• Title/Summary/Keyword: art of Joseon Dynasty

Search Result 121, Processing Time 0.022 seconds

A Study of Gisaeng Performance Costume for Folk Dance in Early Modern Korea (근대(近代) 기생(妓生)의 민속무(民俗舞) 공연복식에 관한 연구)

  • Kim, Ji-Hye;Cho, Woo-Hyun
    • Journal of the Korean Society of Costume
    • /
    • v.59 no.10
    • /
    • pp.137-150
    • /
    • 2009
  • Performance costumes are an important element in the stages which set the tones and embody characters in the performances. This study focuses on Gisaeng's costumes in folk dance performances when Korea experienced modernization from Joseon Dynasty, and aims to examine the features of the costumes as well as how the costumes both influenced, and got influenced by, the rapidly changing society. Gisaeng had been legal entertainment performers of the government in the Joseon Dynasty and, despite careful training and talents, had inferior social status in Joseon's social hierarchy system. In the modern society, a new system of Gisaeng emerged and the first public theater opened. The advent of theaters changed performance stages and the ways performances are conducted. This study investigated Gisaeng's performance costumes by the type of folk dances, such as monk dance, palace dance, Salfuri dance, Jangu dance, and Ip dance. The study brings light to three conclusions. First, as folk dances which had been performed by civil dancers were spread to Gisaeng, Gisaeng's costumes absorbed the costumes of civil dancers. Also, royal costumes appeared in folk dance performances. This can be viewed as mixture of royal and folk dance costumes, resulted from interactions between Gisaeng and civil art performers associated with the modernizing society and the weakening of the old hierarchical class system. Second, as performing arts on stages were modernizing, performance costumes changed accordingly. Thirdly, Giseang's costumes in folk dances also adapted the introduction of the western culture, which largely influenced the fashion trends of people in the early modern society in Korea.

A Study on Glass Mirror Trade and its Characteristics of Craft after Joseon Dynasty (조선 후기 유리거울의 수입과 공예품의 특징)

  • Park, Jinkyung
    • Korean Journal of Heritage: History & Science
    • /
    • v.52 no.4
    • /
    • pp.206-225
    • /
    • 2019
  • This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

The Checking the Validity of 'Nongak' and 'Pungmul', and Objection to the Criticism of 'Nongak' ('농악(農樂)'과 '풍물(風物)'의 타당성 검토와 '농악(農樂)' 비판에 대한 반론)

  • Kim, Jeong Heon
    • Korean Journal of Heritage: History & Science
    • /
    • v.42 no.4
    • /
    • pp.96-111
    • /
    • 2009
  • This essay is a study aimed at rationality and utility of two terms, 'Nongak' and 'Pungmul'. I examined how the terms have been today, by diachrony based on review of historical material. I tried to secure the historical context and basis about my argument, quoting many historical material from Korea Dynasty period, Joseon Dynasty period and the colonial period of the imperial Japan during 1910-45 to today. I examined many objective arguments about the 'Nongak', and pointed out the mistake of the objective argument. And I examined the means and rationality of the terms, 'Nongak', 'Pungmul', 'Pungmulgut', 'Pungmulnory'. The 'Pungmul' has been used as the means of instrument for a long time from Joseon Dynasty period. It is only rational using as the means of instrument but as the means of Performance of Nongak considering the historical legitimacy. The 'Pungmul' is Sino-Korean word, not korean native letter. The Pungmulgut means the 'ritual by Pungmul', so it can be recognized the rationality, but have a weak point that it is a neologism being made by some intellectuals in 1980s. In addition to, it is not used im performing field. 'Pungmulnory' has a limit to call the Nongak as a synthetic art. 'Nongak'means a synthetic art that farmers who were absolute majority in agrarian society of Korea have made and developed. So I conclude that 'Nongak'is the best rational term.

A Study of the Changdeok Palace Chugudae and its Inscriptions - Focused on 『Cheoljae Jinjeok (澈齋眞蹟)』 - (창덕궁 측우대에 새긴 '측우기명' 연구 - 『澈齋眞蹟(철재진적)』을 중심으로 -)

  • Jeon, Tae-Il;Lee, Dan;Chun, Youngsin
    • Atmosphere
    • /
    • v.21 no.4
    • /
    • pp.455-469
    • /
    • 2011
  • The Chugudae is a pedestal for the Chugugi. While many Chugudae were made during the Joseon Dynasty period, seven remained in existence until the early 20th century. Only five of them remain to this day-Gwansanggam (Royal Office of Astronomy and Meteorology), the Seonhwadang in Daegu, the Changdeok Palace, Tongyeong, and Yeongyeongdang. The Changdeok Palace Chugudae is the only existing model made not only as a meteorological instrument but also as a memorial statue. It has been a challenge to decipher 41 of the 368 characters in 'Chugugi-myeong (The title of the inscriptions on the Changdeok Palace Chugudae)' as these had been eroded. However, the interpretation of the full text of 'Chugugi-myeong' became possible thanks to the "Cheoljae Jinjeok (澈齋眞蹟)" which was discovered through this study. The key sentences of the 'Chugugi-myeong' include the reason for creation, the size and functions of the Chugugi and a eulogy to the reigns of King Sejong, Youngjo and Jeongjo. Moreover, its splendid design is worthy of further study. To conclude its true meaning and value, the Changdeok Palace Chugudae requires a more extensive investigation from the viewpoint of an art history.

