• (The) Research of the performance art and culture
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• no.35
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• pp.287-338
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• 2017

Gojong' Birth Anniversary Memorial Banquet in the 1910s was forced to be performed differently from the performance style in Joseon Dynasty period that featured a harmonious majestic beauty of etiquette music. The banquet was separated into three different sessions of ceremony, luncheon and performance', which clearly revealed a distinctive pattern of etiquette music. The performance was accompanied by the dinner party or was lightly implemented as part of evening entertainment. With the use of the term entertainment, the performances belonging to this category fell into nothing but something to enjoy, amusement, fun and play. The contents of such performances were not closely woven into the fabric of the entire banquet but were individualized and scattered in a way of putting the performances in a state of flux in line with the circumstances. Therefore, it became increasingly hard to expect a high degree of completion and solid structure of performances. The items of performance included western music, popular vocal music, popular instrumental music, magic, and film, which were not played in traditional court banquet in the presence of Gojong rather than traditional music and dance performed in court. In other words, the court performance could not maintain its traditional heritage but was transformed into a mixture of popular performance and new forms of art. It was driven by the Japanese imperialism toward the atmosphere of entertainment in oblivion of tradition but not toward the external extension of court performances.

• Journal of architectural history
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• v.24 no.6
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• pp.67-82
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• 2015

With regard to Gung-jung Yeon-hyang(宮中宴享; court banquet), the frequency of banquets that were held at one time beginning Mu-ja J in-jak(戊子進爵; a royal banquet held in 1828) in 1828 (the 28th year of King Sunjo (純祖)'s reign). In proportion to this frequency, there was an increase in the need and importance of Suk-seol-so(熟設所; a kitchen built in temporarily house for court banquet) and Jung-bae-seol-cheong(中排設廳; a temporary place to put offerings) as a space to assist court banquets. Although Suk-seol-so was a temporary but large-scale facility, it was frequently used for long periods. This facility was flexibly established using the variability of Dong-gung(東宮; Palace for Crown Prince) and enhanced the efficiency of censorship and security in conjunction with palace gates and Suk-wi-cheo(宿衛處; guard station, guard room). In addition, it was reused according to the period when the nation and royal family gave finances or banquets. Jung-bae-seol-cheong was established in the place connected to the central space of court banquets and worked as buffer space to resolve the tension on the day of the event. The location where Jung-bae-seol-cheong was established enabled us to confirm the applicability of Bok-do(複道; corridor) connected to Chimjeon(寢殿; royal residence) when holding court banquets. In short, Suk-seol-so and Jung-bae-seol-cheong were auxiliary spaces, but were considered importantly in the palace operation when holding court banquets.

• Journal of the Korean Society of Food Culture
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• v.1 no.1
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• pp.7-29
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• 1986

The food used in the royal palace of Chosun dynasty(朝鮮王朝) are viewed from various aspects of the dishes for ordinary meal, royal banquet, reception for the foreign representatives, wedding feast, and ancestral rites. Unfortunately most of knowledge on the food used in the royal palace is not accurate as it had been delivered orally and includes only that of the late Chosun dynasty era. Accordingly more accurate knowledge on its historical change could be illustrated by the ancient literature, including uigue(full account, 儀軌), dungrok(memorandum, 膳錄) or balgi(list, 件記). Though it is different from the preparation of King´s dinner table in kitchen, the uigue on ordinary meal, while King Jungcho(正祖) and his troupe visited the Hwasung(華城) has been handed down as the literature on the ordinary meal of the royal palace. Twenty seven kinds of uigue and dungrok on royal banquet for a celebration, from the 45th year of Sook Jong(肅宗, 1715) to the 6th year of Kwang Moo(光武, 1902), remain & reveal the change of features on dishes and food materials for royal banquet. Twenty kinds of uigue and dungrok on foods for reception of Chinese representatives, from the first year of Kwang Hae Koon(光海君, 1609) to the 21st year of Injo(仁祖, 1643), remain and antedate those on foods for royal banquet approximately 100 years. These have been precious materials for historical view on foods used in the royal palace. Twenty kinds of dungrok and uigue of karaedogam(嘉禮都監), in which dishes, food materials, and table setting diagram for dongrae feast (同牢宴) were put on record, remain as the litherature of wedding feast. Wangchosilrok(dynastic record, 王朝實錄) and numerous kinds of uigue have been helpful for study on foods used in ancestral rites. Detailed kinds and cooking procedures of foods for ancestral rites were clearly explained in Taesangji(太常志). A full view on foods used in the royal palace will be reproduced only through analytic study of these ancient litheratures.

