• 천문학논총
• /
• 제31권1호
• /
• pp.1-9
• /
• 2016

We investigate the records related to the reign style and the calendar day from the epigraphs of the Goryeo dynasty (918 - 1392) in Korea in order to verify and supplement the sexagenary cycle data of the first day in the lunar month of the dynasty. The database of the National Research Institute of Culture Heritage contains a rubbed-copy image, transcription statement, and translation statement for Korean epigraphs as well as 775 epigraphs corresponding to the Goryeo dynasty. The epigraph records are valuable in that, during this time, they were written differently from other historical literature such as the Goryeosa (History of the Goryeo Dynasty), which was compiled in the next dynasty. We find that the Goryeo dynasty, in general, had adopted the reign styles of Chinese dynasties at that time. We also find 159 calendar day records all showing good agreement with the work of Ahn et al. except for dozens of records. Through this study, we can verify the reign styles and the calendar days of the Goryeo dynasty.

• 건축역사연구
• /
• 제15권3호
• /
• pp.7-25
• /
• 2006

This research examines symbolic meanings of architectural style of Japanese ruling era of Korea through analysis of Expo buildings. Expo buidings of Joseon Product Evaluation Expo(1915), Joseon Expo(1929), and Joseon Grand Expo(1940) are chosen as subjects of this research. Expos held in Korea since 1945 were creatures of colonial reign and their objectives are advertising the advancement of Japan. New and latest architectural styles of Western countries were used as a symbol of advancement in non-western countries. Renaissance style and Secession style in Joseon Product Evaluation Expo and Modernism style in Joseon Expo were introduced as architectural styles that symbolize advancement. On the contrary, the traditional architectural style of Joseon Dynasty was distorted as symbol of backwardness. Latest Western Architectural Styles were used elaborately and Intentionally to symbolize advancement and industrialization by Japanese ruling power and companies. Specially, Modernism style operating as 'symbol of advancement' is characteristic of non-western society in attempt to proceed Modernization through Westernization. Also, it can be suggested that architectures in Modernism style are used in ways to symbolize the advancement of the colonial reign authorities within the colonial society.

• 복식문화연구
• /
• 제4권2호
• /
• pp.207-217
• /
• 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.

• 한국비블리아학회지
• /
• 제10권1호
• /
• pp.55-92
• /
• 1999

이 논문은 조선조 활자본계의 묘법연화경 판본에 관한 연구를 위해 묘법연화경의 동전과 유통 활자본계의 묘법연화경 판본의 유통, 각 판본들의 서지적 성격을 고찰하였다. 묘법연화경은 유통본의 종류가 많아서 그 계열을 가름하여 그 가치를 제고하는 것은 중요하다. 활자본은 초주갑인자본과 을해자본으로 세종.세조조에 찍어 유통시켰고 이들의 번각 본이 성종부터 영조조까지 유통되었다. 이들 판본에 나타나는 서지적인 성격은 사찰, 서체, 변상도, 경판간행질에 있어 다양하고 독특한 내용을 담고 있다.

