• Journal of architectural history
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• v.1 no.1 s.1
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• pp.18-32
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• 1992

The Palaces of Chosen dynasty in Seoul had lost its original features. The external appearance of the buildings that remains in palace nowadays, have got former conditions, but its enteriors are reconstructed or removed So we have a little knowledge of interiors of palace buildings, expecially of the door and window system. To clear up ambiguity of what kinds of door are selected, and sorts of using methods are prevailed, we must persuit from the latest building to the older building, and compare with documents. For that purpose the Chukchodang of Toksu palace is selected, which reconstructed in 1904, and compared with the document published in 1906. The consequence of investigation is that the palace buildings were adopted double or triple window system, and the main room have buffer zones, such as corridors or small rooms. And the main rooms were facing with wall paper, so metal fittings are hidden and wooden surfaces are hardly expose for the purpose of amenity.

• Journal of the Korean Society of Costume
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• v.5
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• pp.113-140
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• 1981

"Jung Ri Eui Kwae" is the book, illustrated and recorded with court coutesy and manners during the King, Jung Jo's honoured coming to his own father's royal tomb "Hyun Ryung Won" of Sa Do Seh Ja(The Crown Prince to be mourned) with his own mother Hae Kyung Koong Mrs. Hong. According to this book, we can see the costumes and its ornaments of the civil and military officials and also of Yu Ryung(the maden court musician) and Dong Ki (a young Kisaeng girl) during serving at Bong Soo Dang bangquet celebrating his own mother's 60th birthday anniversary. It is interesting to review once more the royal ceremonies representing the portion of the costumes and its ornaments in the 18th century of the Yi Dynasty, Yung-Jung Jo era that is to be thought the reform period in almost every field of social system.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.207-217
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• 1996

The founding of ching costume system starts from the rule issued in second year of Te-chong reign that the clothing of Manchu people is prohibited to be chinesized. It has undergone many revisions and is officially established in the 37th year of Chien-lung reign. This study is Emperor's costumes during the year in Chien-lung reign. The results are as follows: Emperor's costumes go to the travel are Chi-fu hat and Hsing-fu. Sea-dragon hat changes on otter skin or beaver hat and Ching-rong and ching-ni hat changes velvet hat. Light green informal wear is to be worn once a year. Name of sacrificial robes does not exist in Ching-hui-dien-tu but it take the place of Chao-fu I and Chao-dai II in Chuan-dai-dang-an. Sacrificial robes wear with indigo boots and the other cases wear blue boots and shoes and socks. The shape on ornaments in belt of sacrificial robes is tetragon style.

• Proceedings of the Korea Water Resources Association Conference
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• 2011.05a
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• pp.245-248
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• 2011

본 연구에서는 광주이씨 시조이신 이당 대감 (?-1369) 음택터의 공학적인 분석을 통하여 정성적 및 정량적인 평가를 시도하였다. 이당 대감은 고려말에 국자감 생원시에 합격되고 조선시대에 들어서 자헌대부 (資憲大夫) 이조판서 (吏曹判書)겸 지의금부사 (知義禁府事)에 증직되었으며, 이당 대감 음택터의 경우 조선시대 8대 명당 중 하나로 알려져 있다. 그리고 조선시대에 정승 5명, 대제학 2명, 청백리 5명, 공신 11명을 배출한 명문집안이다. 따라서 이당 대감 음택터의 혈장을 비롯하여 각 사격을 검토하여 광주이씨 문중의 발복을 음택터의 영향으로 평가내릴 수 있는 공학적인 분석의 정성적 및 정량적인 기준을 제시하고, 과연 조선시대 8대 명당 중 하나에 해당되는지를 검토하고자 한다.

