Cho, Woo Hyun;Kim, Hye Gyeong;Dong, Jun Hui;Park, Min Jae
Journal of the Korean Society of Costume
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v.66
no.8
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pp.123-137
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2016
Sa-ryae-pyeonram [四禮便覽], which was published in the late Joseon Dynasty, was representative reinterpretation book of Ga-ryae [家禮] and it was a widely used and cited in the late Joseon Dynasty. This book contains Confucian values about the ritual of Confucian scholars of Joseon Dynasty. This study is a description of historical investigation and production of men's mourning dress based on Sa-ryae-pyeonram [四禮便覽] the result, of the study shows empirical attitude of Confucian scholasr in the late Joseon Dynasty. Through industrialization, traditional culture has been able to survive through preservation. Wearing the traditional mourning dress is not the only way to embody the traditional values in the modern society. It is will be necessary to study contemporary mourning dress as a reflection of traditional value.
There are three kinds of books written by different authors in different regions in the 19th century. These books include "BonChoYuHam (本草類函)" (1833), "BonChoBuBangPyeonRam (本草附方便覽)" (1855) and "BonChoBang (本草方)" (1860?). However, these books are very similar in terms of content and format. They were written in the format of large medical books and they contained prescriptions made up with 1-2 kinds of herbals depending on diseases. These three books which could not affect each other appear to have these commons. The reason is that these books were newly edited based on Bubang (附方) in "BenChaoGangMu" depending on diseases and "BenChaoWanFangZhenXien" (1712) written by Cai, lie Xian (蔡烈先) was used as the reference. Woodblock printed book of "BenChaoGangMu" viewed by medical practitioners in Joseon Dynasty in the 19th century mostly had "BonChoManBangChimSun" which could be called '"BenChaoGangMu" Bubang index' as the appendix. All authors of three books tried to make 'reorganization of "BenChaoGangMu"' by using "BonChoManBangChimSun" as the important reference. Work of 'reorganization of "BenChaoGangMu"' focusing on symptoms being made in the 19th century was made a few times in the 20th century. "YangMuSinPyeon" and "SuSeBiGyeol" published in 1928 were outcomes of these works in the 20th century. 'Reorganization of "BenChaoGangMu"' being made in 19th-20th centuries showed great interest for "BenChaoGangMu" in the medical community in the late Joseon Dynasty. In addition, the practical scholarship of Joseon Dynasty gave "BenChaoGangMu" the value as the collection of prescriptions rather than the concept of book for herbal medicine. Prescriptions of reorganized "BenChaoGangMu" have been spread out to many books in the late Joseon Dynasty. Thus, the impact of "BenChaoGangMu" on society in the late Joseon Dynasty seems to be much larger than what has been known so far.
During the Joseon Dynasty, Jeju had a unique aspect that differentiated it from other regions in terms of their medical system, such as the exclusive deployment of shimyak dispatched to Gamyeong and Barracks units due to the uniqueness of being an island. This study uses various historical sources to verify that these differences existed throughout the medical system and procedures of Jeju in the late Joseon Dynasty. The following significant conclusions were drawn: 1) Looking at the work and characters of Jejushimyak reveals the inherent limitations of Jeju medical care in the Joseon Dynasty. Compared to other regions' shimyak, Jejushimyak had two limitations: it was difficult to engage in only medicine and the quality of medical doctors declined due to the avoidance of major medical doctors' households. 2) The establishment of public health care in Jeju through Medical Cadets failed. Jeju medical science obviously played an essential role in public health care in the early 18th century. However, there was no continuity in the garden, etc. Hyangri, who was in charge of Medical Cadets, was in charge of various fragrances as needed. Thus expertise in medicine was lacking. 3) The cultivated herbs of Jeju's herb field show the failure to supply herbs for institutional medicine. It was impossible to supply enough herbs to implement institutional medicine in Jeju. In that case, it would have been necessary to discover alternative local herbs or to bring them in from outside, but there was barely any such effort. In conclusion, in the late Joseon Dynasty, Jeju failed to establish a foundation for centrally administered institutional medicine. There was a lack of all the entities that provided medical care and herbs that could be used for medical care. The reason that Jeju continued to follow traditional shaman medicine in the late Joseon Dynasty was because there was no other alternative.
This study examined dahoe(多繪-braided cord) and mangsu(網綬-ornament of husu for ceremonial dress) used in myeon gwan(冕冠), daedae(大帶), and husu(後綬) among royal formal dresses in the Joseon Dynasty(1392-1910) based on historical materials including literature, relics, and paintings. The results of this study are as follows. In myeon-gwan, dahoe was used for cap strings, goeing(紘) and yeong(纓). Cap strings were applied to the king, the Crown Prince, and the eldest son of the Crown Prince regardless of their status, and they showed differences among the periods. Both goeing and yeong were used during the early period of Joseon, and then only yeong was used in the late period. As goeing was removed and only yeong was used in the late period, patterns combining goeing and yeong, in color and wearing method, appeared. Dahoe used in cap strings is dongdahoe(童多繪-a kind of braided cord). In daedae, 'nyuyak(紐約)' was tied up to its fastening part. The material of nyuyak was changed from dongdahoe in the early Joseon Dynasty to guangdahoe(廣多繪-a kind of braided cord) in the late period, and the method of using it was also changed. Husu was imported from Beijing in China during the early period of the Joseon Dynasty, but in 1747, it was regulated to be woven in Joseon, and at that time, King Yeongjo attempted to restore the institution of weaving husu with "320 su(首)," namely, 6,400 strands as specified for the status of a prince of the Ming Dynasty.
