• (The) Research of the performance art and culture
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• no.18
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• pp.47-72
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• 2009

This study explores mime elements of court Hagmu(鶴舞) in literature and what is expressed in the practice of current Hagmu and examines what has been changed while others are kept intact. The content of Hagmu is that "attracted by lotus flowers in a pond, cranes dance around and peck at them, when the blossoms open wide with a girl [dancer] inside, upon which the surprised cranes fly away." The dance consists of 4 steps: the first step is for the entrance of cranes; in the second step the cranes dance moving across jidang(池塘) and the north; in the third step the cranes are curious about the lotus calyces, yeontong(蓮筒); and the cranes withdraw in the fourth step. The literature suggests that the dancing courses on the stage are limited to the east, the west, the south, and the north. The movement is limited to naeson (內旋) only in mujin(舞進) and mutoe(舞退). Furthermore, the gaze is only allowed toward the north and jidang. Motions are limited to naejog(內足), oego (外顧), and naego(內顧). However, the mime elements of current Hagmu are attributed to the effort of translating crane's life into a realistic story. It relates the life of cranes to that of human beings and implies love in it. Finally, the court Hagmu has entered the real world out of the literature, enriched with new elements. Under the transition from literature to practice the diversity of expression is added while the elements related with court codes such as courses, movements, directions, and motions are kept intact. These limitations, however, are coupled with the sensitive 'love' and the exposure of dancing instruments intrigues audience and creates dramatic effect. In conclusion the significance of mime elements in court Hagmu is in enhancing communication with audience.

• (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.

• The Journal of the Korea Contents Association
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• v.22 no.5
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• pp.261-275
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• 2022

In this stage when K-Pop and K-Fashion have been drawing global attention, it is required to activate the Korean culture and fashion by developing fashion products which reinterpret various items in the Hanbok fields with modern sense in connection with Korean wave. Thus, this study aims to develop fashion products related to Korean wave with court dance costumes used in court banquets, which may be the origin of K-Pop, as the main theme, and to converge and expand culture and fashion fields. To this end, the original court dance costumes and their modern forms continuing in these days were analyzed and the costumes for Musanhyang, Yeonhwadae, Cheoyongmu, Chundaeokchok and Chunaengjeon differentiated from existing daily Hanbok were selected. The fashion products related to Korean wave reflecting the specific elements of those five costumes were designed. Then, the silhouette and sizes of those costumes were checked using the CLO, the 3D virtual clothing program and total 5 fashion products were created. In conclusion, the results of this paper will contribute on making Korean design popular on the design aspects, expanding the scope of Korean wave contents on the industrial aspects and globalizing the K-Fashion on the global aspects.

• Proceedings of the EASDL Conference
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• 2008.10a
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• pp.31-36
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• 2008

The paper is an attempt to explore various aspects of Thai traditional cake culture in order to understand the characteristics of Thai tradition cakes and their significance in Thai cultural life. The study will focus on cake culture in both folk culture and court culture as well as observe the changes of this culture in the present time of globalization. In the text book on Thai Khanom, Kobkhaew Natpinit sums up the characteristic of Thai traditional 'Khanom' as follows: 1. Thai traditional (cake) Khanom are mostly made from rice, sugar and coconut. 2. The tastes of Thai Khanom are sweet and rich in coconut cream with a little bit of salty taste to enhance the flavour of coconut. 3. The colour and scents of Thai Khanom are naturally fragrant. Fresh fragrant flowers are used to add pleasing fragrance and colour to Thai Khanom.

• Journal of the Daesoon Academy of Sciences
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• v.34
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• pp.263-292
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• 2020

Among the various influences from other ancient cultures observable in Daesoon Jinrihoe, the reference to and the transformation of Feng-Shui is especially prominent. In The Canonical Scripture, Feng-Shui culture is mentioned frequently. Feng-Shui culture in The Canonical Scripture not only draws upon a great deal of traditional Feng-Shui Theory but also inserts many innovations. It is worth noting that the understanding of Feng-Shui culture through Daesoon Jinrihoe's doctrine makes The Canonical Scripture unique. Based upon the conscientious recapitulation of the relevant contents in The Canonical Scripture, this essay aims at dealing with the Feng-Shui Culture of Daesoon Jinrihoe in regards to three aspects: Terrestrial Energy, Mountain Shape and Luminous Courts (Mingtang). A better understanding of the profound contents and sacred significance of The Canonical Scripture can naturally be attained from applying a Feng-Shui culture perspective.