• Journal of the Korean Society of Costume
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• v.20
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• pp.31-47
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• 1993

1. The relationship between Korea and Buk-Song had maintained for 164 years(964 1126 A.D). The period of relationship was from KwangJong Year 13(4years after establishing Buk-Song), Song Tae-Cho 1 year, to HeumJong Cheong Dang 1st year(InJong 4years in Koran). Author divides into three periodic terms, and remarkable diplomatic facts are as follows. 1) KwangJong year 13(963 A.D) SungJong year 13(994 A.D) : Normal relations, Song needed Korea's armed support. 2) MokJong year 6(1003 A.D) HyunJong year 9(1018 A.D) : Not steady relations and broke up, by MunJong year 26, Dang requested to resume the diplomatic relations. 3) MunJong year 25(1017 A.D) InJong 4(1126 A.D) : Song utilized Korea as a back supporter, but Song destructed by Keum. 2. Korea was donated knightage without offcial clothing by BukSong 10 times(KwangJong year 13 SungJong year 11). However during 164 years. Song presented some clothings Korea friendly. 3. Even though Korea cound not continue the steady diplomatic relations, Korea had been influenced the social systems including cloth-ing systems by Dang. Song dynasty. 4. The author studys historical materials which show that TongilSh-Shinra adapted social systems of Dang dynasty including clothing systems, which was succeeded to Korea for 200 years. Details are as follows ; 1) Original clothing color-systems which were Ja(purpil), Cheong(blue), Hwang(yellow), Pi, called 4-clored-system, of Tongil-Shinra, was suceeded to Korea, Above mentioned clothing systems of three countries of Korean peninsula. 2) When Korea unified the certificate of Pisam holders were superior from those of Tongil-Shinra and Hoo-Bakjae. There two classes used same seried-color 'ja, (Dan, Pi), Cheong(blue), Hwang(yellow)', or 'ja, (Dan, Pi), Cheong' and lasted to KwangJong year10 as a of-ficial clothing. 3) KwangJong year 7, according to the three colored official clothing system of Hooju, accepted Hooju's KwangJong year 11, that shifted 'Ja, (Dan, Pi), Cheong, Hwang', or, Ja, (Dan, Pi) Cheong', to 'Ja, Dan, Pi, Rok(green)'. 4) The clothing systems which are ja, (Dan, Pi), Rok which established KwangJong year 11 shifted to Song's, Ja, Ju(orange), Rok, Cheong, which had happened SungJong year 14 to MokJong 1st year. 5) 4-colored systems ('Ja, Pi, Rok, Cheong (distictable : sky blue, ocean blue)' shifted to 3 colored system which established Song ShingJong 1st year, which succeeded to Nam-Song and Keum. 5. The relationship between Korea and Yo had maintained for 207 years(918 1125 A.D). The period of relationship was from TaeJo 1st year to InJong year 3. 6. Yo, and Korea were called for king(15 times), prince(7 times). 7. Korea was donated knightage by Yo. The time when HyunJong year 13, Yo donated official clothing. From that time had used to do. The author divides into three periodic terms and discrives the shifting the formal clothing systems. Details were as follows ; 1) HyunJong year 13 MunJong year 8 : Even donating clothing systems from Yo had maintained for 35 years, Yeo, Song, Yo, three countries had not have formal cloth-ing, because they had been on the strug-gling. So that Korea had followed the same way of informal clothing. 2) MunJong year 918 : Yo donated the formal clothing to Korea for the King. Diplomatic condition was in the control, so that whole three countries used formal clothing. 3) MunJong year 19 YeaJong year 3 : Korea was donated 'Kuryumyun Kujangbokje', which became the formal clothings vs China.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.24-48
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• 2022