• Culinary science and hospitality research
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• v.15 no.3
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• pp.15-28
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• 2009

The purpose of this study is to examine customer behavior when choosing event menu at the banquet restaurant of a five-star hotel and analyze the factors of choosing the menu and its customer satisfaction. Based on the results of this study, it is possible for hotel mangers to develop good banquet event menu choices and use them when changing menu. This study adopts the Enter Method, and "t" defines 3 variables such as physiological intent, quality of food, and reasonable price. However, the other factors such as sensory images of food, contents of menu, promotion menu, cleanliness and services prove not to be important variables in this study. Among most important 3 variables, quality of food with the highest figure($\beta$ .416) is the most important variable to customer satisfaction followed by physiological intent ($\beta$ .283) and resonable price($\beta$ .134).

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.45-60
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• 2008

This study reports a court dress culture in 1719 shown in the Scene of a Royal Banquet given by the King at Gyeong-hyeon-dang(景賢堂) of Gisagyecheop(耆社契帖). It can be summarized as follows: First, King Suk-jong(肅宗) attending a Royal Banquet for members of the Hall of Elder Statement wore the Ikseonkwan decorated with flowers, red Gollyongpo, Okdae, and Heukpiwha. The Crown Prince(王世子) also wore the Ikseonkwan decorated with flowers, black Goliyongpo, Okdae, and Heukpiwha. Second, senior statesmen(耆老臣) over the age 70 wore Sarno, Heukdallyeong with a crane rank tablet, belt, and black boots. Royal family members and officers also wore Samo, Heukdallyeong with a crane or silver pheasant rank tablet, belt, and black boots. Third, Sakum(司禁) of King's body guards wore Yungbok and Muyaebyulgam(武藝別監) wore Ja-geon and the green Jikryeong. Ui-jang-gun(儀仗軍) wore Pirip and Hongui, Haengjeon, and Unhae. Saboksikwan(司僕侍官) wore Samo, Heukdallyeong, belt, black boots, and a sword. Fourth, boy dancers(舞童) wore Buyongkwan, Kwanbok, skirt, belt, and black boots. Cheoyong-dancers(處容舞童) wore outfits in fine colors, wide pants, skirt, mask with an earring, gold colored belt, and white colored sandal. Hyeopryulrang(協律郞) wore Sarno and Heukdallyeong. Jipbak(執拍) wore Morabokdu and Noksaui, and Ak-kong(樂工) wore Whawhabokdu, Hongju-ui, Ojungdae, and Heukpiwha. Singer(歌童) wore Jajeok-dugeon, nokju-ui, and jajeokdae.

• Journal of the Korean Society of Food Culture
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• v.13 no.5
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• pp.431-460
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• 1998

After the Japanese Invasion of Korea in 1592, correspondents of Chosun called on Japan twelve times, as a mission, from 1607 to 1811. The suite of Chosun Communication Facilities (correspondents) was composed of nearly 500 people including a senior envoy, a junior envoy, other envoyes, and cooks. After preparing traveling expenses, Sifts, foods, medicinal stuffs, and ginseng, they shipped people and freight in three passenger ships and three freighters. They departed from Pusan for Edo(Tokyo). There were 28 stop-overs on their way to Edo and the banquet was given for them at every stop. The arrangements of the table for each banquet were made up of 753 Seon(tables), 3Jeup(soups) and 15Che(dishes). 753Seon(tables) is Ganban(the table for decoration) and a substantial food reception was composed of 3Jeup(soups) and 15Che(dishes). 753Seon(tables) was called Dadopoong(the food of refreshment) style and this was the standard arrangement of the banquet table in Japan. It was comprised of 3Jeup(soups) and 15Che(dishes). On their way from Edo to Thusima Island, food was afforded to correspondents for later preparation and dining. The banquet that the master of Thusima Island gave was composed of the first and second style banquets. The first one was Chusun style and the second one was Japanese style.

• Sijohaknonchong
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• v.23
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• pp.189-212
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• 2005

There are the at Royal Banquet(Woiyoa 외연) in the 19th Chosun Dynasty. The is a performance at Royal Banquet by Singing Visitors in Chosun Dynasty. The was performed by the singing male visitors for long times. They sang some Korean Alphbet Songs while congratulators were enjoying the md and drink. The purpose of this wrritten essay is to search the existense of before the 19th century. 1 show the results as follows. 1. There are the records the performed in the Kukjo-Olyeei (國朝五禮儀), Kukjo-Olyeei(國朝五禮儀) is a book of the royal various ceremonial rules in Ealy Chosun Dynasty. 2. There are the records of the performed in the Kukjo-SokOlyeei(國朝續五禮儀). Kukjo-SokOlyeei(國朝五禮儀) is a book of the royal various ceremonial rules in Late Chosun Dynasty. 3. All of the is the same in the order and form. 4. All conculusion the was performed always in Chosun Dynasty.

