• (The)Study of the Eastern Classic
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• no.69
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• pp.349-371
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• 2017

"Hajaeilgi(荷齋日記)" was written by Ji Gyu-sik, a gongin of Saongwon(司饔院)'s branch, almost everyday for 20 years and 7 months from January 1st, 1891 until the leap month of June 29th, 1911. It deals with many different areas including domestic and foreign circumstances, custom, rituals, all the affairs related to the branch, and also everyday life events he did see or hear about. Particularly, Ji Gyu-sik did not belong to the yangban class, and we can hardly find diaries written by such class' people. Here, what this author pays attention to among the things written in "Hajaeilgi" is the contents about folklore. Ji Gyu-sik wrote in his "Hajaeilgi" about things related to folklore, for example, seasonal customs, folk plays, rituals, or folk beliefs that were actually practiced then as a person not belonging to the yangban class. Such diaries are rare, and its value is highly appreciated as a material, and it is meaningful in the aspects of folklore as well. Therefore, as part of the work to look into folklore found in "Hajaeilgi", this author focuses on national rituals and folk beliefs in it. The things that have been discussed earlier can be summed up as follows: About national rituals, it is sorry that it only deals with the emperor's enthronement and emperor and crown prince's birthday in garye(嘉禮); however, it is meaningful to know that the people faithfully carried out national ceremonies and celebrations then. Particularly, it is noteworthy that during the national ceremonies or celebrations, students were asked to sing the national anthem. About hyungrye(凶禮), only it deals with the court funeral rite. Aside from Minbi's funeral rite, the court funeral rite was performed properly at the right time according to the procedure like before, and also, it seems that the people fulfilled it faithfully by order of the government. Also, it can be learned from it that Japanese killed Minbi, burned the body with oil, and left the ashes behind. About folk beliefs, the branch held a memorial service at the shrine of the town regularly. The town, too, performed Gocheongsinsa each year. The money needed for the memorial service was collected from the town people differently according to their financial situations, and they prepared for jesu for the ancestral rite altogether. The memorial service was carried out in Sansindang or Bugeundang, too, and it was common that they summoned a shaman to perform a gut. The diary is valuable as material. After being a Christian, Ji Gyu-sik once tried to abolish sinsa jesa held in hoesa and get rid of saesin(賽神), that is, a gut or pudakgeori, but he had no choice but to follow the precedent. Meanwhile, it is also noteworthy that when the town suffered from floor and infectious disease, Ji Gyu-sik installed an altar in front of his house for the town's wellbeing and health, prepared for jesu including offerings and drinks, and held a memorial service to Hwangcheonhuto(皇天后土; the gods of heaven and earth) accompanied with the town people. Also, when he had any hardships in his family, Ji Gyu-sik summoned a shaman for a gut or offered a devout prayer to the mountainous god. Such shamanism or the things like worshiping Gwanseongjegun(關聖帝君) mostly in the beginning of January and telling fortunes about the year were all folk beliefs. This was very popular among the people, and it seems that it was deeply rooted in his life as well. Also, Ji Gyu-sik supported Fengshui beliefs, and it seems that it is not different from the people's general tendencies, either. As described above, "Hajaeilgi" dealing with national rituals and folk beliefs in it is valuable as material and is meaningful for research on forklore, and moreover, it is also significant in the aspects of forklore as well.

• Cross-Cultural Studies
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• v.44
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• pp.147-189
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• 2016

This study attempted to investigate the issue how stepmother's narrative was transferred to . For this agenda, the approach of this paper is described below to determine how Bbaengdeok's stepmother narrative was transferred episodically to . First, this paper started from the relation between stepmother narrative and affiliated with each root folk tale in Buddhist text. Among known as root folk tale until now, this paper investigated whether was the root folk tale affiliated to Buddhist literature. At that point, stepmother narrative showed relation with opening eyes motive. It has been reported that the text of opening eyes in Buddhist literature is originated from the south. This paper confirmed that 's stepmother narrative was related to Buddhist literature originated from south. Next, this paper investigated the background of opening eyes motive of stepmother types. After entering Gyeongpan , it formed Bbaengdeok narrative of Wanpan related to Literary geography of Jeollado enjoying space of Wanpan . There are two evidences for this. The first one is which was passed down around Jeollado. In the course of sudden Buddhist folklore's flow into the country, it is that combined stepmother narrative of sudden Buddhist literature with the characteristics of northern Buddhist literature which was reconstructed into son's filial behavior of northern Buddhist literature to make father's blinded eyes open. The other is the Buddhist trend of the late 18th Chosun when northern Buddhist literature and sudden Buddhist literature were combined. It appeared that stepmother narrative was formed in the Buddhist background of the late 18th Chosun when northern Buddhist literature and sudden Buddhist literature were combined.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.46-58
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• 2022

