• Journal of architectural history
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• v.30 no.4
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• pp.17-29
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• 2021

Young-dang(影堂) is a ritual pavilion where figures of a dedicated person is enshrined. According to literature, establishment of Young-dang architecture is thought to have the affinity with Buddhist tradition in the beginning of its history. A tradition of enshrining figure could be found especially in Buddhism. Until the mid Joseon dynasty, enshrining figure made of wood, clay and bronze was quite often at Young-dang. In Confucian ritual tradition, a pavilion where enshrining ancestor's sprit tablet called Sadang(祠堂) or Myo(廟). In regarding portrait is a sort of figure, it has to be concerned with Buddhist ritual tradition. For this reaseon, Young-dang started to be distinguished from older aspect of existence in mid Joseon dynasty when the study of Confucian courtesy widely spread. It show the transformation process of Young-dang architecture from Buddhist tradition to Confucian tradition in J oseon dynasty.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.5-24
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• 2000

The results from the consideration of this are as follows. 1. Silla Kingdom has been the name of chronolongical era, from king Bubhung 2nd years to Jinduck 4 years. 2. From Dang dynasty has been received to King of Silla, first class-third class of Dang's office and rank. 3. After unification of Silla Kingdom, Dang dynasty's envoy and missionary and many commercial men and artist come froze Dang to Silla, threfore, influenced their costume habbits and behabiers from royal families costumes and common peaples costume, without concern of that one's social position. 4. Ancient Silla Kingdom performed a religious service an emperor's ceremony, but after unification, performed King's level a religious service, therefor King's ceremonial costumes are Dang dynasty's king's level Myunryukwanbok.

• Journal of the Korean Society of Costume
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• v.47
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• pp.19-32
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• 1999

The results from the consideration of this are as follows. 1. Dan dynasty has been 10-parts dancer and musician group for courtesy ceremonial meetings of ancient china. 2. Except ceremonial dance and music common dance and musics performed it in front of common peaples meetings. 3. After unification of Dang dynasty many commercial men and artist come frome western of China threfore influenced their costume habbits and behabiers from royal families costumes and common peaples costume without concern of that one's social position. 4. As the people who lived in thewest areas of old china there characterestics of the costumes are open breast jacked breast laped long skirt long scarf long boots narrow sleeve jackets patterend textilles(for womens) round neck narrow sleeved one-pies dress belt, long boots. patterend textiles(for mens). 5. Dancer's Costumes mode are as follows: 1) For females : high hair style, Twin 'high hair style. jewrery decorated hat bird's hair decorated cap. ribons. 2) For mens: Bok-doo. Hokongdu 6. Except traditional old china dancer dress they have many interested dancer dress for instance dang dynasty's 'Ye-sang woo yui dnace' dancer dress is very elegant and interested hip level jacket has peacoak wing shaped sleeves and long skirt has try angles shape attached apron this dancer dress begins wi-jin nam·book-dynasty. 7. Men dancer dress is just head cap bok doo long narrow sleeved one-pies dress.

• (The)Study of the Eastern Classic
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• no.67
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• pp.35-67
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• 2017

This paper is a study on popularise aspects and consciousness of times about Seol-In-Gui's narrative in the Joseon Dynasty. Seol-In-Gui is general of Dang(唐) and he entered the war between Goguryeo(高句麗)and Dang. The war between Goguryeo and Dang is ended victory of Goguryeo. And Joseon peoples was long for power of Goguryeo and recognized again history of Goguryeo. So discourse of regaining native land was formed in the Joseon Dynasty. Besides was very popular in the Joseon Dynasty. Seol-In-Gui's narrative and are quite similar. And Dang-Tae-Jong, Ul-Ji-Gyeong-Deg's old story was prevalence. Dang-Tae-Jong and Ul-Ji-Gyeong-Deg entered war between Goguryo and Dang. Therefore Seol-In-Gui's narrative was popular in the Joseon Dynasty. Popularise aspects of Seol-In-Gui's narrative as follows. First, Seol-In-Gui's conquest of Yodong(遼東) narrative and heroism was gradually emerged in Seoul block printed of 40, 30 sheets version and printed book of . Second, Dang-Tae-Jong, Ul-Ji-Gyeong-Deg, Hab-So-Mun's individual narrative was formed. Third, Seol-In-Gui's narrative was expended to female hero's conquest of West-Beon(西蕃) narrative. Because are adaptations of . And is succession of Seol-In-Gui's narrative. Seol-In-Gui is people, Ben-Li-Hwa is female, Ben-Li-Hwa and Ul-Ji-Gyeong-Deg are ethnic. It is revealed that people, female, ethnic are real ability of Chinese nation. Furthermore it is revealed that people and female must are appointed and ethnic must is combined. Besides it is revealed that it is necessary built up national strength of Joseon Dynasty like Goguryeo and Goryeo. After the Manchu Invasion of Korea in 1636 national strength of Joseon Dynasty was weaken. So the Joseon Dynasty People long to be intensifed national strength keep in check China.