• 헤리티지:역사와 과학
• /
• 제54권3호
• /
• pp.126-149
• /
• 2021

고종이 집권했던 1863년부터 1907년은 불안한 국내 정세와 열강의 침입으로 혼란한 시기였지만, 조선 왕실과 대한제국의 전환기로 왕(황)실의 어보(御寶) 제작에 있어 중요한 변화를 맞이하는 시기이기도 했다. 고종 연간 제작된 보인(寶印)은 대략 138과로 거북뉴(龜鈕)와 용뉴(龍鈕) 어보의 제작 장인, 조형을 분석하면 이시기 보인 전반을 이해할 수 있다. 고종 연간 활동했던 대표적인 금보장(金寶匠) 전흥길(全興吉)은 왕실에서 다양한 금속공예품을 제작하며 실력을 인정받아 활동했던 장인으로, 거북뉴 금보(金寶)와 용뉴 금보를 모두 제작할 수 있었던 뛰어난 장인이었다. 옥각수(玉刻手)·옥보장(玉寶匠)으로 활동한 김은석(金殷錫)도 전흥길과 마찬가지로 거북뉴 옥보(玉寶)와 용뉴 옥보를 모두 제작할 수 있었던 장인이었다. 또한 옥보장 이중려(李仲呂)의 활동도 주목되는데, 김은석이 활동하지 않는 동안 옥보의 새로운 양식을 창출했을 뿐 아니라 이 양식이 금보에도 적용되어 고종 연간 후반기인 1890년 이후 주요한 양식으로 자리하게 된다. 대한제국 수립 이후 제작된 용뉴의 경우 금보와 옥보가 유사한 양식을 공유하는데, 당시 『대례의궤(大禮儀軌)』에 기록된 장인들은 전흥길, 김은석 등 고종 연간 계속 활동해온 금보장, 옥보장이었다. 이들은 처음 용뉴의 어보를 제작해야 할 때 문헌이나 기록 등으로 중국의 용뉴 인장 형식을 차용하였지만, 용뉴 형태와 용 모습은 당시 조선시대부터 제작되어온 용 조각을 모방한 것으로 보인다. 어보는 왕실과 황실의 정통성과 권위를 상징하는 의물로, 국내외 정세에 따른 변화를 가장 많이 반영하는 공예품이다. 고종 연간은 역대 왕들의 재위 기간 중 어보가 가장 많이 만들어진 시기로 기존의 어보 제작 전통을 지키면서도 새로운 변화를 확인할 수 있다는 점에서 의미가 있다.

• 천문학논총
• /
• 제35권1호
• /
• pp.1-16
• /
• 2020

We report a calendar sheet for the 31st year of the reign of King Gojong (1894) (hereafter, calendar sheet 1894) in Korea, which calendrical data in a single page. This calendar sheet 1894 is composed of 14 rows by 14 columns (about 190 cells), and various calendrical data are recorded such as the sexagenary circle of the first day in each month, 24 solar terms, full moon day. In this paper, we compare calendrical data of 1894 calendar sheet with those of the almanac based on the Shixian calendar (hereafter, annual almanac) of the same year. Our findings are as follows. First, we find that the year is expressed using the reign-year of the king of the Joseon dynasty differently from using the reign-style of China in the annual almanac those times. Other calendar days of this calendar sheet are the same as those of the annual almanac in term of lunar dates, 24 solar terms, sexagenary days and so forth. Second, we find that the calendar sheet 1894 contains memorial days for 64 lineally ancestors of the Joseon royal family. These royal memorial days appears in the annual almanac two years later (i.e., 1896). Third, as the most distinctive feature, we find that the symbol of 工 kept every two cells. It was found that the cells can be filled with three days as the maximum number of days and then are labelled the same symbol 工 every second cell. This feature allows us to get the first year in which this kind of calendar sheet was published. It is conjectured one of 11 years, such as 1845, 1846, 1847, 1873, 1874, 1875, 1876, 1877, 1878, 1879 or 1880. We also think that the format of the calendar sheet 1894 has influenced on the Daehan-Minryeok (Korean civil calendar sheet) of 1920.

• 복식
• /
• 제5권
• /
• pp.219-235
• /
• 1981

Jik-Ryoung was originally desinged to be worn by lower-class people in the reign of King Woo(A.D 1387, Goryeo) when official dresses and headgear were redsigned according to Ming's (明) style. It was observed that Jik-Ryoung was the same Po(袍) as Dan-Ryoung(團領) except its straight collar. Nowadays we can find through documents and original forms of Jik-Ryoung itself that Jik-Ryoung prevailed from the beginning to the end of the Yi Dynasty. Lower class people wore this coat until King Sejo(世祖), but from that time the Jik-Ryoung could be worn only by the Noble class as street clothes and home wear as well. Middle class people wore this coat as an office wear. Its style had changed from narrow sleeves and Moo (무, a reinforcing cloth strip) at the beginning to widers and Moo after the middle years of the Dynasty and finally fixed its style to sewing upper parts of Moo together. While red, white, and blue were the common colors, silk, hemp, cotton, and ramie were preferred materials to be made of.

• 한국의류학회지
• /
• 제21권3호
• /
• pp.544-558
• /
• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.