A Study on an Analysis and Design of the Internal Structure of Heumgyeonggak-nu

  • Kim, Sang Hyuk;Yun, Yong-Hyun;Ham, Seon Young;Mihn, Byeong-Hee;Ki, Ho-Chul;Yoon, Myung-Kyoon
    • Journal of Astronomy and Space Sciences
    • /
    • v.34 no.2
    • /
    • pp.171-182
    • /
    • 2017
  • In this study, the internal structure of a Heumgyeonggak-nu (欽敬閣漏) was designed, and the power transmission mechanism was analyzed. Heumgyeonggak-nu is an automated water clock from the Joseon Dynasty that was installed within Heumgyeonggak (欽敬閣), and it was manufactured in the $20^{th}$ year of the reign of King Sejong (1438). As descriptions of Heumgyeonggak-nu in ancient literature have mostly focused on its external shape, the study of its internal mechanism has been difficult. A detailed analysis of the literature record on Heumgyeonggak-nu (e.g., The Annals of the Joseon Dynasty) indicates that Heumgyeonggak-nu had a three-stage water clock, included a waterfall or tilting vessel (欹器) using the overflowed water, and displayed the time using a ball. In this study, the Cheonhyeong apparatus, water wheel, scoop, and various mechanism wheels were designed so that 16 fixed-type scoops could operate at a constant speed for the water wheel with a diameter of 100 cm. As the scoop can contain 1.25 l of water and the water wheel rotates 61 times a day, a total of 1,220 l of water is required. Also, the power gear wheel was designed as a 366-tooth gear, which supported the operation of the time signal gear wheel. To implement the movement of stars on the celestial sphere, the rotation ratio of the celestial gear wheel to the diurnal motion gear ring was set to 366:365. In addition, to operate the sun movement apparatus on the ecliptic, a gear device was installed on the South Pole axis. It is expected that the results of this study can be used for the manufacture and restoration of the operation model of Heumgyeonggak-nu.

The study of Wedding Dress by Applying the Pattern of Traditional Wedding Dress - Focused on Lotus flower, Arabesque, Peony Patterns - (전통혼례복 문양을 응용한 웨딩드레스에 관한 연구 - 연화문, 당초문, 모란문 중심으로 -)

  • Jang, Moon-Hee;Hong, Jung-Min
    • Journal of the Korean Society of Fashion and Beauty
    • /
    • v.6 no.2
    • /
    • pp.97-103
    • /
    • 2008
  • This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

  • PDF

Species of Wooden Buddhist Statues of the Late Joseon Dynasty in Jeollado, South Korea (전라도지역 조선후기 목조불상의 수종)

  • Park, Won-Kyu;Oh, Jung-Ae;Kim, Yo-Jung;Kim, Sang-Kyu;Park, Suh-Young;Son, Byung-Hwa;Choi, Sun-Il
    • Journal of the Korea Furniture Society
    • /
    • v.21 no.1
    • /
    • pp.72-82
    • /
    • 2010
  • The objective of this study is to identify the species of 17 wooden Buddhist statues of the late Joseon Dynasty (the 17th and 18th century) in Jeollado, southwestern region of Korea. The bodies of statues were made of Ginkgo (Gingko biloba L.: 88%) and alder (Alnus spp.: 12%). The hands of statues were alder(64%), willow (Salix spp.: 27%) and Ginkgo(9%). The bottoms of hollow bodies were covered all with Japanese red-pine (Pinus densiflora S. et Z., 'sonamu') panels. The main species of statue body, Ginkgo tree was known to be introduced to Korea from China with Buddhism. The results indicated that Ginkgo trees of Korea in the 17th century had already become large and rich enough to be used for most of statues. Ginkgo wood has low shrinkage and even texture, which are crucial for carving sculptures. Alder and willow woods used for statue hands have fine and firm textures. The pedestals for these statues were also made of red pine wood. Red pine woods have rather high shrinkage and low hardness, but it is versatile woods strong enough to support heavy statues.

