• Korean Security Journal
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• no.28
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• pp.131-152
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• 2011

Jangyongyoung was a royal guard in the King Jeongjo Period. The guard was established after the inauguration of King Jeongjo to protect the king and strengthen the royal authority. In terms of security study, it has high value in that it gives insights to the development of security system and its achievements and new role of supporting king's cultural events. Jangyongyoung was a formal guard established to achieve king's political reform. After the King Injo restoration, there sprouted many security guards, including Howicheong, Eoyounggun, and Gemgun. Those were all makeshift systems. But Jangyongyoung grew as a standing and futurist system as it went through some different names, Sukwiso, Jangyongwi, and finally Jangyongyoung. It served to protect the legitimacy of King's succession, to strengthen royal authority, and to bring stability to people's lives. Jangyongyoung had an efficient organization and operation. It also had the characteristics of modern security, integration, professionalism and size. In Jangyongyoung, military training and security were not separate. They protected king from dangers and guarded king's bed, and they trained themselves to deal with unforeseen occurrences. By doing so, they could support king's many activities, including visit to royal tombs, touring of Hwaseong Fortress, and watching military training. Jangyongyoung not only served as a military guard but also it had a cultural function. They made it possible that king and people met in the king's procession. Jangyongyoung supported Jeongjo's political reform, and as a royal guard it enhanced the authority of royal family and exemplified a new security guard by supporting king's cultural events where king, servants and people could become one.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.1
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• pp.139-153
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• 2013

The purpose of this study was to consider the kinds and features of costume and fabrics of the early Koryo period which are mentioned in the records of costume system, royal presents and diplomatic articles at that time ranging from the reigns of king Gwangjong to king Gyeongjong and to king Seongjong. Findings of the study can be summarized as follows. In the 11th year of king Gwangjong's reign, the official costume system was established, which reflected the royal will to independence as an imperial nation. That system also became the basis of the official wage system in king Gyeongjong's reign. In the reigns of king Gwangjong and king Gyeongjong, the monarch granted official uniforms to persons who passed the state examination, directly connecting with new bureaucrats and strengthening the royal authority. Those uniforms were usually worn at a banquet where the monarch and subjects participate together in the early Koryo period. In the reign of king Seongjong, costume and fabrics were positive means of realizing political Confucianism as they were used for bureaucrats who advanced to official position through the state examination. Records issued at that time explain that the monarch presented costume and fabrics in an effort to getting along with officials and civilians of different classes as the state and the royal authority stabilized. Found in the records released in the reigns of king Gwangjong to king Seongjong, the kinds of costume or fabrics at that time include jikseongeuio, gap, yongeui, seupeui, gyegeum baekcheop, geumeunseon gyegeumpoyok and po. The techniques of manufacturing armors in the early Koryo period were probably advanced since the item was a craftwork presented to the court in the reigns of kings Gwangjong and Gyeongjong. Presumedly, baekcheop was a kind of hemp and po. Koryo's native hemp cloth.

• The Research Journal of the Costume Culture
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• v.12 no.4
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• pp.529-546
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• 2004

The Chosun Dynasty＇s establishment of Five-Ceremony, which occurred shortly after its founding, and the revision of traditional Korean music were based on Confucianism＇s Ceremony-Pleasure Idea(예약사상). The purpose of this study is to determine the effect of Cheo-Yong dancing, both social and political, on the role of royal dancing. Furthermore, this study will consider what the Chosun Dynasty＇s(조선) rulers pursued, by researching the reasonswhy Cheo-Yong dancing changed with the times along with the symbolic change of clothing for Cheo-Yong dancing through (Ak-Hak-Gue-Bum), a book which explains music and dance in Chosun Dynasty as a part of Ceremony-Pleasure Idea(예약사상) the people ruled ever the country tough courtesy etiquette and music. Consequently, Cheo-Yong dancing which was introduced in (Ak-Hak-Gue-Bum) played the roles of justifying, strengthening and displaying royal authority. And because the symbolism of Cheo-Yong dancing is reflected in clothing for Cheo-Yong dancing, it can be concluded that it expresses not only the sense of value of that times but also ruler＇s idea.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.131-142
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• 2006

This research has been done based on the Jeon Si Gwa(田柴科) regulation, the monumental inscription material and the former studies. The background of adapting the official uniform regulation in the early Goryeo Dynasty has been surveyed. Differentiating criterion in the official uniform color like purple(紫衫), red(丹衫), red(緋衫), and green(綠衫) has been studied. The official rank had been classified by the color of the official uniform in the early Goryeo uniform regulation. The lower class had worn purple(紫衫). The purple wearing class had not been the government post but the official rank. Those who worked for the Palace had worn purple color since purple color represented the Imperial Palace on which TAI-IL(太一), that is, the highest one of gods dwelt. Those who had worn red(丹色) in the monumental inscription had worked for the job associated with the military service or Hanlim savant(翰林學士) of Kwangmun Academy(光文院) and Hanlim Academy(翰林元). Dan Seo(丹書) which recorded King's commands also means the monumental inscription. In the Goryeosa(高麗史), the military class had been only in Dan Sam(丹衫). That means those class worn Dan Sam(丹衫) could have been as the strong supportive class for the Dynasty. In the early Goryeo Dynasty, the four colored uniform regulation had followed the enforcing policy of the royal authority. It has been assumed that the uniform regulation had been used as a way of enrolling the new supporting class into the existing official system. Dan Sam(丹衫) which had been worn only in the early Goryeo can be seen as the special class for strengthening the royal authority.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.40-69
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• 2023

