecologically transitional strip between land and sea, so called 'line of life', rather than between hilly slope and flat land as being in most inland village locations. So they are located with marine ecology bounded fishing ground ahead and land ecology bounded agricultural site at the back of them. 4. The settlement pattern of the island fishing villages shows more compact spatial structure than that of inland agricultural villages, due to the absolute limits of usable land resources and the adaptation to the marine environment with severe sea winds and waves or for the easy accessability to the fishing grounds. And also the managerial patterns of public owned sea weed catching ground, which take each family as the unit of usership rather than an individual, seem to make the villagescape more compact and the size of Individual residence smaller than that of inland agricultural village. 5. The folk shrine('Dand') systems, in persrective of villagescape, represent innate environmental cognition of island inhabitants above all other cultural landscape elements in the island. Usually the kinds and the meanings of island's communal shrine and its allocative patternsin island villagescape are composed of set with binary opposition, for example 'Upper shrine(representing 'earth', 'mountain' or 'fire')' and 'Lower Shrine(representing 'sea', 'dragon' or 'water') are those. They are usually located at contrary positions in villagescape each other. That is, they are located at 'the virtical center or visual terminus(Upper shrine at hillside behind the village)' and 'the border or entrance(Lower Shrine at seashore in front of the village)'. Each of these shirines' divinity coincides with each subsystem of island's natural eco-system(earth sphere vs marine sphere) and they also contribute to ecological conservation, bonded with the 'Sacred Forest(usually with another function of windbreak)' or 'Sacred Natural Fountain' nearby them, which are representatives of island's natural resources.