• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.96-116
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• 2022

The Daebodan was an altar, which held a memorial service for emperors of the Ming dynasty. This alter, which was referred to as Hwangdan, was first constructed in 1704. When the Japanese Invasion of Korea commenced in 1592, Shinjong, the emperor of the Ming dynasty, sent reinforcements to Josun to help. This alter was made to repay Shinjong's kindness. Before this, Song-siyeol(宋時烈), Leader of Noron(老論), made a shrine at Hwayangdong to hold memorial services for Shinjong, and after some time, this developed into a national ceremony. Construction of the Daebodan largely changed the backyard of Changdukgung-palace. However considering the construction process, the meaning of the Daebodan was not a big deal. At first, the optimal place for the Daebodan was selected at the site of a inner icehouse. But the inner icehouse could not be transferred to other site due to the circumstances. After all, the Daebodan was constructed at the site of Byeoldaeyeong(別隊營) which was located in the outside of palace. Most of the stones for the new Daebodan were used ones. And the annexe of Byeoldaeyeong was used for Daebodan without any changes being made. The scale of the construction was not particularly grand. After the construction, Sukjong, who made the Daebodan, showed barely any interest in it. But the conception of the Daebodan was back again in the history by Youngjo. He was also not interested in the Daebodan during his early years of ruling time. However, in the 1740's, he started to become interested in the ceremony of Daebodan, and carried out a large-scale reconstruction of the Daebodan. Jegigo(祭器庫) was rebuilt In 1739. And Jaesil(齋室), staying one night before the ceremonial day, was added in 1745. In 1749, the Daebodan was greatly changed by enshrining Uijong and Taejo, emperors of the Ming dynasty. The shape of alter was changed. Moreover this alter was made by newly quarried stones. And several buildings, Junsachung(典祀廳), Jaesaengchung(宰牲廳) and Akgongchung(樂工廳), were added to the site. In 1762, meritorious retainers were enshrined to the Daebodan. After all the Daebodan became an important part of the backyard of Changdukgung-palace. During the reign of Jungjo, the Daebodan also was an important part of backyard of Changdukgung-palace. But significant changes were not made at that time. The only change was the moving of Kyungbonggak(敬奉閣) in 1799. Afterward the Daebodan remained unchanged. The ceremonies at the Daebodan stopped in 1908. And the Daebodan disappeared into the mist of history.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.100-121
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• 2023

This paper examines the interior settings of a chamber and of a temporary place of enshrinement at Yeonghuijeon (永禧殿, Hall of Eternal Happiness), the representative official portrait hall in which portraits of early and late Joseon kings were enshrined. Also, it discusses the features of the Five Peak screens used therein. The physical environment of a chamber at Yeonghuijeon mainly consisted of a four-panel folding screen with a painting of Five Peaks and a large wooden platform, which was adorned with dragon and lion patterns and attached to lotus-leaf column balustrades. The Five Peak screen was installed on a large platform in the shape of ⊓, spreading across the second and third panels on the back and folding out on the first and fourth panels on the right and left sides. When a portrait was enshrined in a temporary place, a simpler and smaller platform with railings was used. A four-panel folding screen of the Five Peak painting was installed in the same way as in a chamber, but was unfolded around a smaller platform behind it. A royal portrait was displayed in each chamber, whereas a case in which a portrait was rolled up was put on the smaller platform in a temporary place. The Five Peak screens for a chamber and a temporary place were all large four-panel folding screens with two wide panels in the middle and two narrow panels on each side, and only strips of silk were mounted on the four edges of the screens without additional wide lower-side mountings. While screens for the chamber used patterned silk for mounting and white paper for backing on screen frames, screens for the temporary place used plain silk and recycled failed test papers for mounting and backing, respectively. By examining records in the literature on the Five Peak screens for Yeonghuijeon, this paper highlights two Five Peak screens, both of which lost their provenance from the hall. The structures of the two screens reflected the way they were to be installed at the hall. Furthermore, this paper assumes that a Five Peak screen, which had been unfolded on the throne in the main hall of Changdeokgung Palace after the 1960s, was produced in 1858 for the purpose of temporarily enshrining King Sunjo's portrait due to the fact that failed test papers of the 1840s were laid taut over the frame.

