• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• Journal of Korean Historical Folklife
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• no.45
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• pp.291-325
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• 2014

This study is about examining the changing process of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty. For this, it was compared with book of national rites. This paper will outline the differences of commemorative rites of worshiping heaven between Korea and China and its reason for changing process. Also, it shows the understanding of the historic characteristics of commemorative rites of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty through analyzing conducted religious service. Following methodological approach was used to achieve the aim of the study. The study includes historical changing process and basic ritual of commemorative rites of worshiping heaven from Koryo dynasaty to King Sejo period through various chronicles and books of rites. Understanding the trend transition of operating commemorative rites of worshiping heaven is expressed differently based on the situation in those days even though it is the same operation of commemorative rites of worshiping heaven. The existing study only primarily considered the rites of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty through the resources within the country. However, the process of settlement of commemorative rites of worshiping heaven is closely related to settlement of Confucian formality. As the problems cannot be solved if institutional changes are researched only though the resources within the nation, this following study also considered the transition of commemorative rites of worshiping heaven in China for sure. Through this approach, the study understood how China's rites of worshiping heaven settled down and formed in Korea and found differences of the rites of worshiping heaven between the two nations by comparing China's book with ornamental "seal" characters throughout many generations. Furthermore, it also illustrated historical characteristics of rites of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty by analyzing carried out religious service. Although it seems like there are many similarities of Chinese ritual procedure between Koryo dynasty and Chosun dynasty, there are existing significant differences in the context. Moreover, it is clear that there are differences of ritual between Tang, Song, Ming dynasty. These differences are directly connected to Korea and also with transition of king's power. Generally, Tang and Song dynasty show similar trend whilst Ming clarifies the differences between the two. For instance, there are differences between deep bow and superintendent of cho-hun, a-hun, and jong-hun. Transition of configuration is also one of the major differences. Changing of configuration has considerably important meaning refer to status of king's power. Analyzing specific features, such as size of altar, ancestral tablet, people who participate in sacrifices, okpye, configuration, and etc., made possible to consider the actual differences, not just examining different features of vaguely. Based on this foundation, the study closely examined the differences among the periods between the nations and gave the significance of the differences.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.110-130
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• 2023

New years' rites serve a religious function to wish for well-being during the year by bidding farewell to the previous year and welcoming the next. In Japan, in mid-December, to welcome Toshigami, kadomatsu, and shimenawagazari are prepared, as well as osechi ryori to be eaten at the beginning of the year. On New Year's Day, people go to shrines and bow to the gods while saying Hatsumode (初詣). On the fifteenth day of the first month, in the course of a rite called Dondoyaki, all the decorations used in the first month and the amulet used in the previous year are burned. In Korea, when the Lunar New Year approaches, people prepare for their ancestral rites and clean their houses. On the first day of the new year, people hold ancestral rites for their ancestors. There are many different seasonal rites, taking place from the beginning of the year to the full moon. In China, Danwonban (團圓飯), in which the whole family sits together and eats on New Year's Eve, is important. Lights are brightly lit up all night, and the sound of firecrackers outside rings out loudly. On the door, the word chun-ryun is attached to wish for prosperity in the new year. According to the cycle of the four seasons, the first lunar month contains a high proportion of the seasonal rites that are repeated every year. The first month represents the beginning of a year, and various rituals are performed in order to wish for good health and abundance during the coming year. In addition, the "folk religious world view" is integral to annual new years' rites, so it is not difficult to understand the religious character and structure of the Korean, Chinese, and Japanese annual ceremonies. This study examines the current status of annual new years' rites in Korea, China, and Japan, and how the rites are structured according to the inflection points in the year. In addition, religious characteristics are reviewed in terms of gods, predictions, and fertility prayers, exorcisms, health, and restoration. In this way, it can be seen that various religious elements such as shamanism, agricultural faith, ancestor worship, Shintoism, Taoism, Confucianism, and Buddhism can be witnessed in the annual new years' rites of Korea, China, and Japan. In addition, differences in the presence or absence of these are shown to depend on the country.