  • PDF

Traditional Style of Flower Arrangement According to Diagram of Royal Protocol and Folding Screen in the Late Joseon Dynasty (조선시대 후기 궁중 행사도의 의궤(儀軌) 도식(圖式)과 도병(圖屛)에서 찾아 본 전통 꽃꽂이 양식)

  • Han, Sang Sook;Yi, Bu Young
    • Journal of the Korean Society of Floral Art and Design
    • /
    • no.41
    • /
    • pp.61-92
    • /
    • 2019
  • We attempted to find the style of flower arrangement from the drawings of Uigwe and paintings of folding screens for the royal ceremonies of the late Joseon dynasty. In the pictures of the Uigwe and folding screens, we could see the linear, circular, and oval types Junhwa used to decorate the left and right sides of the throne placed in the center of main parish at the national banquet. There were also identified the Sanghwa which was used to decorate food on it, Jamhwa which was used to decorate head to be worn on the caps or hats, and Hwaga which was used to decorate the style supporting the large awnings at the national banquet. Hwaga was found, in the Musin Jinchan Dobyeong. In 1795, it was found that decorations on the floor, which are quite similar to the table decorations and modern space decorations, and flower shoot presented by king and flower decorations which were bound to the stick which was presented by king to country old men from Wonhaeng Eulmyo Jeongri Uigwe and Hwaseong Reunghaengdobyeong

A Historical Study on the Influx and Change of the 'So'(簫) used in Confucian Shrine Ritual Music (문묘제례악 소(簫)의 유입과 변화에 관한 역사적 고찰)

  • Cho, Seog-yeon
    • (The) Research of the performance art and culture
    • /
    • no.35
    • /
    • pp.441-470
    • /
    • 2017
  • This paper deals with three issues related to influx and change of the Confucian Shrine Ritual Music. First, the musical instrument of the Akhakgwebeom-wooden frame-form used in the current Confucian Shrine Ritual Music is not a form that came in when the Daesung-Aak of the Song Dynasty was introduced in 1116, but it is a Yuan Dynasty form brought from the Ming Dynasty, in the 19th year of King Kongmin. In the Song Dynasty of the Goryeo Yejong era, when Daesung-Aak came in, there was not yet 'Baeso', a musical instrument of the Akhakgwebeom form, which first appeared in the Yuan Dynasty. A new musical instrument named 'Baeso' appears with the 'So' in the later period of King Gongmin, and it is very likely that this 'Baeso' is the musical instrument of the present Akhakgwebeom form. Second, although the form of the 'So' in the Joseon Dynasty recorded in the Akhakgwebeom was followed by the Chinese one, but the pitch and arrangement are the one of the pitch of '12 Yul and 4 Cheongseong' and the arrangement of the pitch from left to right. Third, in the 1930s, the whole form was the same as that of the Akhakgwebeom, but there existed two types, which several pipes stick together or pipes fall apart. But since then, as seen in the musical instrument located at Kyungpook National University Museum and in instruments currently used in Confucian Shrine Ritual Music, only musical instruments exist which pipes fall apart. It is unclear for what reason and to what extent the 'So' were so transformed, but it would be appropriate to re-establish the form of the 'So' in the musical and historical point of view.

A Study on the Production of Royal Seals during the Reign of King (Emperor) Gojong (r. 1863-1907) (고종 연간(1863~1907) 제작 어보(御寶) 연구)

  • JE, Jihyeon
    • Korean Journal of Heritage: History & Science
    • /
    • v.54 no.3
    • /
    • pp.126-149
    • /
    • 2021
  • The reign of King (later Emperor) Gojong of the Joseon dynasty (later the Korean Empire), which lasted from 1863 to 1907, was a period of turmoil caused by political and social instability at home and military incursions by foreign powers. It was also a period in which Joseon was proclaimed as the Korean Empire and, accordingly, the royal seals of the dynasty underwent a major change. Records show that some 135 seals were produced during the reign of Gojong. The present study of the makers and styles of the royal seals aims to reveal a wealth of information on the seals, which typically had handles in the shape of either a turtle or dragon. Among the seal makers of this era, Jeon Heung-gil was particularly highly regarded as a Golden Royal Seal Artisan (Geumbojang) because he was highly skilled at making both turtle and dragon handles. Kim Eun-seok, a master Jade Royal Seal Artisan (Okbojang), also excelled in the production of turtle and dragon handles for his jade seals. Another master Jade Royal Seal Artisan, Yi Jung-ryeo, is noteworthy because he developed a new style of jade royal seals, which eventually became the dominant style after 1890, when Kim Eun-seok was not active. Furthermore, after the 1890s, his style was also applied to the production of the gold royal seals and developed as the dominant style. Regarding the dragon handles adopted after the proclamation of the Korean Empire, both the golden and the jade royal seals were made in the same style by the same artisans in the service of the Joseon dynasty. They adopted the style of Chinese imperial seals when they began making seals with dragon handles for the Korean Empire, although the basic shapes of both handle and dragon were copied from those made during the Joseon period. As a ceremonial object symbolizing the authority and legitimacy of the royal or imperial family, the style of the royal seals was influenced mainly by changes in the political situation at home and abroad. As Gojong's reign was a period in which more royal seals were made than in the reign of any other ruler, the seals originating from his reign constitute a richer source of information about the efforts of the dynasty to preserve the tradition while effectively dealing with the changes of the new era.