• 건축역사연구
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• 제25권5호
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• pp.41-50
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• 2016

This thesis mainly deals with how 'count of Ryang' was used in the Daehan Empire. Count of Ryang means how many purlins were used in the building with longitudinal section. As a result, the notion of Ryang in the Daehan Empire does not differ from now one. But the usages of that are different from the Joseon Dynasty, and from the present. In the Daehan Empire, count of Ryang mainly was appeared with another word, count of Kan. In the Joseon Dynasty, they used the count of Ryang combined with Kan. Count of Kan had the meaning of purlin-directional length. By doing that, count of Ryang indicates the size of flank, count of Kan indicates the length of front. But in the Daehan Empire, count of Kan, especially the beam-directional length was considered at first, and then count of Ryang. Separately they used another count of Kan meaning the area of building. By using the combined words, count of Kan and Ryang in the beam direction, they got focused on the frame of wooden structure than before.

• 한국연극학
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• 제40호
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• pp.125-162
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• 2010

This is the study on the 'Theater State' in the Daehan Empire of the Emperor Gochung in the late 1900 with the theatrical concepts of cultural performance theory which has been useful for investigating historical, social, and cultural collective memories and their transformation mechanism in the society. The performance theory is based in the notion, '$Performativit{\ddot{a}}t$', by which the performance can contain vary performance forms. $Performativit{\ddot{a}}t$ is the notion which points up the certain process that can cause the perceptional emotion communication to the performers and audiences in the performance. The spectacle of a society is also understood and presupposed by the $Performativit{\ddot{a}}t$. Generally speaking, the spectacle has been used of explaining the visual cultural experiences in society. Fundamentally, spectacle had resulted from the latin 'spectaculum', which was used to designate theatrical representation in France. In the case of movie, spectacle was the grand show with showy technological attractions. The spectacle have been to show the political and socio-historical relationships in a society. But in my study, I want to start the premise that the cultural performance planed by the Emperor Gochung in the Daehan Empire has the attribute of 'theater state', which can awaken the certain collective emotion to connect the Emperor and his people in the Daehan Empire period of the Emperor Gochung of the late 1900. In addition to it, I search for the historical collective memories of the Daehan Empire. The government of the Daehan Empire was continuing with its efforts to enforce and recollect the imperial images and authority of the Emperor and his Empire to get the approval of the people and international society. The effect of spectacle consisting of theater state was the concrete effort to establish the collective memories of the Daehan Empire by remodelling and rebuilding the Seoul, the capital of the Empire and performing the national ceremony such as the korean pagent(Gae-Dung거둥) and parade to set the portrait of the Emperor(A-Jin어진), the geo-body of the Empire.

• 건축역사연구
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• 제29권5호
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• pp.17-28
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• 2020

The general contractor business in South Korea settled in the railway construction during the Daehan Empire, but depending on the construction intention and circumstances of the railroad, relationship among employer-contractor-subcontractor and their roles under the system of the construction process had changed. At the time of laying the Gyeongin and Gyeongbu-rail, the Empire, which had no capital and technology, passed all the power and responsibility of the rail laying to the contractor, who was involved in most of the process. After this, the empire tried to lay Gyeongui-railroad without the help of other countries. Japan prepared for the Russo-Japanese War and decided to construct the railway rapidly, and completed the railway in parallel with direct management work and contract work. From that time on, the general contractor would only do the work. During the construction of railroad in Daehan empire, the general contract business system was established. The ambiguous process was sorted out and divided. At this time, subjects in charge of design and construction has been divided. The internal organization of the project owner and the contractor were organaized and specialized.