Bronze mirrors found in pagodas were regarded as simple offerings and thus have received little attention in studies. Furthermore, the few studies on bronze mirrors enshrined in pagodas have focused on the line-engraved mirrors found in the pagodas of the Kingdom of Wuyue; therefore, it is difficult to understand the general characteristics of the bronze mirrors enshrined in the pagodas. This study assumes that the bronze mirrors found in many pagodas in the Kingdom of Wuyue and the Song dynasty were enshrined for a specific purpose. To explore this assumption and accurately understand the artifacts, this study focuses on the location and method of enshrinement. The number of bronze mirrors enshrined in pagodas increased during the Kingdom of Wuyue, with the mirrors expressing statues and inscriptions related to Buddhism rather than being simple offerings. This shows that the purpose of the bronze mirror changed. The influence of the Kingdom of Wuyue continued during the Song dynasty; however, the pattern of bronze mirror enshrinement changed due to the culture and social atmosphere of the time. The most common types of enshrined bronze mirrors were plain, and bronze mirrors from the Dang dynasty were also used consistently. Plain bronze mirrors were used more frequently in this period despite the lingering influence of the Kingdom of Wuyue because it was less laborious to engrave images and inscriptions such as the inscription of Buddha. Additionally, bronze mirrors were valued during this period because of the attention toward the imitation of the archaic bronze(仿古銅器) of the Song dynasty and the influence of the emperor. Moreover, it is believed that bronze mirrors were enshrined in pagodas as offerings as they were deemed valuable at the time. There was a change in the method of enshrining bronze mirrors in pagodas during the Kingdom of Wuyue and the Song dynasty. During this time, bronze mirrors that were positioned on the floor or in iron boxes were intentionally attached to walls or hung from the ceiling. This method was largely divided into two types: attaching to walls or the ceiling(嵌入鏡) and hanging from the ceiling(懸鏡). A typical example of hanging a bronze mirror from the ceiling can be seen in the Jingzhisa Temple Pagoda, and Teng County's Fushengsa Temple Pagoda contains an example of attaching a bronze mirror to the ceiling. The methods of hanging or attaching bronze mirrors to the ceiling were closely related to the methods employed in Chinese tombs. Song dynasty burial chambers had a high and wide structure, so to defend against evil spirits(辟邪用), bronze mirrors were used to protect the burial rooms. Bronze mirrors were, therefore, placed high to illuminate the burial room. This was achieved in the ways mentioned above. As underground chambers became wider and higher, mirrors also protected the important areas of the chambers and illuminated the interiors. Thus, it is believed that the methods of enshrining bronze mirrors in the pagodas during the Kingdom of Wuyue and the Song dynasty arose from the method of enshrining bronze mirrors in tombs at the time. Thereafter, pagodas, such as the Miaojuesa Temple Pagoda, in which the placement of a bronze mirror was actively considered from the design stage were constructed.

• Journal of the Korean Society of Costume
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• v.51 no.2
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• pp.5-25
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• 2001

Jade, which is a kind of stone, with its transparent body, lustrous and bright character, But jade is not the only fair stone. There are three kinds of jade objects 1) tallies used in the court. 2) ceremonial jades. 3) ordinary jade for decoration, for inlaid work and for burial. Among the ceremonial jade, the most important were the "liu jui" and "liu ch′i." The former was supposed to be held by people in the court as symbols of their authority : 1) "then-kuei(鎭圭)" for the emperor. 2) "hang-kuei(恒圭)" for a duke, 3) "hsin-kuei(信圭)" a marquis. 4) "kung-kuei(躬圭)" for an earl, these "kuei" were alike in shape, but differed in size. 4) "ku-pi(穀璧)" for a viscount. 5) "p′u-pi(蒲璧)" for a baron, "pi(璧)" differed in decoration but were alike in shape. "Liu ch′i(六器)" were ceremonial objects used by the emperor in worshipping Heaven, Earth, and the Four Directions : "ts′ang-pi(倉璧)," greenish jade disk, used in worthipping Heaven "huang-tsung(黃琮)," yellow jade cylinder, used in worshipping Earth ; "cuing-kuei,(靑圭)" blue jade tablet. used in worshipping the East : "chih-chang(赤璋)," red jade tablet, used in worshipping the South : "hsuan-huang(玄璜)," black crescent, used in worshipping the North. Five kinds of tallies were "chen-kuei(鎭圭)," "yenkuei(琰圭)," "yuan-kuei(玩圭)," "ku-kuei(穀圭)." They were used to console people during disaster, to subjugate an official who had committed a crime, to reward a prize to an official for his merit or good conduct, to arbitrate disputes between high officials, to marry princess. and to dispatch troops. Since the west wei(西魏), Kuei and Hole were made of Ivory, wood and bamboo, who had ivory for fifth grade and wood and bamboo for under sixth grade. After Eastern Chou, all officials beginning to had kuei hole. symbol of Authority. and his wives. After Dang dynasty, Japan is the same. In korea. After king Bupheung in ancient and South(unification) Silla, North Kingdom Bohai, Koryo, and Chosen dynasty had ceremonial jade, Kuei and Hole.