• Journal of architectural history
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• v.26 no.2
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• pp.31-42
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• 2017

This study investigates how the spatial recognition structure is emerging through the case of rectangular plan combined with a combination of Dang-Sil(堂室) and Gong(工) shape roof, and identifies a type of architecture in the early Joseon Dynasty that has never been revealed. The conclusion of this study is as follows. First, the Dang and the Sil are connected to each other, but the architectural elements such as pillars, frame, and windows are distinguished and appear as separate buildings. Second, the distinction between Dang and Sil is evident by the difference in the number of ridges and the shape of the roof. In addition, the roof and roof framework of the independent rooms and the rooms were common in the right angled architecture where the direction and the expandability of each structure were maintained. Third, the construction of the Dang-Sil combined structure, in which two or more structure frameworks were combined with the rectangular combined flat roof structure, gradually changed into a single structure with a single ridge. Fourth, this change means that people of the early Joseon Dynasty recognized the Dang and Sil as separate architecture, but the strict sense of spatial separation has disappeared over time.

• Korean Journal of Rural Living Science
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• v.8 no.2
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• pp.93-110
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• 1997

The customs of women s riding horse was prevalent in thriving period. The face toilet was mainly used by Gau Chang pattern. Wha Jun (chinen; Hwa-Qun(화전), make-up on forehead), was influenced nearly by Gua Chang and distantly by India. Penciling eyebrows with blue was transmitted from persia. Chinese cosmetics was most influenced during Tang Dynasty for it's colorful make-up and facial decorations such as Aek-Whang(액황), Wha-Jung(화전), Jang-Yob(장엽), Swa-Hong(사홍) and those made many Dynasty, since those kinds of styles were the result of mixture between traditional chinese and western styles, it became so unique and diverse. The Declining period of the Tang Dynasty has begun from the turning point, resulting from Rebellion of An Ru Sha'. Rebellion of An Ru Sha' made the chinese people have a sense of precaution, and an antipathy against babarian. Furthermore, the power of Tang Dynasty onto the countries bordering on western china unfortunately was declining due to the defeat at 99 the Talas war in 751. As the fashion of ‘Ho’ disappeared the costume pattern was restored to the traditional Chinese style of large sleeve and broad width. However, the Tibetan mode was appeared in women's hair style and face toilet since Yuan Ha (801-812). In Song Dynasty, women's make-up and adorment were originated from Dang Dynasty, but those were more simple than in Dang Dynasty.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.115-123
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• 2015

It is commonly known that upper class house in Chosun Dynasty has characteristics of connecting space in combination with 'Chae' and 'Madang'. But living territory of traditional residence is connected each other by means of the necessity of dwelling life. So, it can be a fragmentary understanding about traditional houses to consider it as connecting space only from the viewpoint of visual perception. Residential space in later Chosun Dynasty is affected by practical life-style rather than building principle of 'Confucianism' due to the erosion of the caste system and the spread of the modern residential culture. So, it is necessary to consider dwelling life at that time in order to understand spatial characteristics of the residences. Researcher made an assumption that these characteristics were observed in the emerging upper class houses which appear in the process of change of the caste system rather than the traditional upper class houses. The researcher investigated connecting space from 'Bakat-ma-dang' to An-ma-dang of the emerging upper class houses in Gyong-gi province. The goal of this study is to find the properties of connecting space related to dwelling life of the emerging upper class houses in Gyong-gi Province. With this study, the followings are the characteristics of connecting space in emerging upper class houses in later Chosun Dynasty. First, 'An-ma-dang(Courtyard)' comes into close contact with 'Bakat-chae(Outer quarters)' which accommodate the complex functions, 'An-ma-dang' plays an mediating role between 'An-chae' and 'Bakat-chae' Second, 'Bakat-chae' generally encases 'An-ma-dang' which is central territories of dwelling life, and the men's area of 'Bakat-chae' considerably has opening space towards the outside. Third, 'Anmadang' plays an mediating role of male's and female's living territory, and it plays an important role in connecting space where labor forces are concentrated.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.15-31
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• 2000