• 복식
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• 제61권4호
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• pp.103-116
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• 2011

The purpose of this study is to investigate the revision of the western-styled court costume in the Daehan Empire. For this purpose, 1) historical documents were reviewed, 2) one set of the court costume of Chigimgwan and another set of the court costume of Juimgwan were probed, 3) the photos of people wearing court costume were analyzed. The results of this study are as follows. First, the $14^{th}$ Imperial order of "official costume statute" had been revised in 1904, 1905 and 1907 through official gazettes. The last version of official costume statute enacted the more detail than the first rule. Second, the $15^{th}$ Imperial order of "official costume rules" had been revised in 1904, 1905, and transformed into official costume rules reform on $12^{th}$ Dec., 1906. The revision in 1905 made gold embroidery of court costume more simple than the first rule. The form of court costume was totally revised by change of the shape of adjusting on the top in the revised rule of 1906. Third, the revision in 1905 was actually manufactured and worn by the people because it can be confirmed in the relics of the court costume of $2^{nd}$ Chigimgwan in Yonsei University Museum, and the court costume of juimgwan in Kwangju Municipal Folk Museum. The relics made by the revision in 1906 had not been reported until now, but they can be confirmed in the photos left. Fourth, the sovereignity of the Daehan Empire was actually lost by $22^{th}$ Imperial family order which urged the servant having the title of nobility of Japan to wear the court costume of Japan. Therefore, the endeavor of the Daehan Empire which wanted to establish and develop the costume system of modern independent nation was discontinued.

• 한국의류학회지
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• 제44권3호
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• pp.441-451
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• 2020

This study examined the characteristics of the royal progress and regulations on costumes in the king's excursion by a royal carriage and then investigates King Gojong's costumes in "Dongga Painting of the Korean Empire". To examine the regulations on costumes in the king's excursion by a royal carriage, there are unique costumes, 'Ikseongwan and Gangsapo' for the great memorial service for ancestors during the Korean Empire period. 'Ikseongwan and Gangsapo' are not provided in the code during the Joseon Dynasty period. Thus, it was not provided in the regulations, in the actual execution of the ritual, the king put on 'Ikseongwan and Gangsapo,' so entering the Korean Empire period, it was legislated as 'Ikseon-gwanbok' in Daehan-yejeon. There is a scene in the "Dongga Painting of the Korean Empire" in which the king pays a visit on Yeon, holding 'Gyu' in 'Ikseongwan and Gonryongpo'. However, holding 'Gyu' on Yeon in 'Ikseongwan and Gonryongpo' can be seen in King Gojong's royal procession to hold Jongmyo Chunhyangdaeje in the year of Gabo (1894). This study showed that there was a compromise for the ritual despite not being regulated by law.

• 복식
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• 제66권6호
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• pp.17-31
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• 2016

The purpose of this study is to perform historical reconstruction of the court dress coat in the Daehan Empire in order to make replicas of the artifacts. Following steps were undertaken in the study : literature research of the laws of the era, drawing of the design, embroidering gold work, and tailoring of the coat. Embroidering and tailoring experts were consulted to complete an accurate reconstruction of the dress court. The results of this study are as follows. First, Juimgwan's coat, which was the Court Costume Rule in 1905 was selected as an experimental coat. It was revision of the Court Costume Rule in 1900. The process of selection was based on the amount and easiness of embroidery. Second, the design of the back bodice, chevron, pockets and collar is reflected the pattern of the preceding research, which was analyzed from the laws, the drawing document[Gwanbokjandoan], and artifacts. Third, the gold work embroidery in the back bodice, chevron, pockets and collar was done. The embroidery material were composed of gold threads, such as rough purl, smooth purl, check purl, pearl purl, rococo, and spangle. Couching was used as an embroidery method. The coat was tailored after embroidering. The coat and the buttons were made after analyzing the artifacts. The result of this study can be utilized in the field of historical reconstruction of artifacts in the museum, the designing of stage costume in the performances of reenactment events, drama, and movie of Daehan Empire. Furthermore, this study is anticipated to contribute to the fundamental research of culture contents.

• 한국항해항만학회:학술대회논문집
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• 한국항해항만학회 2009년도 공동학술대회
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• pp.463-466
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• 2009

이 논문은 대한제국기 등대건축의 도입과정에서 이시바시 아야히코(석교현언(石橋絢彦))와 하딩(John Reginald Harding)의 역할에 대하여 다루고자 한다. 지금까지 하딩에 대한 언급은 간혹 있었지만 G. R. Harding으로 잘못 알려져왔다. 이에 따라 하딩에 대한 행적을 찾는 것도 쉽지 않았고 하딩이 한국에서의 활동을 살펴보는 것도 어려웠다. 본 원고는 하딩의 정착한 이름과 그의 이력을 찾아내어 42개의 등대위치를 선정하는 등 29개의 등대를 디자인하고 컨설팅했다는 기록을 찾아내어 우리나라 등대건축의 기틀을 쌓았다는 사실을 밝히고자 한다.

