• The Korean Journal of Food And Nutrition
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• v.21 no.3
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• pp.344-354
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• 2008

The traditional ritual foods of Korea have developed with for many years, and differ by locality, family customs and religious characteristics. In an efforts to establish the database on that addresses the difficult issue of a classification system for traditional Korean foods, we have conducted a survey of a traditional Korean ritual foods. In the database, typical 10 rites are represented, covering birth to death, these are birth, the hundredth day after birth, the first birthday, the commemoration of finishing books(graduation), the coming of age ceremony, marriage, the birthday feast for an old man, the 60th wedding anniversary, the funeral, and the memorial service. For each rite, the appropriate traditional Korean foods are classified into 6 categories-main dishes, side dishes, tteok lyou, hangwa lyou, eumchung lyou and the others. Some of these have varied considerably with the passage of time, and some have since disappeared. This database provides a basis for generational transmission, preservation and development of traditional Korean ritual foods as one of the components traditional Korean culture.

• Journal of the Korean Home Economics Association
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• v.38 no.11
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• pp.13-30
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• 2000

The purpose of this thesis is to find out the spiritual cloture inherent in outward elements of Korean traditional costume. For this purpose, the ‘Po(袍)’of the Chosun Period is decided as an object of this study. ‘Po’, which has been one of basic elements of traditional costume from ancient times, contributes to complete the attire and shows the courtesy most apparently. In addition, ‘Po’profoundly contains the spiritual culture of our own because it symbolizes the social status system and customs of the days. The spiritual culture incorporated in the traditional Po of Korea is examined by the study of the thought of Yin and Yang, and Five Elements, Taoism, Han(韓) and the aesthetic characteristics of Korea.

• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.348-354
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• 2023

A tattoo is a cultural form that has been handed down to mankind for a long time. Traditional tattoo customs that have been handed down and developed in the various cultures of mankind have the important value of academic research in various fields such as history, art, society, etc. The Derung people, one of the minorities living in Yunnan Province and nearby areas in the southwest of China, have 'facial tattoo' customs. The traditional culture of the Derung people, which had maintained the form of primitive society until 1949 when the People's Republic of China was established, was passed down through oral tradition, so there are no preserved materials about their tattoo culture, showing the need for research on the culture. Therefore, it was conducted in two ways: a research on modern and contemporary literature and a field trip to Yunnan Province. The exact reason and time of facial tattoo customs are unknown, but the customs disappeared after being banned in 1966 due to the Chinese Cultural Revolution. The symbols and functions of facial tattoos can be largely divided into four categories, including religious worship, coming-of-age ceremonies, aesthetic decorations, and ethnic and social history, through an on-site survey and research by modern and contemporary scholars. And, it is known that women of the Derung People get tattoos from the age of 7 to 8. The design of facial tattoos became more complicated for upper-class women and simpler for lower-class women depending on the area they live. Tattoos are mainly performed by relatives, and mainly bamboo skewers and lixivium extracted from the bottom of the pot are used as the materials. Currently, there are fewer than 25 women of the Derung people with facial tattoos, and most of them are elderly. Therefore, they seem to disappear altogether within a few decades. Therefore, it is urgent to have documentation on the unique facial tattoo culture of the Derung people.

• 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.

• (The) Research of the performance art and culture
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• no.39
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• pp.835-861
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• 2019

Ulsan was selected as an industrial and industrial city, a leading city of Korean economic development in the 1960s, and it was rapidly changed social environment with the influx of many labor population. This change has had a great impact on the traditional customs of the region, and the traditional intangible culture has disappeared or disappeared, which requires urgent protection of intangible cultures compared to other regions. This study suggests the current situation to restore the agricultural music made up of the three-time customs recorded in the 1930s in Ulsan Dali area. The research method is literature research and field research. First, the literature analyzes the farming music in connection with the farming work performed in the Ulsan Dali area in 1936, and secondly, The field survey was based on the current situation of restoring farm music at the Nam-gu Cultural Center in Ulsan. The results of the research were observed in the Ulsan area, which has disappeared rapidly. In addition, it revealed the status of being handed down from 'Kim Dal-oh', a traditional farmer who worked at Ulsan Cultural Center, to 'Kim Se-ju', who is trying to restore the farm music.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.5
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• pp.57-65
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• 2000

