• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.60-71
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• 2011

This study set out to examine Hakchangui worn in Joseon around the 18th century and further the relationships between the Chinese Hakchang and Joseon Hakchangui, as well as to figure out spread factors of Hakchangui. The study proceeded as follows: 1)The Hakchangui was examined those appearing in the collections of works and paintings after the 17th century. 2)The Zhuge Liang's Hakchang was researched through Romance of Three Kingdoms, paintings and sculptures. 3)The images of Hakchangui wearers described in literature were investigated to understand the symbolic meanings of Hakchangui in Joseon those days. Those research efforts revealed four findings: 1)In many cases, the Hakchangui worn in Joseon in the 17th and 18th century has side slits, but no back slit. It's both sides of the center front were parallel, not overlapped. 2)Hakchangui was strange to the Joseon people until the end of the 18th century but started to permeate among those who liked classic style. 3)The aspects of Zhuge Liang were standardized in the combination of 'Yungeon, Hakchang, a feather fan and a wagon' in Romance of Three Kingdoms. 4)Zhuge Liang was considered as a symbol of wisdom and loyalty and had an image of a Taoist hermit who transcended the mundane world. The analysis of the research findings led to two following conclusions: 1)ln Joseon the Chinese Hakchang was introduced to people who had exchanges with Chinese or liked classic style in the 17th and 18th century and gradually spread by their advocates. 2)The Hakchangui must have been increasingly worn by more Joseon scholars because they started to borrow the image of Zhuge Liang driven by the popularity of Romance of the Three Kingdoms and the tendency of reinforcing Zhuge Liang's image as a loyal subject by the kings of Joseon.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.5-25
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• 2008

Seoul's community beliefs originated from the ritual performed by the shrines affiliated to each government office in the Joseon Dynasty. Lower branches of government officials were assigned to perform these rituals. Generally, these shrines were called Bugundang(府君堂). Records show that Bugundang(府君堂) was generally one to three units and enshrined the portrait of Bugun(府君), the worshipped, inside. According to historical records, the worshipped were mostly General Choi Young(崔瑩將軍) or Madame Song(宋氏夫人). In fact, however, each Bugundang(府君堂) worshipped different persons. Some of the worshipped were historical characters from the Goryeo Dynasty or the founding period of Joseon Dynasty, Guan Yu(關羽) and Zhuge Liang(諸葛孔明) that became gods after the Japanese Invasion of 1952, Wanggun(王建), Dangun(檀君), General Nam Yi(南怡將軍), Kim Yoo Shin(金庾信), Lim Gyeong Up (林慶業), King Gongmin(恭愍王), King Taejo(Lee Sung Gye, 太祖 李成桂), Joban(趙?) who is one of the supporters of the foundation of Joseon Dynasty, Sir Hong(洪氏大監) and his women who appear in the legend of Nanhansanseong(南漢山城) area, and many other historical figures. It is difficult to compare the rituals of these shrines from community Gut(Shaman ritual) performances of Seoul. According to historical records, Gut and ceremony coexisted in rituals. As time passed, these rituals spread as the community Beliefs of commoners and have been transmitted in the context of Seoul's cultural change. This study examined the existence of affiliated shrines of local government offices in the Joseon Dynasty and discussed the cases of Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟), Bangsan-dong Seongje Shrine(方山洞 聖帝廟), and Seobinggo Bugundang(西氷庫 府君堂) to trace the succession of rituals at these shrines as folk customs of commoners. Bangsan-dong Seongje Shrine(方山洞 聖帝廟) spread to the public as Gwanwoo(關羽), who was considered the god of soldiers, transformed into the god of merchants along with historical transition. It clearly shows the process as to how merchants from a certain region developed a community religion. Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟) is Bugundang(府君堂) of the soldiers of Nampyoug(南營). As the ritual was succeeded by a ritual group called Yeoungsinsa(永信社), composed of nearby residents, it was naturally spread and succeeded by the residents in local community. Seobinggo Bugundang(西氷庫 府君堂) was related to the changes in the historical background of ice gathering in the late Joseon Dynasty.