• 한국의류학회지
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• 제47권5호
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• pp.907-928
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• 2023

This study selects imperial clothing items for experiential learning for children aged 5 to 7, presents the pattern design process for each, and proposes a production process. We chose costume items with evident characteristics and specific uses, ensuring they did not overlap. The selection considered the need for representative imperial clothing and the diversity of children's experiences. Ultimately, we produced four costumes : emperor, empress, prince, and princess. In terms of shape, color, material, and pattern, by referring to relics and photographic materials, we developed the costume for experience to emphasize the traditional beauty of the imperial costume of the Korean Empire. Moreover, we enhanced the convenience and efficiency of the clothing for children by developing sizes and details that considered various physique conditions.

• 복식
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• 제63권6호
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• pp.56-68
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• 2013

A purpose of this study is to do fundamental research of construction of coat patterns in the Daehan Empire in order to make replicas of the costumes. This study is composed of literature research, investigation of artifacts, and experiment of pattern making. The results of this study are as follows. First, even if the 15th Court Dress Rules regulated color, fabric, number of flower, width of braid, and size of button, there was no regulation regarding the shape of the coat. The analysis of the photos in those periods shows that the style of the tailcoat was different from that of today in the length of the front, the shape of breast and collar. Second, six artifacts in the collection showed that the shoulder line and the sideline were located on the further rear side than the current tailcoat. This can be confirmed in the western and Japanese pattern book, and especially the pattern drafting method in the books published in Japan in 1900s is different from current one in setting base lines of front bodice and back bodice. As a result, based on several experiments, this study proposes how to make coat patterns. The shoulder line, the sideline, and the princess line should be located in the back of the dress similar to the shape of swallowtail coats of 1900s. The front bodice should be constructed without the composition line in order to add embroidery on it. The collar, which shape looks like long half moon, should form V-shape neckline in the front breast when adjusting dress. The sleeves should be constructed top and down, and it should curve more than the modern design.

• 헤리티지:역사와 과학
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• 제47권3호
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• pp.4-23
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• 2014

석조전은 1897년경 대한제국 총세무사 브라운이 건의하여 하딩의 설계로 덕수궁에 건립된 신고전주의 양식의 황궁이다. 1900년 기공하여 1910년 준공되었으며, 공사비는 약 100만원 내외 소요되었다. 내부공사는 로벨이 감독을 맞아 메이플사가 진행하고, 창호 전등은 크리탈사가, 가구 생활소품은 메이플사가 납품하였다. 브라운과 하딩, 로벨은 영국인, 메이플사와 크리탈사는 영국회사로 석조전은 영국인에 의해 발의, 설계, 공사가 진행되었다. 브라운은 1896년 아관파천 이후 1897년 총세무사직에서 해임되고, 1898년 재임되었다. 재임 후 브라운은 자신의 입지를 확고히 하기위해 황실 내 영국인의 고용을 확대해 주변인을 영국인으로 채웠다. 이러한 상황에서 브라운은 석조전을 발의하고 건축 공사를 시행하였다. 이는 개인적인 입지와 영국의 이익을 대변하기 위한 행동의 연장으로 추정된다. 석조전에 입고된 가구는 영국 런던에 본사를 둔 메이플사의 것으로 메이플사는 유럽의 호화주택, 호텔, 대사관, 궁전 등에 가구를 납품한 곳이다. 메이플사는 당시 일러스트를 삽입한 카탈로그를 제작하였는데, 석조전 실내사진에 등장하는 가구와 동일한 예가 다수 등장한다. 이를 통해 석조전 가구는 기성 생산품을 구매한 것임을 알 수 있다. 석조전은 조선 전통의 관점과 전혀 다른 서양인의 관점에서 계획된 건물로 서양의 왕실 궁전 개념과 실내의장, 가구가 들여왔다. 석조전의 가구는 대한제국기 유입된 서양가구 및 당시 서양인의 왕실 가구에 대한 인식을 엿볼 수 있는 중요한 사례이다.