• 건축역사연구
• /
• 제27권2호
• /
• pp.89-100
• /
• 2018

The stylobate for expanding the external stage area was the most frequently installed installment out of the installments installed for royal court ceremonies. The stylobate was installed for various ceremonies such as funeral rites, ancestral rites, customary formalities, state examination, feasts for celebrating a honored guest of the court, queen's silkworm cultivating ceremony, heir appointment, the presentation of honorary titles for the king or queen in honor of their merits, and entertainment of foreign dignitaries. The exact period stylobates came to be used for the play stage. The stylobate consists of the 紅座板, 屯太木, 竹欄間, 足木, and the 層橋. Depending on the 足木, the substructure of the stylobate, the stylobate could be divided into the 長足木, 中足木, 短足木, 平足木 type. The detail structure of the stylobate changed in form from the jokmok and duntaemok that appeared until the time of King Seonjo, into the 長屯太木, 短屯太木, and the 短短屯太木 during the time of King Heonjong. With the introduction of the 中足木, materials began to become more segmented and the structure stronger. According to existing records, while the height of the stylobate was not significantly high prior to King Seonjo's reign, the 十四層雲橋 and the 十三層層橋 introduced during the time of Emperor Gojong was designed to reflect his rank in external ceremonies while the eight story step bridge was exhibited in internal ceremonies to reflect the rank of Queen Mother Sinjeong. From here, we can deduce that the fourteen and thirteen story cloud bridges representing the king was of a higher grade than the eight story step bridge which represented the queen mother. Finishing by adding boards to the lower part of the stylobates began to appear in the time of King Seonjo. During King Heonjong's reign, the lower finish became gentrified with a thin board called 修粧板, and yeomupan 廉隅板 for decorating the edges of the stylobates were installed. Such style of finishing the lower part of the stylobate with boards mostly appeared in elaborate feasts 進饌 and celebrations 進宴 within the royal court 內宴. The stylobates appeared to have served not only practical purposes such as expanding the stage area, but also as installments which realize the authority and prestige of the royal crown. They were installed according to the purpose of the ceremony and the rank of the participant. In short, stylobates became established during King Seonjo's reign, became segmented and gentrified during King Heonjong's reign, and began to take height variations during Emperor Gojong's reign to reflect the rank and authority of the king and queen mother. As such, it can be considered another characteristic of Joseon Dynasty architecture.

• 한국도서관정보학회지
• /
• 제27권
• /
• pp.27-59
• /
• 1997

The primary purpose of this study is to compare a specific characteristic of Ulhacha -printed books with Imitating Ulhacha-printed books to distinguish from each others. Ulhacha was made in the first year of King Secho (1455) used before Hideyoshi's Invasion of Korea in 1592, there are many kinds books printed with it. For this reason, Ulhacha used to printed books for long period, the letters were worn down and must be filled up with su n.0, pplementary letters during the reign of King Chungchong and Myungchong. And at the early times of King Suncho, Many letters were su n.0, pplement and printed many kinds of books very neatly. Ulhacha-printed books were classified four sorts of books according to its characteristic to examine closely. From the latter half of the 16th century, the beginning of King Suncho, what is called Imitating Ulhacha-printed book, many copies of book were printed off imitated with Ulhacha. Imitating Ulhacha-printed books also classified four kinds of books according to its characteristic. Being glance at imitated letters, they were similar to Ulhacha and confused one thing with another. To distinguish Ulhacha-printed books from imitated letter ones, it is important to discriminate each others. Generally speaking, imitating Ulhacha letters were resemblant Ulhacha closely, it is not easy to distinguish Ulhascha from imitated letter. But they have a tendency to exhibit more thin style than Ulhacha and different from its size. Out of Ulhacha-printed books, the big letters in Hunsa printed in the 7th years of reign of King Secho and Hangulcha in Kumgang panya paramil kyong samgahae printed in the 13th years of the reign of King Sung chong come in to question. Nevertheless the big letters in Hunsa is consider to be that of Ulhacha and Hangucha in Kumgang panya paramil kyong samgahae also to be Ulhacha mixed with Hang lcha, disagreement of opinions has been opted to give rise to problem. In order to verify such a problem, it is more convenient to use OHP film copied those letters than the naked eyes. As a result of collating with OHP film, the problem was proven to be above-mentioned.