• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.64-81
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• 2017

Among the royal ceremonies of the Joseon Dynasty era, the articles used in the Jinjak ceremony are symbolic icons of their value during the era. It is very important to identify the purpose of the articles whose usage is ambiguous, by referring to various historical records. Moreover, it should be possible to classify the characteristics and the special context of the article during this process. To accomplish this purpose, I examined the articles related to and used in the processes of Jinjak ceremonies of Outer Jinchan of Myeongjeongjeon and Inner Jinchan of Jagyeongjeon, which are part of the Gichuk Jinchan Ceremony performed in February of the 29th year of King Sunjo. Especially, the definition of Jinjak will not just be limited to the action of offering liquor, but will include the whole series of procedures in offering the liquor. This is because the specific action of offering the liquor expresses cultural concepts and values that have meaning within the historical situation and context in the specific action of offering the liquor. There are three characteristics of the articles related to the Jinjak process of Outer Jinchan and Inner Jinchan of Gichuk Jinchan Ceremony. First, the articles of Jinjak are ranked strictly exactly according to the social status rankings. Second, the Jinjak articles are arranged for their symbolic meanings rather than their purpose. Third, the articles of Jinjak are symbolic icons expressing the values inherent in the process of offering liquor. Recently, there are events reviving the royal court banquet and the increase of interest in the royal culture. It such a situation, the systematic examination of articles of royal court banquets will be a process needed to restore the royal ceremony correctly in the future, and will be the foundation for studying the royal culture of the Joseon dynasty era.

• Journal of the Korea Convergence Society
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• v.8 no.2
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• pp.253-258
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• 2017

Urbanization, industrialization, and informatization raised quality of life in modern society. However, many people face with social maladjustment phenomena of human alienation and loss of true self due to mechanization, competition and stress. To alleviate the social maladjustment, people should look for their true self and the self. Drinking tea may play an important role in bringing your true self and the self and be a vehicle for them to meet in daily life. Therefore, this study uses the standard web protocol technology to popularize the True Self Tea Ceremony which helps to enhance true self and self-respect. The True Self Tea Ceremony uses the basic utensils. The paper proposes the popularization of the True Self Tea Ceremony using the standard web protocol technology. Using the standard web protocol technology enhances the accessibility of users.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.191-217
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• 2006

The chief mourners do their best to carry the dead and various things related to him in the departure of a funeral procession. "Sejongsillok" and "Gukjooryeui" had already written the national funeral supplies for carriage in detail in the early of Joseon period. But they were the standard book of national ceremony. The Ilbang of Gukjangdogam made the national funeral supplies for carriage in the late of Joseon; Daeyeo, Gyeonyeo, Yoyeo, Chaeyeo, Gaja etc. "Gukjangdogamuigye" explained these in detail; size, materials, made-place etc. I used "Gukjangdogamuigye" published in the late of Joseon to explain the national funeral supplies for carriage. Because Kingdom's ceremony in Joseon was representative to the country, it couldn't depend on an individual taste. King was the symbol of a nation and the star tin point of the political power at that time. So its ceremony was to show people the representative example as a national ceremony. The national funeral supplies for carriage carried the dead of King and various things related to him. Gukjangdogam managed them carefully. People thought that the mean of these things was equal to King's authority at that time. So these weren't the mere national funeral supplies for carriage, the symbolic instruments equal to King.

• Korean Journal of Human Ecology
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• v.10 no.2
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• pp.165-178
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• 2001

The purpose of this study was to compare the differences of the perception and attitudes between university students and their mothers. Subjects were consisted of 375 university students and 305 mothers living in Chungbuk area. SPSSWIN program was used for data analysis and the frequency, percentage, average and standard deviation and verified t-test, $X^2$ were utilized. It was shown that both of two groups want a modern style for the wedding. And they prefer the weekend and holidays as a wedding day. University students hope that they will be ready for the expense by themselves with a little help from their parents for the shortage of wedding expense.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.10a
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• pp.25.2-25
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• 2001

• Journal of Fashion Business
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• v.6 no.2
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• Journal of The Korean Society of Grassland and Forage Science
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• v.24 no.4
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• pp.347-358
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• 2004

In Mongolia which consists of nomadic populations, horse has been loved by nomads and considered most important transportation means. Horses have been used when they were making long journey looking for new plain ground for grazing. Therefore, horse is closely connected with Mongolian nomadic culture. In Korea, too, horses had been considered one of most important means for transportation and military. The symbolism of horse that is represented in both Mongolia and Korea is Heavenly Horse which communicates with the God and it was sanctified as a Sacrificing Horse which was sent to God for sacrifice, and it was even worshiped as Divine Horse, the diety. As is the case of two of Mongolian customs associated with Mongolian language are 'the ceremony of horse's giving birth her young' and 'the ceremony of letting the mare go where it was before', all the cases are related with cattle's milk. The ceremony of 'horse's giving birth her young' is the ceremony where people hope that they would see the young can grow well which were born in early summer thus increasing the numbers of horse. To go with this, they perform a ceremony of Chachal in which they sprinkle the best quality white milk which is the symbol of good luck and hope they would produce plentiful of dairy products. The ceremony of 'letting the mare go where it was before' is also the ceremony where people hope to have many new born young horses thus produce more dairy products and Airag for the next year as milking is no more available for that you. Since the unified Silla Era, Koreans have performed a sacrifice rituals to horse in auspicious day. It's purpose is to see their horses get no disease and bear as many youngs as possible. The Back Ins Je, one of well blown festivals in Jeju Island, was originated from people's wish to prosper in stock farming. It can be said that the custom of Korea and Mongolia related with horse's giving birth was originated from the wishes to god for fertility and fecundity. On top of that, while Mongolians sprinkled horse's milk both on the ground and to the air hoping they would have increased houses and, thus, secure many dairy products, Koreans wish that they would see the increased number of horses and their healthy conditions through heavenly rituals.

• The Korean Journal of Archival Studies
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• no.24
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• pp.173-214
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• 2010

Intangible Culture Heritage can show its face only by representation of people in no form. Accordingly, if there are not people who represent Intangible Culture Heritage or records which is about Intangible Culture Heritage, we can see its appearance any more. Now on, Intangible Culture Heritage preservation policy of Korea is incomplete, so polices that Intangible Culture Heritage keeps on its values permanently, are essential. This study starting from these critical mind, suggests documentation method of Gangneung Danoje. This study designs documentation plans of Intangible Culture Heritage considering whore its whole lifecyle that produced, keened, used, preserved. To document the Gangneung Danoje, the target of documentation is selected and divided as ceremony, transmit from generation to generation, related data. the ceremony and transmit from generation to generation of Gangneung Danoje are recognized by building the business process, so records that produces whenever business act produce, subjects who produce the records, the spot where records are produced. A related data is not the target of documentation produced as continual business, but something to worthy of keeping as records is selected. Through investigation of the ceremony, transmit from generation to generation, and related data, this study selects objects to documentation and suggests method of documentation and subjects who document records.