Najang was the central Seori, affiliated to the Ministry of War during the Joseon dynasty. The objective of this study is to research the existing authentic Najang costumes from the late-Joseon dynasty by examining factors, such as the composition of the costume, size, and method of creation, and attempt to replicate it. The Leipzig Grassi Museum in Germany possesses an official uniform of Najang from the late-Joseon dynasty, and we visited the museum in May of 2013 to examine it for the study. Written records, or Uigwe, and other pictorial data from the Joseon Dynastry describe the Najang wearing black or navy clothing with white decoration and pointy hats. The most notable characteristic of the Najang uniform is that it has the cotton cords pattern. The hat has a brass ball attached, which was worn with the ball facing the front in the early Joseon Dynasty, and was worn facing the back in the later years. They usually wore black head cloths (Heuk-geon), but would attach feathers on the black hats (Heuk-rip) for special occasions. The Najang uniform preserved in the Leipsiz Grassi Muesim does not exist in Korea. It is made of cotton. The cotton cord pattern of the uniform of Najang was made using single-ply cords and double-ply cords. The hat worn by Najang is in a form of a cone that becomes narrower towards the top or is in a form with wide and open end. It was made of oiled paper covered with hemp, and two circular metal disks were attatched at the rear.
This study reports the costume changes and the factors of the changes from stone status in joseon dynasty. It can be summarized as follows: First, the artisan for the statues is one of the most important factors for the costume changes. The artisans who were involved in building the King's tomb were also made the stone statues for scholars' tombs. This results in that the style of the King's tomb influenced the costumes of stone statues for scholars' tombs. Some craftsmen who were buddhist monks also influenced the introduction of buddhist arts. Second, the stone statues are classified into 3 types according to the dead's social position: the civil officer statues, the military official statues, and the servant statues are installed for the civil officer, the military officers, and others, respectively. This principle was applied well. However, the civil official statues are mainly installed in late joseon dynasty because the civil officers are socially preferred to the military officers in late joseon dynasty. Third, there are two types of civil officer statues; Gongbok type and jobok type. Civil officer statues of Gongbok type were mainly installed in early joseon dynasty and civil officer statues of jobok type were begun to be installed in the early 16th century. Civil officer statues of Gongbok type were fade out after the late 17th century. Fourth, there are three reasons why civil officer statues of jobok type were installed at the officers's tombs 270 years earlier than at the Kings' tombs: 1) Introduction of Daemyunghoejeon and its application, 2) an establishment of a system that requires to prepare jobok individually, and 3) self-confidence of scholars' class on political and cultural maturity.
Buddhism, which was subject to repression all over the early Joseon Dynasty, received a certain recognition from the state, because Buddhist monks had participated in the war of the Japanese invasion in 1592. On the other hand, however, one of the results was the destruction of many temples. In the late Joseon Dynasty, the Buddhist monks themselves acted as players of Pungmul(people's percussive band music) for the rebuilding of Buddhist temples. These so-called "the Buddhist monks' Pungmul" is the imitation of former clowns' Pungmul and farmers' one that sometimes request money or rice at houses of villages. In the late Joseon Dynasty, the activities of the Buddhist monks' Pungmul were held all over the country. Today, there are "Bitnae Nongak(farmers'percussive band music)" in Kyeongsangbuk-do, "Beokku-noli(the drum play) in the areas of Yeosu and Gangjin in Jeollanam-do, the song of the Buddhist monks' Pungmul for the people's house spirits in the Gyeonggi-do, Gangwon-do and Chungcheong-do, and Namsadang-pae(the nomadic entertaining groups composed of only men), as clear pictures of it. In these things related to Nongak or Nongak relevant affairs, the shapes of the Buddhist monks' Pungmul in the late Joseon Dynasty remain clear. On the other hand, today the Namsadang-pae, which was formed as a result of Buddhist monks' Pungmul in the late Joseon Dynasty, was left only in the Chungcheong-do and Gyeonggi-do, because the temple construction in the Gyeonggi-do was made especially many in the late Joseon Dynasty. During the late Joseon Dynasty, the Buddhist monks' Pungmul, which had long-lived and had taken place throughout the nation, had a great impact on Pungmul. There are the Buddhist elements, such as Gokkal(the Buddhist monk's peaked hat), paper flowers, the color band, the small drum, and Bara(small cymbals) are often found in the Pungmul of Korea. In the late period of the Joseon Dynasty, it is obviously important place in the Pungmul history of Korea. Research and studies on this subject should be made more in the future.