• Economic and Environmental Geology
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• v.56 no.3
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• pp.239-257
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• 2023

Sangdong deposit, a W-Mo skarn deposit, is located in Taebaeksan mineralized district, hosting vertically developed scheelite-quartz veins that formed at the late ore-forming stage. In this study, we tried to examine the geochemical signatures of ore-forming fluids and vein-forming mechanisms by analyzing the micro-texture of quartz veins and trace element concentrations of quartz. As a result of texture analyses, quartz veins in the hanging wall orebody and the foot wall orebody commonly exhibit the blocky and the elongate blocky texture, respectively, whereas quartz veins in the main orebody show both textures. These textural differences indicate that quartz veins from the hanging wall orebody were precipitated by the primary hydrofracturing due to H₂O saturation in the igneous body with relatively high temperature and pressure at a vein-skarn stage, and after that, repeated hydrofracturing caused the formation of quartz veins from the main orebody and foot wall orebody. The results of trace element concentrations show that Li⁺+Al³⁺↔Si⁴⁺ is a main substitution mechanism. However, those of the foot wall orebody were clearly divided into a Li⁺-dominated substitution and a Na⁺-, K⁺-dominated substitution. Considering that quartz veins from the foot wall orebody commonly show the elongate blocky texture, such a distinction means that it is a result of repeated injections of fluid with the different composition. Ti concentrations of quartz from the hanging wall, main, and the foot wall orebody are 28.6, 8.2, and 15.7 ppm in average, respectively. Given a proportional relationship between the precipitation temperature and Ti concentrations, it seems that quartz veins from the hanging wall orebody were precipitated at the highest temperature. Al concentrations of the hanging wall, main, and the foot wall orebody having an inverse relationship with fluid pH are 162.3, 114.2, and 182.5 ppm in average, respectively. These results show that Al concentrations in vein-forming fluids were not changed dramatically. Moreover, these concentrations are extremely low in comparison with the other hydrothermal deposits. This indicates that quartz in overall ore veins at Sangdong deposit was precipitated from the constant condition with slightly acidic to near neutral pH.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.142-160
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• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.182-205
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• 2023

The use of royal artificial flowers was finally found through schematics and records in Wonhaeng Eulmyojeongri Uigwe, which organized the procession to Hwaseong in 1795. The results of classifying the uses of artificial flowers in the brthday banquet at Bongsudang Hall in 1795 and considering the shape, user, and usage are as follows. According to literature records, artificial flowers were made with high-quality materials such as gold, silver, and silk thread in the early period, but were mainly made of paper in the later period. Artificial flowers were used for decorating official hats, Bongsudang Hall, and banquet tables. The Sagwonhwa was used for decoration of the official hats of members of the royal family, and the one on the top was called Eosam-Sagwonhwa. At the birthday banquet inBongsudang Hall, King Jeongjo and Hyegyeonggung used the Eosam-Sagwonhwa and put it on the right side of the official hats. Officials put peach blossom with two petals on the left side of the official hats for decoration. The artificial flowers for decoration of the official hats of musicians and dancers were more expensive and flashier than the officials' ones. Depending on the dance, several artificial flowers were inserted into the official hats. When measuring the size of artificial flowers, the scale used was when making a ceremonial article. For artificial flowers for decoration of the banquet hall, red and white peach blossoms were placed in two jars with dragons painted on them and them placed on two red-painted tables, respectively. The table and jar with flowers were tied together with a red cotton string and fixed so as not to fall over. The artificial flowers for decoration of the banquet table of King Jeongjo, Hyegyeonggung, and the king's sisters were a large lotus, medium-sized lotus, peony, rose, and specially made peach flowers. The artificial flowers for decoration of the banquet table of guests and officials were small lotuses and peach blossoms. The artificial flowers used in the birthday banquet at Bongsudang Hall the most were peach blossoms, and peaches had the meaning of longevity and exorcism. It is expected that the above research results will be helpful in understanding the characteristics and usage of artificial flowers in the period of King Jeongjo and use in reproducing royal feasts and producing traditional cultural contents.