• Journal of the Korean Society of Food Culture
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• v.27 no.2
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• pp.128-141
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• 2012

This study focused on the historic documents known as $deungnok$, records created during preparations for royal events in the $Joseon$ Dynasty, rather than the often cited $uigwe$, the documents describing the Royal Protocol of the $Joseon$ Dynasty. As a reference to the food served at royal banquets, the $deungnok$ can enhance our understanding of royal banquet foods. Seven specimens of $deungnok$ describing royal banquet foods are currently in existence, created during preparations for royal events by the agencies in charge of food, the $Saongwon$ and $Jeonseonsa$. Owing to the nature of their authorship, the details recorded in these $deungnok$ hold great value as important resources for the study of royal banquet cuisine. $Naeoejinyeon$-$deungnok$, which documented an $oejinyeon$ banquet held at the $Junghwajeon$ Pavilion in November 1902, was somewhat disorganized and fragmented. $Jinyeonuigwe$ was more inclusive and well-summarized, since the former were progress reports to the King during banquet preparations that listed various items separately, such as dishes for each table setting and the kinds of flower pieces, and thus did not present a complete picture of all the details as a whole. The latter, on the other hand, were final reports created upon completion of a banquet, and contained more comprehensive records not only of the $chanpum$ (the menu of dishes served), but also the sorts of tableware and tables, floral arrangements, location, scale, and installation date of the $sukseolso$ (temporary royal kitchens for banquets). They also offer a more effective summary by simplifying details duplicated in identical table settings. Nevertheless, the $Naeoejinyeon$-$deungnok$ recorded some facts that cannot be gleaned from the $Jinyeonuigwe$, including the height of some dishes presented in piled stacks, as well as the specific names of dishes and their ingredients. The comparative study of the historic records in the $deungnok$ and $uigwe$ will be helpful in identifying and understanding the specific foods served at royal banquets. The $oejinyeon$-$seolchando$ diagrams in $Naeoejinyeon$-$deungnok$ depict the table settings for the King and the Crown Prince. The two diagrams contain large rectangles divided into three sections. In each section are similar-sized circles in which the names of dishes and the titles for table settings are recorded. From these records we can see that the arrangements of the table settings for the King and the Crown Prince are similar. The relationships and protocols shown in the arrangement of dishes and table settings for the King and the Crown Prince at royal banquets in the $Seolchando$ appear to be consistent. By comparing the two references, $deungnok$ and $uigwe$, which recorded the dishes served at royal banquets, the author was able to determine the height of some foods served in stacked arrangements, the names of $chanpum$, the ingredients used, and the configuration of the $chanpum$. The comparative review of these two written records, $deungnok$ and $uigwe$, will be helpful for a proper understanding of the actual food served at royal banquets.

• Science of Emotion and Sensibility
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• v.14 no.1
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• pp.73-82
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• 2011

This study was aimed to analyze the wedding servicescape color combination image focusing on the comparison between hotel banquet hall, general wedding hall and sanctuary. The survey was conducted among 400 customers(aged from 20~39 years old) who lived in Seoul and Kyunggi Province and 315 were analyzed. The statistical data analyses were performed using SPSS/WIN 17.0 and reliability analysis, factor analysis, t-test, ANOVA were used. Based on the result of the conducting factor analysis, color image of wedding hall were classified into 3 factors: delicateness, nobleness, and vivaciousness. Cronbach's alpha was calculated for the reliability of the survey instrument. Consequently, wedding hall color image were shown 'clear' 3.60, 'mild' 3.50, 'delicate' 3.38. Comparison among wedding hall types, 'vivaciousness' was 3.00 at general wedding hall, 'nobleness' was 3.64 at hotel banquet hall, and 'delicateness' was 3.60 at hotel banquet hall. Demographic differences of wedding hall color image were found by sex, marital status, monthly income but not by age, education and occupation. The results of this study will serve as a basis of wedding hall color marketing researches.

• Journal of the East Asian Society of Dietary Life
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• v.1 no.2
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• pp.151-173
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• 1991

A review of the royal banquet rituals which were excuted twice a day for consecutive three days for master were found to be progressed; 1st day for Queen Mother, 2nd day for King, 3rd day for Crown Prince very orderly. And performing dozens of dances and musics at each intervals of this procedure. The Sequence of rituals were summarized as follows. 1. Entering by order of low in rance. 2. Opening a ceremony. 3. Setting napkins, spoons and chopsticks and sumptuous table for master. 4. Offering flowers to master and then granting that flowers to subjects 5. Singing a open song. 6. Setting wine/side dishes for master and complimenting master's achievement/wellness. 7. Bowing politely three times and giving cheers. 8. Distributing wine/dishes to high ranked subjects. 9. Offering special dishes for master. 10. Distributing wine to low ranked subjects. 11. Singing a closing song. 12. Taking away tables. 13. Closing a banquet and leaving the hall.