This study analyzed the documentation trend of garden components such as plants, infrastructure, unit facilities, and structures, based on 188 measurement drawings of 94 old houses in a report on the documentation of the national folklore cultural heritage. The findings are as follows. First, it was found that plants and structures continuously appeared as the subject of measurement drawings, while infrastructure was often omitted. It was confirmed that unit facilities, which are smaller than other components, were frequently excluded from the documentation subject as well due to frequent changes such as movement, loss, and expansion. Second, the level of expression in measurement drawings showed different aspects for each component. The unit facilities showed a large change over time with respect to the level of documentation, and the level of documentation was somewhat polarized, particularly toward the latter stage. This suggests that the level of documenting the drawings limited to specific facilities improved, but the overall level of drawings did not improve, such as a lack of diversification of expression techniques suitable for various unit facilities. On the other hand, it was confirmed that the level of documenting the drawings for plants, infrastructure and structures did not change to a significant degree, implying that no improvements were made to the expression of components. Third, as for the technique of detailed expression, in the case of plants, vegetation status was prepared without distinction of old or protected trees that have historical value. Above all, there was no record of the vegetation structure that could help grasp the vegetation landscape of the outer area. As for the infrastructure, there was no consistent expression technique to systematically convey topographic changes such as the height and slope of the land. In addition, since there was no subtype classification defined for unit facilities and structures, there was no subject or method of documentation. This study is meaningful in that it expanded the category of documentation, which has been concentrated on buildings in old houses, to gardens, and called attention to the need for documenting the gardens for the preservation and management of old houses as an integration of the building and outer area.

• Journal of Ginseng Culture
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• v.6
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• pp.35-50
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• 2024

"Culture refers to the behavioral and lifestyle patterns that a society has shared and transmitted within the community over a long period. Ginseng, frequently encountered in the daily life of Koreans through tools, crafts, folklore, and poetry, holds a deep place in the behavioral and lifestyle patterns of the Korean people. Ginseng, engraved in everyday objects, crafts, and poems, is symbolic in our culture as a representation of longevity and well-being. Ginseng elegantly depicted on ceramics serves as a symbol of longevity along with aesthetic beauty. The common inclusion of ginseng in ritual items in mountain deity beliefs, particularly represented by the 'Bullocho' (不老草) ginseng, reflects a strong belief in the mystical qualities of ginseng associated with longevity and prosperity. The incorporation of ginseng into commonly used everyday tools such as rice cakes, dining tables, decorations, matches, and fans suggests that ginseng was considered a talisman symbolizing health and longevity, kept close as a wish for good fortune. Rice cakes, often presented at ceremonies like ancestral rites, 60th-anniversary celebrations, weddings, and birthdays, had ginseng patterns carved into them as a way for our ancestors to inscribe the spirit and health-symbolizing ginseng onto the food. In family communities, ginseng patterns are frequently found on utensils related to eating, such as chopsticks, spoons, tea cups, and trays. Among the various folklore related to ginseng being passed down, the most prevalent are anecdotes illustrating its efficacy. Ginseng, gifted and exchanged as a symbol of gratitude in letters and poems, goes beyond being a mere medicinal herb to embody friendship and blessings. The symbolism of ginseng, as revealed in everyday objects, artworks, poems, and letters, can be summarized as follows: 1. In folklore and legends, ginseng symbolized filial piety offered to parents. 2. It represented gratitude sent to respected teachers and close friends. 3. Ginseng depicted on daily objects and artworks not only showcased aesthetics but also played a magical role in symbolizing longevity and well-being. Ginseng patterns on items like rice cake molds and dining tables embody the spirit of a caring community, wishing for longevity and prosperity."

• Journal of Conservation Science
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• v.33 no.6
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• pp.443-456
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• 2017

The Geumran-gasa (Kasaya) and Jangsam of the monk Samyeong are historical relics and were designated as object No.29, a Buddhist costume of the Joseon Dynasty, by the National Folklore Cultural Heritage, in 1973. In 1984, after being treated for the purposes of washing and preserving the shape of the garments, the object was kept in the Temple Museum of Pyochungsa, as their holding institution. However, regular inspection conducted by the Cultural Heritage Administration in 2013 determined the need for a re-treatment. The Geumran-gasa had been originally made with 25 strips, but it had been separated into two parts and many pieces were lost. A part of the collar in the Jangsam was lost as well. Therefore, both relics needed to be restored. The re-treatment process involved pre-investigation, washing, reinforcement fabric dyeing, restoration, and fumigation. In particular, we focused on reinforcing the damaged parts and restoring the missing parts by applying advanced materials and methods in order to restore the original form as much as possible. This conservation is the result of the re-treatment of the cultural properties by replacing the old material used in past treatments and applying advanced methods under the basic principle of reversibility in conservation treatment.