• Korean Journal of Breeding Science
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• v.51 no.1
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• pp.34-40
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• 2019

'Jungmo1033', a japonica rice variety, was developed by the rice breeding team at the National Institute of Crop Science (NICS) in 1992. It is derived from a cross between a native variety 'Jagwangdo', which has translucent milled rice and medium maturity; and 'Hwayeong', which is an elite line with bacterial blight resistance and mid-late maturity. The heading date of 'Jungmo1033' was August 10 in the middle plain area of Korea, which was two days later than that of 'Hwaseong'. 'Jungmo1033' has a culm length of 79 cm, which was 5 cm shorter than that of 'Hwaseong', and 105 spikelets per panicle. 'Jungmo1033' showed resistance to bacterial blight (K1, K2, and K3 races) and stripe virus, but susceptibility to the K3a race of bacterial blight, dwarf and black-streaked dwarf viruses, and planthoppers. The milled rice of this variety exhibited translucency and a medium short grain shape. It had an excellent appearance and lower amylose content (19.1%) than that of 'Hwaseong'. The characteristics related to grain milling were better than those of 'Hwaseong', especially head rice milling recovery ratio and head rice ratio (94.8%). 'Jungmo1033' showed a milled rice productivity of 5.38 MT/ha at 11 sites under ordinary cultivation conditions. (Registration No. 5723)

• Korean Journal of Social Welfare Studies
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• v.42 no.1
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• pp.333-370
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• 2011

This study views the aged inequalities according to the inequality hypothesis of the life course perspective in OECD 10 countries. Focusing on educational level which is early social status and welfare state regime which is social structure factors of inequality, this study analyzes income inequality for the aged who have transformed into old age period from non-aged period. The analysis is based on the data SHARE of Europe and HRS of USA. The main results of this study are summarized in four points. First, the income inequality is quite high by welfare system and the educational level. Second, the income inequality is somewhat reduced in case the people move from the period of non-aged to the period of aged. However, gini coefficient is still high(0.475). Considering welfare state regimes, although the income inequality is high in conservative regime of non-aged period, this would be higher in aged period. This result supports cumulative advantages/disadvantages hypothesis. The liberal regime remains high income inequality which supports the theoretical argument of status maintenance. Social democratic regime provides evidence to offer some support for the status leveling hypothesis. In there, income inequality is lower in aged period even though income inequality of non-aged period is low. Third, the cumulative advantages/disadvantages of disposable income according to educational level are strengthened and heterogeneity is grown in case people transition from the late period of non-aged to aged period. But public pension has been more equally distributed than gross income. Fourth, seeing welfare state regimes, public pension of aged-period is more inequally distributed than that of non-aged period in liberal and conservative regime. Specially in conservative regime, inequality of gross income is very high and public pension is also inequally distribute So this might show that the social security system strengthens the cumulative advantages/disadvantages. However, in the social democratic regime, public pension is more equally distributed than gross income and it could be much more equally distributed in aged period, which can support the status leveling hypothesis.

• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• (The) Research of the performance art and culture
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• no.23
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• pp.105-158
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• 2011