• Journal of Korean Medical classics
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• v.23 no.2
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• pp.191-203
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• 2010

"Bonchogyeongjipju(本草經集注)" is a pharmacological classic published in the Southern and Northern Dynasties(南北朝時代, 420-589 A.D.) in China by Dohonggyeong(陶弘景, 456-536 A.D.). In "Bonchogyeongjipju(本草經集注)", Dohonggyeong(陶弘景) edited "Sinnongbonchogyeong(神農本草經)", the earliest classical text about material medica containing notes for 365 drugs, by adding another 365 drugs and further information from "Myeong-uibyeollok(名醫別錄)" and writing extended commentaries on them. His commentaries include changes in the geographical distribution, identification of varieties and other various special characteristics. The original text had gradually disappeared after other pharmacological classics were published such as "Sinsuboncho(新修本草)", in Dang Dynasty(唐代), "Gyeongsajeungryubigeupboncho(經史證類備急本草)" in Song Dynasty(宋代). All of these books were based on "Bonchogyeongjipju(本草經集注)", so the original text can be seen indirectly through these later sources. In the early 1900's, a transcribed manuscript of the preface "Bonchogyeongjipju(本草經集注)" was found almost wholly preserved except the first three lines, in the Makgo(莫高) cave of Donhwang(敦煌). Broken strips of transcribed "Bonchogyeongjipju(本草經集注)" have also been excavated in Turfan[吐魯番], which shows its original form written in red and black ink. Mayanagi Makoto[眞柳誠] researched on Donhwang(敦煌) and Turfan[吐魯番] editions, ascertained their existence and explained their bibliographical and historical facts. Sangjigyun(尙志鈞) restored "Bonchogyeongjipju(本草經集注)" based on other related sources such as Donhwang(敦煌) and Turfan[吐魯番] editions. " Bonchogyeongjipju(本草經集注)" can be said as the locus classicus(典範) of herbal medicine, that is most of the following materia medica was based on it. It makes it possible to pass down "Sinnongbonchogyeong(神農本草經)" to posterity and provide a foundation for herbal medical development.

• Human Ecology Research
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• v.51 no.3
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• pp.285-291
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• 2013

Interest in traditional culture has been increasing due to globalization. We need to create fashion items using Korea folk culture like the Hanbok. In this paper, the design development of toddler's pajamas was attempted by using women's Sokgot pants, which were worn by women in Joseon Dynasty period. The study involved a review of literature and an investigation of past relics. Traditional women's Sokgot pants had a 'mu' or 'dang' in the crotch which is called 'the mit' now. The opening of the mit will be used for designing toddler's pajamas. Design suggestions for four styles of toddler's pajamas, which reflect the formative characteristic of women's Sokgot pants, have been created. Research outcomes are as follow: the characteristics of Ran-pants are applied to design 1 and design 2. There have pleats along the waistband of the toddler's pajamas, making the Mu more hidden. Pleats of the waist part are achieved by using an elastic, which also makes the pajamas easier to fit and to wear. The characteristics of Gaedanggo, of which the crotch is opened, are applied to design 3 and design 4. The opened crotch is applied so that toddlers can relieve themselves easily while they are wearing these pajamas. There is also an opening in the centerline of the front Mu in design 4 which gives additional functionality and comfort. This work shows that items of traditional folk dress can be used to make present fashion items.

• Journal of architectural history
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• v.33 no.2
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• pp.7-15
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• 2024

The composition of the upper structure, which can be found in the 3-Dori type buildings in Yang-dong Village, varies significantly from time to time. The upper structure of the Gwan-ga-jeong, known as a house in the mid-Joseon Dynasty, consists of a basic 3-Dori type structure in which a beam is placed under 3-Dori and supported with two flat columns. On the other hand, the upper structure of I-hyang-jeong historic house, built in the 17th century, is different in that it has a stud between the two flat columns. The upper structure of Sa-ho-dang historic house, a 19th-century building is different from the upper structure of the buildings of the previous period in that three flat columns were used. As such, the difference in the composition method of the upper structure according to the construction period is closely related to the introduction of the Toi-maru, which is mainly explained by the boundary space. In addition, it can be expected that the introduction of the Toi-maru originated from the influence of the change in the plan. This study was conducted to examine the correlation between the plan and the composition of the boundary space through various typology of the 3-Dori upper structure distributed intensively in Yang-dong Village.