This paper examines the relationship between celadon wine vessels and royal banquets by focusing on their unique forms. It explores the symbolism in their forms and designs and the changes that took place in the composition of these vessels. By examining the royal annals in Goryeosa (The History of the Goryeo Dynasty), the relation of celadon wine vessels and royal banquets is examined in terms of the number of banquets held in the respective reigns of the Goryeo kings, the number of banquets held by type, and the purpose of holding them. A royal banquet was a means of strengthening the royal authority by reinforcing the hierarchy and building bonds between the king and his vassals. It was also an act of ruling that demonstrated the king's authority and power through praise of his achievements and virtues. Royal banquets were held most often during the reigns of King Yejong (r. 1105-1122), King Uijong (r. 1146-1170), King Chungnyeol (r. 1274-1308), and King Gongmin (r. 1351-1374). Particular attention is paid here to the changes in the types and forms of celadon wine vessels that occurred starting in the reigns of King Yejong and King Chungnyeol, which is also the period in which the number of royal banquets increased and royal banquet culture evolved. The king and his subjects prayed for the king's longevity at royal banquets and celebrated peaceful reigns by drinking and performing various related acts. Thus, the visual symbolism of vessels for holding, pouring, or receiving alcohol were emphasized. Since the manner of drinking at a banquet was exchanges of pouring and receiving alcohol between the king and his subjects, the design of the ewers and cups had a significant visual impact on attendees. It can be seen, therefore, that decorating wine vessels with Daoist motifs such as the immortals, luan (a mythological bird), turtle dragons, fish dragons, and gourd bottles or with Confucian designs like hibiscus roots was intended as a visual manifestation of the purpose of royal banquets, which was to celebrate the king and to pray for both loyalty and immortality. In particular, the Peach Offering Dance (獻仙桃) and Music for Returning to the Royal Palace (還宮樂), which correspond to the form and design of celadon wine vessels, was examined. The lyrics of the banquet music embodied wishes for the king's longevity, immortality, and eternal youth as well as for the prosperity of the royal court and a peaceful reign. These words are reflected in wine vessels such as the Celadon Taoist Figure-shaped Pitcher housed in the National Museum of Korea and the Bird Shaped Ewer with Daoist Priest in the Art Institute of Chicago. It is important to note that only Goryeo celadon wine vessels reflect this facet of royal banquet culture in their shape and design. The composition of wine vessel sets changed depending on the theme of the banquet and the types of liquor. After Goryeo Korea was incorporated into the Mongol Empire, new alcoholic beverages were introduced, resulting in changes in banquet culture such as the uses and composition of wine vessel sets. From the reign of King Chungnyeol (r. 1274-1308), which was under the authority of the Yuan imperial court, royal banquets began to be co-hosted by kings and princesses, Mongolian-style banquets like boerzhayan (孛兒扎宴) were held, and attendees donned the tall headdress called gugu worn by Mongol women. During the reign of King Chungnyeol, the banquet culture changed 132 banquets were held. This implies that the court tried to strengthen its authority by royal marriage with the Yuan court, which augmented the number of banquets. At these banquets, new alcoholic drinks were introduced such as grape wine, dongnak (湩酪), and distilled liquor. New wine vessels included stem cups, pear-shaped bottles (yuhuchunping), yi (匜), and cups with a dragon head. The new celadon wine vessels were all modeled after metal wares that were used in the Yuan court or in the Khanates. The changes in the celadon wine vessels of the late Goryeo era were examined here in a more specific manner than in previous studies by expanding the samples for the study to the Eurasian khanates. With the influx of new types of wine vessels, it was natural for the sets and uses of Goryeo celadon wine vessels to change in response. The new styles of celadon wine vessels linked the Goryeo court with the distant Khanates of the Mongol Empire. This paper is the beginning of a new study that examines the uses of Goryeo celadon by illuminating the relations between royal banquets and these unique celadon wine vessels that are stylistically different from everyday vessels. It is to be hoped that more studies will be conducted from diverse perspectives exploring both the usage of Goryeo celadon vessels and their users.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.207-241
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• 2007