This paper reveals the double meaning of the temporal background and spatial background on Shimchungga. Its temporal background is the fictional and romantic time of the story, while the time of the weary lives of ordinary people is realistic and historical in the late Joseon Dynasty. The spatial background has a dual meaning that reminds us of the ancient capital of China and Seoul of the Joseon Dynasty. Namgyeong, a spatial background is fictional and romantic where the daughter of the public, Simcheong, becomes "The mother of all the people." In addition, Namgyeong reminds us of Seoul, the capital of Joseon Dynasty. Shimchungga is based on the customs and manners of the late Joseon Dynasty, and it is embodied by borrowing time and space from China. It is recalled Joseon's as backgrounds of China First of all, Namgyeong on Shimchungga is the ultimate attraction of the free imagination of the ordinary people as well as Shin, Jae-hyo in the late Joseon Dynasty.
This article examines the shape, iconography, and creation date of the Four Buddhist Heavenly Kings (Sacheonwang 四天王) enshrined in the Heavenly Kings' Gate (Cheonwangmun 天王門) of Hoeamsa in Yangju, Gyeonggi Province during the early Joseon Dynasty. First, small fragments of clay decoration excavated from a fourth-platform gate site of the Hoeamsa Temple Site in Yangju Gyeonggi Province were analyzed and compared to other Four Heavenly Kings enshrined in the (Cheonwangmun gates) during the Joseon Dynasty. In addition, the size and shape of the gate were compared to other Cheonwangmun gates constructed during the Joseon Dynasty. Results revealed that the excavated fragments were part of the armor of Sacheonwang, and the clay-standing statues enshrined in the fourth-platform gate of Hoeamsa Temple would be proportional in size to those of Beopjusa Temple in Boeum, South Chungcheong Province. The flame-type pieces, which decorated the Heavenly King's crown in the Joseon Dynasty, and the rectangular-type pieces were not found in artifacts from the Goryeo Dynasty. Therefore, the Sacheonwang sculptures of the Hoeamsa Temple were likely made in the late 15th century in the early Joseon Dynasty. A detailed iconography of the Sacheonwang of Hoeamsa is presumedly based on the Buddhist paintings and illustrations of Buddhist scriptures (Gyeongbyeonsangdo 經變相圖)from the late Goryeo and early Joseon. During the late Goryeo Dynasty and early Joseon Dynasty, Traditional iconography from Goryeo and new iconography from Ming coexisted. However, in the late 15th century, the Sacheonwang statues of the early Joseon Dynasty had many different elements from those of the Goryeo Dynasty and were similar to those enshrined in Cheonwangmun Gate during the Joseon Dynasty. The Four Heavenly Kings of Hoeamsa Temple, believed to have been produced in the late 15th century, has historical significance in the following points. They were the first Joseon Sacheonwang statues example enshrined in the Cheonwangmun gate. In addition, they were established as a new tradition that influenced the iconography of the Four Heavenly Kings during the Joseon Dynasty.
We investigated the changes in the species of the woods used for Korean ancient and historic architectures, which include prehistoric excavated relics and existing wooden buildings in South Korea. The species data were collected from various sources such as excavation and repair reports, journal papers, and a few unpublished documents. We divided the building Periods as Paleolithic, Neolitic, Bronze Ages, Iron Age/Three Kingdoms, Koryo, Joseon (early, middle, late) and modem periods. In prehistoric periods, hardwoods were major species. Oak (Quercus spp.) woods dominated (94 percent in average); the others (5%) were Juglans mandshurica, Platycarya strobilacea, Castanea crenata, and few softwoods(1%). During Iron Age and Three Kingdom periods, oaks remained as a major species (57%) and others Platycarya strobilacea(21%), Castanea crenata(13%), and Pinus spp. (6%). The oak woods decreased in Koryo period and they occupied only 1.1%. Instead of oaks, pine (Pinus spp., 71%) and Zelkova serrata (22%) dominated in Koryo. In early and middle Joseon periods, pine woods (73%) remain as a major species and the others were oaks (14%) and Zelkova serrata (9%). As late Joseon came, the pine woods occupied more than 88%. In the late 19th and early 20th centuries, a few boreal species such as larch (Larix spp.) and spruce (Picea spp.), which grow in cold area, were found. We believe they were transported from northern Korea. The existing buildings in Korea are mainly from Joseon period and a few from late Koryo periods. During these periods, pine woods were used for most buildings. For such reason, pine woods were known as 'representative materials for historic buildings'. but earlier times, broad-leaved trees, i.e., oak and Zelkova woods were major materials. The changes in building materials resulted from both climate and human impacts. The dry climate and disturbed forests induce more pines in the mountains. We also compared the wood qualities of the species and found that Zelkova woods were superior ones and deserved more planting for future demands in the repair for historic buildings.
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