• Journal of the Korean Home Economics Association
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• v.40 no.5
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• pp.25-37
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• 2002

The purpose of this study is to give basic information in comparison of workspace of traditional housing between traditional Waga and Choga in Jeju. The subjects of this study are six Waga (roofing tee system), authorized as Jeju Folklore Materials and five Choga (roofing thatch system), authorized as National Major Folklore Materials. The results of this study were as follows. 1. Household workspaces in Waga were separated by three places: Jungji, Chatbang, and Gopang. In Choga, it was separated by two places, Jungji and Gopang. 2 As a number of Jungji, Waga had one, which meant that two or more generations shared the kitchen facilities. Choga, it had one or two Jungji, which meant that each generation used different kitchen facilities. 3. functional space of division Waga was specific. So, meal preparation was done in Jungji, and dining was done in Chatpang. However, in Choga, both meal preparation and dining were done in Jungji. 4. The sequence of space, in the JungjiGeriBulDong style, which Jungji was located in the detached building, showed that the circulation directs: Gopang->Sangbang->Chatbang->Madang->Jungji. AnGeriJungji style, which Jungji was located in the main building, showed that the circulation directs: Gopang->Sangbang(->Chatbang)->Jungji. 5. In the size ratio of household workspace to whole size of the house, Waga occupied 30%, and Choga occupied 21%.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.86-100
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• 2020

This study is the result of a design proposal to create a history and culture complex for the "Gungjip," an Important Folklore Cultural Heritage, and its surroundings located in Namyangju, Gyeonggi Province. In particular, the purpose is to introduce a new design approach to a historical and cultural complex consisting of the Gungjip House and Hanok annexes to be opened to the public in the future; and to provide its implications for future study. Although the architectural condition of Gungjip House is well preserved, several problems have been found in the use of the site as a public space due to the lack of a plan for systematic space experience, lack of specific spatial programs, and the too much shade due to uncontrolled green areas, etc. Therefore, the plan presented in this study largely sought to respect the meaning of historical landscape as a public space and to balance with the contemporary needs. The design strategies derived through basic research are to strengthen the sense of place as a cultural heritage; to respect the ecological characteristics of the site and visual harmony with the surrounding environment; and to suggest spatial programs suitable for the contemporary needs. Based on these strategies, the framework for the entire space is conceptually composed of four spaces; Oewon, Ganjeong, Jujeong, and Huwon, and proposes systematical land use and landscape experience. The main feature of this plan is the landscape approach, which aims to preserve the architectural cultural assets in their original form, but to create a reasonable land use and meaningful landscape experience based on the sense of place.

• Journal of Conservation Science
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• v.37 no.3
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• pp.270-281
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• 2021

The Yongjam of Oejae, Yi Dan-ha's wife, is an ornamental hairpin with a dragon-shaped engraving; designated as National Folklore Cultural Heritage No. 4. It is also a component of the ceremonial costume, and an artifact of great value as it clearly identifies the position of the wearer and the period of this artifact. The Yongjam has been well preserved in general; however, various pollutants and corrosive products have affected the engraved patterns, requiring conservation treatment. Furthermore, a non-destructive analysis was conducted to identify the components of the materials and the manufacturing techniques used in the ornament. The Yongjam is hollow inside to reduce its weight when placed in the hair and has a color contrast of gold, red, and black. The decorative part and the body were made separately. That is, the body was made from an alloy of copper, silver, and zinc, and its joint was elaborately connected without any overlaps. In the decorative part, different alloy ratios were identified in the dragon's face, beard, horn, body, and fin. Further, for the dragon's face with its delicate patterns, an alloy of silver and copper was used, likely to make the face appear as realistic as possible.

• Journal of Conservation Science
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• v.38 no.2
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• pp.124-132
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• 2022

Through scientific analysis, this study identified the material characteristics of metal foil decorating the border line and knotting of the National Folklore Cultural Heritage 'Pouch for the Sutra Embroidered with a Sun and Moon Design'. Through Scanning Electron Microscope-Energy Dispersive Spectroscopy results, it was estimated that silver (Ag) and sulfur (S) were present in the metal foil, and silver leaf was also attached to the medium. S may discolor Ag from yellow to black depending on its concsentration and contact time. Yellow color could not be identified in metal foil at present. But there existed an example of the preparation of a gold-colored flat silver thread; therefore, further research is needed to estimate the original color. The lamella was reddish brown on the back. Aluminum, silicon, and iron were also detected and were the main components found in red soil. This is believed to be the red adhesive in traditional flat gold thread and is considered to be an adhesive-related component of the metal foil. From the gas chromatography mass spectrometry results, the adhesive component was confirmed to be animal glue.

• Journal of the Korean Society of Food Culture
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• v.26 no.6
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• pp.599-613
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• 2011

The aim of this research was to analyze changes in a Roasted Beef recipe through Sulhamyukjuk. In order to conduct this study, we investigated ancient and modern culinary literature published until 1950. The main method of research in this study was content analysis. There were 15 pieces of ancient and modern culinary literature used. In addition, the roasted beef recipes totaled 78. Analysis of recipe data published over the last 300 years showed two different types of Roasted Beef recipes: 1) Roasted Skewered Beef and 2) General Roasted Beef. In the case of Roasted type, the method was divided into three steps: 1) Coating of flour porridge after marinade in the source, 2) Three dippings into cold water during Roasting, and 3) Roasting again with Seasoning.