This paper investigates the royal collection of paintings and calligraphy during King Gojong's (高宗) reign (1897~1907) based on the function of the Jipgyeong-dang Hall (緝敬堂), situated at "sleeping realm (寢殿)," Gyeongbok Palace. Using the surviving palace records and art works this study argues that the date of building the hall is approximately confined to the year of 1890. Not being matched with the general opinion that the Jipgyeong-dang Hall was used for the official meeting with envoys, this hall functioned as the main place for royal audience and the storehouse for archives. The role of Gojong as collector and patron was essential not only to the maintenance of the collection but also to the strengthening of royal authority just before the Japanese annexation in 1910. The specific titles of the collection at this hall can be verified through the Catalogue of the Books, Paintings, and Calligraphy Exposed to the Sun at Jipgyeong-dang Hall (緝敬堂曝曬書目) dating to the nineteenth century. The records of the catalogue inform us that more than 1,000 paintings and pieces of calligraphy, inkrubbings from old steles, manuals for painting, and encyclopedia concerning art theories from Korea, China, and Japan were preserved there. The collection of Jipgyeong-dang Hall resulted from Gojong's policy to foster the collection of contemporary Chinese and Japanese art works and various catalogues. Standing behind the Gyeongbok Palace, the Jibok-jae Hall (集玉齋) also preserved the diverse sources of practical learning, as did the Jipgyong-dang Hall for Gojong. The enormous royal collections by Gojong might have been constructed in accordance with the royal artistic taste and the artistic milieu of the late Joseon period. The surviving royal catalogues confirm this assumption as documentary evidence.

• Journal of Internet of Things and Convergence
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• v.8 no.2
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• pp.61-70
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• 2022

Connectivity and knowledge are the main keywords of the IoT. In this paper, I analyzed how the two civilizations, Christianity and Islam, were connected through Mughal paintings and what result they have brought in the spread of knowledge. For that, I analyzed literature as well as paintings of those days. In terms of theme matter, Western painting was used as a means of strengthening the royal authority of the Mughal Emperor. In terms of style, perspective and shading from the Western Paintings began to be used in Mughal painting. Later, Christian symbols and themes were linked to absolute power of kingship, and further utilized them to develop into the concept of kingship = spirituality = divinity, creating an original art style that was unprecedented in the history of world painting. By analyzing the two disparate cultures in terms of 'connectivity' and 'knowledge' of the Internet of Things, such research could serve as a platform for future humanities research on the Internet of Things.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.57-65
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• 2012

This work attempted to study the properties of expression of ground, the composition of outlook and the implications of the connotative symbolic scenery throughout investigating the properties of expression content and method of the scenery, outlook, viewpoint, natural features for each drawing and intention of making 4 old maps, which had been made in the period of the Great Korean Empire and had been called 'Wansan-dohyoung(完山圖形),' 'Jogyeongdan- bigak-jaesil-dohyoung(肇慶壇碑閣齋室圖形),' 'Jeonju-geonjisan-dohyoung(全州乾止山圖形)' and 'Jogyeongmyo-gyounggijeon-dohyoung(肇慶廟慶基殿圖形),' and analyzing the correlation between their drawings. For this aim, observatory investigation by using a map, on-spot investigation, analysis involving the satellite images and internet were carried out with literature review simultaneously. The result of investigation could be sum up as follows. Gyounggijeon(1410), Jogyeongmyo(1771) and Jogyeongdan(1899), where are the core space to lay the historically firm foundation for securing the fact Jeonju is the home of the Royal Family of Joseon, had been built, fixed and extended for giving legitimacy to the Joseon Dynasty and a part of strengthening of royal authority. And these had played an important role of spiritual mainstay from early in the Joseon Dynasty to the era of the Great Korean Empire and had been managed and maintained continuously. It is grasped that the 4 maps consist of Sanhyuoungdo(山形圖; a kind of a mountain map), which is the map for showing a burial place of Lee Han(李翰), the founder of the Joseon Dynasty, and its auxiliary drawings and these had been drawn intensively to justify dignity and authority of the Imperial Family and the Emperor after the name of country was renamed the Great Korean Empire as a part of national undertaking. In detail, Wansan-doghyoung is the key map for announcing the existence of Jogyeong-myo, Gyounggijeon and Jogyeongdan in Jeonju and informing their locations and Geonjisan-dohyoung is the map of divination based on topography for highlighting the geomantic justification of the founder's mausoleum. Jogyeongdan-bigak-jaesil-dohyooung is the partial map detailing for Geonjisan-dohyoung. Jeonju-geonjisan-dohyoung and Jogyeongmyo-gyounggijeon-dohyoung had employed the binary reduced scale and the bird-eye view method and in the above maps, Geonji Mountain is the main mountain and these maps make an exaggeration of the main geographical features, centering Wangjabong and Euimyoso, unlike the real geographical features. Also, the other main geographical features, which are found in the burial place, are expressed in detail by changing the view. In the point of view of 1 set being consisted of 4 maps, 'Wansan-dohyoung' has the property not only as Gunhyoundo, which Gun and Hyoun mean a unit of the administrative district, respectively and Gynhyoundo is a kind of the map for recording their locations, but also as the map of showing their locations. On the other side, 'Jogyoungmyogyounggijeondohyoung' is a kind of lay-out drawing as a partially detailed map. In addition, it has been found out that 'Jeonju-geonjisan-dohyoung' and 'Jogyeongdan-bigak-jaesil-dohyoung' is not only Pungsu- hyounggukdo having the function of Sanhyoungdo but also a detail drawing. On the base of these properties, it is considered that the functionality as a serial map had been strengthened, unlike the existing old maps.