Due to the system of sending selected hyanggi(local entertaining woman) to the government office in Seoul after the abolition of the system of gyeonggi(entertaining woman in capital area) during the reign of King Injo(1595~1649), the kyobang-jeongjae(local dance performed for the provincial government office) had gotten into the court to be performed at the royal banquet as gungjung-jeongjae(court dance), one of which was seonyurak(dance of boating). It used to be performed for finale of the royal banquet in the late Joseon Dynasty and appeared in several uigwes(record for royal banquet) since its first appearance in the wonhaeng-eulmyo-jeongri-uigwe, documented in 1795, the 19th year of the reign of King Jeongjo. Considering that the yeoggi(female entertainer) responsible for the court dance, seonyurrak was the seonsanggi(selected entertaining woman from provinces) from the northwestern provincial villages such as Euiju, Ahnju, and Seongcheon etc., we can assume that the baettaragi, one of kyobang-jeongjaes whould have been getting into the court to become the seonyurrak as court dance. The baettaragi, kyobang-jeongjae of northwestern province that affected the development of the court dance, seonyurak was created as performance executed by entertaining women of kyobang(local supervisory office for entertaining women) on the basis of the fact that the envoy of Joseon dynasty to the Ming dynasty could not help but taking a sea route when Amaga Aisin Gurun had a grip on the northeastern area of China during the shift of power from Ming to Qing. There had been a lot of banquets for envoys in the northwestern province because of its geographical feature as gateway to trip to China and the baettaragi used to be performed by entertaining women belonged to local provincial office to consolate the sadness of separation with those who destined to depart to China and to hope for their safe return. The kyobang-jeongjae, baettaragi of northwestern province is recorded as performance with sorrowful song to put the pain of parting into work, according to many related documents. It puts together painted boats as props, the march of a couple of dancer dressed up as soldier with marching music called gochiak, the song and musical accompaniment before getting on boat, the dramatic expression of sailing, and the farewell song praying for safe return etc. It turns the situation of dispatching envoys for China by sea into performance with combination of music, song and dance. Created in this way, the kyobang-jeongjae, baettaragi had been performed at the various banquets for envoys departing for China and it affected the formation of court dance or gungjung-jeongjae called seonyurak through the activities of selected local entertaining women. It also exerted influence on other similar performance in provincial area because of the returning home of the selected local entertainers who finished their performance in Seoul and it had been performed with different variation at local banquet including locality in it.

• Korean Journal of Breeding Science
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• v.51 no.3
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• pp.190-200
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• 2019

It is reported that the absence of lipoxygenase-3 (LOX-3) may contribute to a reduction in stale flavor after the storage of rice. To improve the quality of stored rice of the Korean japonica rice cultivar, we conducted a breeding program to develop near-isogenic rice without LOX-3 in the genetic background of Saenuri, a mega variety of Korea. In the first step of the breeding program, we used a donor parent of LOX-3 null, Daw Dam, and a recurrent japonica parent, Sindongjin, to develop HR27873-AC12 by backcross (BC₁), color test for introgression of lox-3, and anther culture for rapid fixation. In the second step, we used the donor parent, HR27873-AC12, and the recurrent parent, Saenuri, to develop HR28896-31-3-1-1 by backcross (BC₁), marker-assisted selection (MAS) for lox-3, and phenotypic selection (PS) for agronomic traits. Finally, in the third step, we developed HR30960-186-2-1-2-1 (Jeonju624), derived from a cross between Saenuri and HR28896-31-3-1-1, by MAS for lox-3 and PS with high selection pressure for agronomic characteristics. Jeonju624 was confirmed with the introgression of lox-3 by molecular marker. Jeonju624 was a mid-late maturing rice with similar agronomic characteristics to Saenuri, lodging tolerance with short culm, erect plant architecture, and resistance to bacterial blight and rice stripe virus. The yield components of Jeonju624 were mostly similar to Saenuri, except for the 1,000-grain weight of brown rice. The appearance of the grain of Jeonju624 was better than that of Saenuri, and the characteristics of cooked rice were similar to those of Saenuri. In the genetic background analysis using 406 KASP (Kompetitive Allele-Specific PCR) markers, Jeonju624 was confirmed to be the near-isogenic line (NIL) of Saenuri with a 95.8% recovery rate. Jeonju624 is the NIL of Saenuri without LOX-3, and overcomes the linkage drag of Daw Dam with similar agronomic characteristics and genetic background to Saenuri. Jeonju624 can be utilized as a practical cultivar to improve the quality of stored rice, breeding material for the introgression of lox-3, and genetic material to elucidate the effect of introgressed genes.