• (The) Research of the performance art and culture
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• no.39
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• pp.863-901
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• 2019

This paper deals with the process of developing a traditional culture content based on the historical spread of Jajimu, an ethnic dance of ancient Tashkent(Chach), to Tang China and then to Goryeo in Korean peninsula. Jajimu as a solo dance form was a very enegetic dance form that reflects the dynamic nature of namadic life, and it enjoyed high popularity in Tang China due to its exotic style after the 8th century A.D. Later, it gave a birth to a derivative duet dance form called Ssangjaji or Guljaji, an highly sophisticated elegant court dance item that reflects the aesthetic taste of Tang China. Further, the Ssangjaji was flowed into Georyeo around in the 11th century or earlier, and was transformed into a Korean court dance while renaming it as Yeonhwadae that means 'lotus pedestal'. I tried the production of a special performance which displys those three dance forms on same stage to demonstrate the historical connection of ancient Asian dance. It was not easy to restore the music, dance and costume of Jajimu and Ssangjaji because of limited historical materials whereas those of Korean Yeonhwadae have been well preserved and transmitted owing to old dance and music notation system. A large amount of audio, visual materials were collected and analysed to overcome those limits, and its result was utilized efficiently for the production. The final performance was the culmination of long preparation process for 11 months in 2015. In spite of some limits, this project has a historical meaning in the point that it was the first trial of same kind in the world.

• Journal of the Korean Society of Food Culture
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• v.33 no.4
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• pp.382-393
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• 2018

This study investigated Balgis (the record of the court)in the Joseon Dynasty pertaining to table settings for Sangsik (the meals for the dead). Sangsik are the records of daily meals for kings and key figures. In this study,14 pieces of Sangsikbalgi from 1890 to 1920, including two pieces from an unspecified period, were investigated to determine the composition and types of daily meals in the court. Meals consisted of a minimum of 10 dishes to a maximum 21 dishes, which basically included rice and soup. 'Jochi' was the term to refer to jjigae (stew) in the court. In Sangsikbalgi Bokgi, Gamjang, Jochi, Jjim, Suk, and Cho were all considered Jochi, which were recorded before Jeok or Jeon, where the side dishes were listed after rice and soup. This corresponded with the record of the royal tables in Wonhaeng-Ulmyo-Jeongri-Uigwe (圓行乙卯整理儀軌), in which Jochi included Jabjangjeon, Bokgi, Jabjang, and Cho. Whitebait and fruit, which are used as ingredients for Tang (soup) and Jeon, showed seasonal characteristics however, no other observed dishes showed seasonal variability. Additionally, beef and internal organs of animals were frequently used,regardless of seasons. When dishes in Sangsik were classified into basic dishes and additional cheop dishes (side dishes) based on Siuijeonseo (are recipe book of unknown authorship written in the late Joseon Dynasty), from five to nine Cheop dishes were set on the table, with seven being most common. Further comprehensive study needs to be conducted through undisclosed documents and private collections. Moreover, additional study of Judarye (anestral rites during the day for the royal) and cooking methods that were not investigated in detail in this study are needed.

• 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.

• Acta Via Serica
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• v.6 no.2
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• pp.37-60
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• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.605-611
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• 2022

This study excludes how to define the concepts and categories of the Ah-ak(雅樂) and Sok-ak(俗樂). In the process from the early Joseon Dynasty to the late Joseon Dynasty, the aesthetic appreciation system of the Ah-Sok(雅俗) in traditional music, which is consistently projected on court music and folk music centered on Pungryubang, was revealed through specific historical records. Through this study, we were able to examine as follow : In the early Joseon Dynasty, the aesthetic of music related to the the Ah-Sok(雅俗) was mainly projected on the court's ritual music and Yeonhyangak-music for korean court banquet-, and in particular, the aesthetic thoughts of Geomungo[玄琴] was at the center. As we descend to the late Joseon Dynasty, the aesthetic of music related to the Ah-Sok(雅俗) has been expanded to the private sector, reflecting the aesthetic of Pungryubang music, and it can be seen that the aesthetic thought of Geomungo[玄琴] was at the center.