1. After the Chu Dynasty(周代), we can confirm the fish shape mark made of stones as the relics of the Chunkuk dynasty(戰國時代). In the Shu Dynasty(隋代), the system of bamboo and the rabbit shape mark made of silver into the fish shape mark. As it were, made of bamboo or siltier changed into the fish shape mark made of jade, gold, silver or wood. 2. In the Dang Dynasty(唐代), the used the fish shape credit mark made of jade, gold, silver, copper or textile, according to their classes. According to one's posit the man who wore purple, red coat, credit mark made a gold and silver. attached with putting them in fish bags. 3. In the Ryo Dynasty(遼代), there was also a system of attaching marks. The emperor was hanging the fish shape and the officials attached the double fish shape to the common dress. fish shape of jade. gold, amber, agate, silver or copper. without any fish bag. 4. The Song Dynasty(宋代) followed the system of the Dang Dynasty they used only the fish shape bags without marks in them. Hanging the fish shape bags made of gold and silver at the back side of the belt. 5. The Gin Dynasty(金代) carried out the system of made jade, gold or silver like the Dang, Song and Ryo Dynasty. In the Sejong Kingdom a system of paper card was carried out as the credit mark of the eighth and the ninth grade. 6. In the Ming Dynasty(明代), the military official general attached the golden, silver, ivory of jade, wood and copper cards with their positions and names. 7. Following the Dang Dynasty, Japan made of fish shape bags to their clothes. Colors of their fish shape marks were same as their clothes. They made the marks, such as crystal, cow's horn, lead and nickel and plated them with gold or silver. 8. In Korea, Pohai(발해) established the fish shape credit mark differed in material. gold, silver or copper according to their positions. We can confirm the Unified Silla(南國;統一新羅), carried out the system of attaching the fish shape in Chonma Chong(천마총), Golden Crown Chong(金冠塚), the King's 13-17 belt ring unearthed at the north part of Court South threat Chong(황남대총), the fish shape golden or silver, to their purple or red ceremonial coats. In the Koryo Dynasty(高麗), like the Dang, Song and Pohai, they attached the fish shape golden or silver marks, to their purple or red ceremonial coats.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.1-15
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• 2007

The purpose of this study is to classify the types of and to examine the characteristics of the golden decoration technique used for expressing patterns on the costumes from Dang dynasty to Cheong dynasty era. In order to classify the types of the golden decoration technique and to examine its characteristics, literature review, focusing on documents and records of China, and investigation on the relics from Dang to Cheong Dynasty era were conducted. The types of decoration technique using gold include china JigGeum (brocade technique), InGeum (attaching gold powder and flake technique), GeumSaJaSu (embroidery technique), GeumSaTapestry, mixed technique. Interestingly, it was newly found in this study that embroidery with golden thread was used in the GeumSaTapestry technique and that there were some cases of the mixture of 2-3 gold decoration technique. The GeumSajaSu technique was used the most frequently from Dang dynasty to Yo dynasty era. However, its use had decreased enormously while the use of JigGeum had increased a lot since Geum dynasty era. The mixture of 2-5 techniques was used frequently in JigGeum, GeumSaJaSu, and GeumSaTapestry, but not used in InGeum. Particularly, the mixture technique was the most frequently used in the GeumSaTapestry, which expresses by composition of paintings. All four methods were used the mostly frequently in costumes, while GeumSaJaSu and GeumSaTapestry were generally used for home accessories. InGeum and GeumSaJaSu were used a lot for gaze and leno fabrics such as Sa or Ra, while JigGeum was mostly used for satin weaved fabrics like Dan.

• Journal of the Korean Society of Costume
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• v.5
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• pp.185-196
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• 1981

This study concerns Jeugo-ris' collar patterns according to the pictures of the actual measurement of the bequests in Yi dynasty. In early Yi dynasty not only outside collar but also inside collar was the Mog-pan collar. In middle Yi dynasty many Jeugo-ris' bequests has been discovered. The form of the collar was various In before and after the 1590's, the Mog-pan collar and Kal-collar, Dang-ko callar was coexisted. But after the 1700's Jeugo-ris' collar pattern was fixed to the Dang-ko collar. In early and middle Yi dynasty the width of the collar was three or four times as wide as it on these days. In late Yi dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. The same thing as the form of the collar on these days had been appeared from the 1900's.