Vernacular embodies a culture and economy that are unique to one particular region at a given period, expressed in the lifestyles of the ordinary people of the region. This study aims at interpreting Korean Vernacular Landscape by applying the analytical tool thus developed to the lifestyles of ordinary people found in their permanent dwellings (e. g., villages). By so doing, this study hopes to contribute to building a framework with which to understand the tradition of ordinary people by exploring the uniqueness and basic characteristics of Korean Vernacular Landscape. This study relies primarily on filed studies on, and publications relating to, the agrarian and residential landscapes. The Korean vernacular landscape has not only crude and simple generality, but also individuality derived from cultural circumstances and natural feature. Korean Vernacular Landscape may be characterized as the practical Vernacular Landscape, consisting of the raw materials that were only available in a particular region, shaped by the terrain, and maintained by the customs that varied from a region to a region.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.56-60
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• 2005

Finishing materials and colors which were expressed in the space is an important factor to decide the imagination of the space. Therefore if we analyze and spotlight the space with that factors again, we will readily know the characteristics that are expressed in our living space. A purpose of this study is how the traditionality like national thoughts, customs and behavior patterns is changed, arranged and expressed in the korean housing space in the 21c on the finishing materials and colors. Though this study we can know that the traditionality which are expressed in modern housing spaces shows with accommodating to characteristic that is expressed in traditional housing spaces.

• Fashion & Textile Research Journal
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• v.15 no.3
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• pp.406-413
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• 2013

The objective of this research is to find out status and consciousness about shrouds according to changes of Jeju's rural funeral ritual while reviewing Jeju's traditional shrouds. Consciousness of customs regarding tradition is much stronger in Jeju Island. Since it was said that shrouds and changes of funeral ritual have very systematic correlation according to the result of precedent researches, changes of funeral rituals of Jeju's rural area were examined. At the same time, consciousness about traditional shrouds of Jeju people was also studied. As the result of examination through literary investigation, visits to rural homes, visits to production places of Jeju's shrouds and interviews with grandmothers designated as human cultural assets of traditional Jeju shrouds, etc, it was found out that Jeju's rural funeral rituals had been rapidly changed since 2000. Traditional Jeju shrouds are also disappearing. In particular, old women of Jeju have considered preparation of their own and their husbands' shrouds in advance as a virtue. However, as it gradually became more difficult to produce and prepare traditional shrouds at homes and as the space of funeral was changed from their own houses to hospitals and/or commercial funeral homes, it was found out that a ratio of people's using general shrouds sold in market was increased and it is believed that this kind of trend will be accelerated more and more in the future.

• Journal of the Korean Society of Food Culture
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• v.3 no.3
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• pp.259-273
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• 1988

Korean and Japanese have accustomed themselves to eating rice (Oriza Sativa Japonica) with soup. In the formation of soup culture, Japanese has classified soups on the viewpoint of visual sensation. On the other hand, Korean has classified soups on the viewpoint of time. The new 'Japanese Tasi' culture has slowly infiltrated into the traditional 'Korean Tang' culture for a century. Therefore, this paper discusses the cultural conflicts laying stress on the consumer consciousness.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.1
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• pp.21-27
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• 1998

According to the Samkuk Saki(History of Three Nations), An-ap pond was constructed in the 14th year of the reign of King Mun-$\mu$ But this period precedes the unification of Shilla(in the 16th year the reign of king Mun-mu) and Shilla was at war. Therefore I suppose the 16th year of the King's reign is just the time of the commencement of the construction of the pond. But the real construction had not been started before the 16th year of the King's reign, after the unification of the three nations into Shilla Dynasty. Another record of making a larger pond(the 19th year of the reign of king Kyung-duk) may signify the enlargement of the very pond that had been built the 16th year of King Mun-mu's reign. Korean traditional belief was the belief in the Dragon, the Mountain God, and the Heavenly God and these was deeply rooted in the Royal family and perhaps had influenced the building of An-ap pond. Namely it is explained that Em-hae Jun sympolizes the An-ap pond itself as the sea and the Dragon lived in the sea and also the mountain built in the East bank of An-ap pond is related to the Mountain God. And also Taoism's Sin Sun Sa-Sang(Paradise philosophy) had influenced the building of the three legendary immortal islands, called Yong Ju, Bang-Jang, Bong-Rae in the An-ap pond. It is supposed that the age of An-ap pond from the above mentioned facts and inferences and we can also understand the influence of the Royal family customs on the building of An-ap pond. The inscriptions on the vessels and architectural accessories suggest us the influence of the Royal family customs on the construction of An-ap pond.