• Journal of the Korean Wood Science and Technology
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• v.10 no.3
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• pp.13-44
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• 1982

1. Since long time ago, it has been talked about that soaking wood into water for a long time would be profitable for the decreasing of defects such as checking, cupping and bow due to the undue-shrinking and swelling. There are, however, no any actual data providing this fact definitly, although there are some guesses that water soluble extractives might effect on this problem. On the other hand, this is a few work which has been done about the effect of water soluble extractives upon the some physical properties of wood and that it might be related to the above mentioned problem. If man does account for that whether soaking wood into water for a long time would be profitable for the decreasing of defects due to the undue-shrinking and swelling in comparison with unsoaking wood or not, it may bring a great contribution on the reasonable uses of wood. To account for the effect of water soluble extractives upon physical properties of wood, this study has been made at the wood technology laboratory, School of Forestry, Yale university, under competent guidance of Dr. F. F. Wangaard, with the following three different species which had been provided at the same laboratory. 1. Pinus strobus 2. Quercus borealis 3. Hymenaea courbaril 2. The physical properties investigated in this study are as follows. a. Equilibrium moisture content at different relative humidity conditions. b. Shrinkage value from gre condition to different relative humidity conditions and oven dry condition. c. Swelling value from oven dry condition to different relative humidity conditions. d. Specific gravity 3. In order to investigate the effect of water soluble extractives upon physical properties of wood, the experiment has been carried out with two differently treated specimens, that is, one has been treated into water and the other into sugar solution, and with controlled specimens. 4. The quantity of water soluble extractives of each species and the group of chemical compounds in the extracted liquid from each species have shown in Table 36. Between species, there is some difference in quantity of extractives and group of chemical compounds. 5. In the case of equilibrium moisture contents at different relative humidity condition, (a) Except the desorption case at 80% R. H. C. (Relative Humidity Condition), there is a definite line between untreated specimens and treated specimens that is, untreated specimens hold water more than treated specimens at the same R.H.C. (b) The specimens treated into sugar solution have shown almost the same tendency in results compared with the untreated specimens. (c) Between species, there is no any definite relation in equilibrium moisture content each other, however E. M. C. in heartwood of pine is lesser than in sapwood. This might cause from the difference of wood anatomical structure. 6. In the case of shrinkage, (a) The shrinkage value of the treated specimen into water is more than that of the untreated specimens, except anyone case of heartwood of pine at 80% R. H. C. (b) The shrinkage value of treated specimens in the sugar solution is less than that of the others and has almost the same tendency to the untreated specimens. It would mean that the penetration of some sugar into the wood can decrease the shrinkage value of wood. (c) Between species, the shrinkage value of heartwood of pine is less than sapwood of the same, shrinkage value of oak is the largest, Hymenaea is lesser than oak and more than pine. (d) Directional difference of shrinkage value through all species can also see as other all kind of species previously tested. (e) There is a definite relation in between the difference of shrinkage value of treated and untreated specimens and amount of extractives, that is, increasing extractives gives increasing the difference of shrinkage value between treated and untreated specimens. 7. In the case of swelling, (a) The swelling value of treated specimens is greater than that of the untreated specimens through all cases. (b) In comparison with the tangential direction and radial direction, the swelling value of tangential direction is larger than that of radial direction in the same species. (c) Between species, the largest one in swelling values is oak and the smallest pine heartwood, there are also a tendency that species which shrink more swell also more and, on the contrary, species which shrink lesser swell also lesser than the others. 8. In the case of specific gravity, (a) The specific gravity of the treated specimens is larger than that of untreated specimens. This reversed value between treated and untreated specimens has been resulted from the volume of specimen of oven dry condition. (b) Between species, there are differences, that is, the specific gravity of Hymenaea is the largest one and the sapwood of pine is the smallest. 9. Through this investigation, it has been concluded that soaking wood into plain water before use without any special consideration may bring more hastful results than unsoaking for use of wood. However soaking wood into the some specially provided solutions such as salt water or inorganic matter may be dissolved in it, can be profitable for the decreasing shrinkage and swelling, checking, shaking and bow etc. if soaking wood into plain water might bring the decreasing defects, it might come from even shrinking and swelling through all dimension.