• Journal of architectural history
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• v.32 no.3
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• pp.53-62
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• 2023

Jogyeongmyo Shrine is the Sijomyo Shrine of the Joseon royal family. It is a representative building that symbolizes Jeonju, the hometown of the Joseon royal family. This study comprehensively analyzes a variety of literature, old maps, and figures, and it investigates the meaning of Jogyeongmyo Shrine as an architectural example as well as its architectural characteristics. The Jogyeongmyo Shrine was built to symbolically demonstrate the superior virtue of the royal ancestors compared to the ancestors of the gentry. King Yeongjo built Jogyeongmyo Shrine, which he considered his greatest achievement, to raise the status of the royal family and exact loyalty from the vassals. Jogyeongmyo Shrine is a unique example of an ceremonial architecture that cannot be observed in China or the previous Korean dynasties. In addition, its architecture looks different from that of ordinary shrines because both Confucian ceremonies and the function of each building were taken into consideration during construction. Although Jogyeongmyo Shrine was preserved without significant changes until the late Joseon dynasty, major modifications were made in all areas except the main shrine area during the Japanese colonial era.

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.42-57
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• 2017

The Joseon Dynasty (1392~1910) had a long tradition of making official seals to commemorate the granting of official royal titles, including posthumous honorary titles, to its kings, queens, crown princes and queen dowagers. These royal seals were typically gold-plated or made of jade. After the death of its holder, each seal would be stored in the royal seal depository in the Royal Ancestral Shrine. Extensive efforts were made to restore the traditions and culture of the royal family of Joseon during the reign of King Sukjong (r. 1674~1720). In 1705, discussions were held about the royal ceremonial objects, including the royal seals, stored in the Royal Ancestral Shrine, resulting in the reproduction of a set of accessories related with the storage of royal seals and ten golden royal seals which had been lost during wars or had yet to be made. With these reproductions, each shrine chamber of the Royal Ancestral Shrine would have had at least one seal. The details of the reproduction project were meticulously recorded in The Royal Protocol by the Directorate for the Restoration of Golden Royal Seals("金寶改造都監儀軌"). Given that the restoration project was the single event that led to the reproduction of all the golden royal seals, it is reasonable to conclude that the directorate had fulfilled a historically significant function. In this study, the main discussion is focused on the establishment of the directorate and the storage and management of the damaged royal seals. The discussion includes the manufacturing process of the golden seals, for which The Royal Protocol is compared with other similar documents in order to gain more detailed knowledge of the measurements of the turtle knob, the lost-wax casting technique, the gold plating with mercury amalgamation technique, and other ornamentation techniques. The discussion also covers the activities of the artisans who made the royal seals, based on a study of the royal protocols; the styles of the artifacts, based on an examination of the remaining examples; and the techniques used by the Directorate for the Restoration of Golden Royal Seals to produce the royal seals in 1705.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.196-221
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• 2011

The Royal Private Shrines or the Samyo(私廟), were dedicated to members of Choseon's royal family who could not be enshrined at the (official) Royal Ancestral Shrine, the Jongmyo(宗廟). The Samyo were constructed at the national level and were systematically managed as such. Because these private Shrines were dedicated to those who couldn't belong to the Jongmyo but were still very important, such as the ruling king's biological father or mother. The details of all royal constructions were included in the State Event Manuals, and with them, the two-dimensional layouts of the Samyo also. From the remaining "Hyunsa-gung Private Tomb Construction Layout Record(顯思宮別廟營建都監儀軌)" of 1824, which is the construction record of Gyeongwoo-gung Shrine(景祐宮) dedicated to Subin, the mother of King Sunjo(純祖), it became possible to investigate the so far unknown "The Painting of Gyeongwoo-gung Shrine", in terms of the year produced, materials used and other situational contexts. The investigation revealed that the "The Painting of Gyeongwoo-gung Shrine" is actually the "Hyunsa-gung Private Tomb Layout" produced by the Royal Construction Bureau. The bureau painted this to build Hyunsa-gung Private Shrine in a separately prepared site outside the court in 1824, according to the royal verdict to close down and move the temporary shrine inside the courtyard dedicated to Subin who had passed away in 1822. As the Construction Bureau must have also produced the Gyeongwoo-gung Shrine Layout, the painter(s) of this layout should exist among the official artists listed in the State Event Manual, but sadly, as their paintings have not survived to this day, we cannot compare their painting styles. The biggest stylistic character of the Painting of Gyeongwoo-gung Shrine is its perfect diagonal composition method and detailed and neat portrayalof the many palace buildings, just as seen in Donggwoldo(東闕圖, Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). A well-perceiving architectural painting employs a specific point of view chosen to fit the purpose of the painting, or it can opt to the multi-viewpoint. Korean traditional architectural paintings in early ages utilized the diagonal composition method, the bird-eye viewpoint, or the multi-viewpoint. By the 18th century, detailed but also artistic architectural paintings utilizing the diagonal method are observed. In the early 19th century, the peak of such techniques is exhibited in Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). From the perfect diagonal composition method employed and the details of the palace buildings numbering almost two hundreds, we can determine that the Painting of Gyeongwoo-gung Shrine also belongs to the same category of the highly technical architectural paintings as Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). We can also confirm this hypothesis by comparing the painting techniques employed in these two paintings in detailthe way trees and houses are depicted, and the way ground texture is expressed, etc. The unique characteristic of the Painting of Gyeongwoo-gung Shrine is, however, that the area surrounding the central shrine building(正堂), the most important area of the shrine, is drawn using not the diagonal method but the bird-eye viewpoint with the buildings lying flat on both the left and right sides, just as seen in the "Buildings Below the Central Shrine(正堂以下諸處)" in the State Event Manual's Painting Method section. The same viewpoint method is discovered in some other concurrent paintings of common residential buildings, so it is not certain that this particular viewpoint had been a distinctive feature for shrine paintings in general. On the other hand, when the diagonalmethod pointing to the left direction is chosen, the top-left and bottom-right sections of the painting become inevitably empty. This has been the case for the Painting of Gyeongwoo-gung Shrine, but in contrast, Donggwoldo shows perfect screen composition with these empty margins filled up with different types of trees and other objects. Such difference is consistent with the different situational contexts of these two paintings: the Painting of Gyeongwoo-gung Shrine is a simple single-sheet painting, while Donggwoldo is a perfected work of painting book given an official title. Therefore, if Donggwoldo was produced to fulfill the role of depiction and documentation as well as the aesthetic purpose, contrastingly, the Painting of Gyeongwoo-gung Shrine only served the purpose of copying the circumstances of the architecture and projecting them onto the painting.

• Journal of Species Research
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• v.7 no.1
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• pp.1-8
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• 2018

Macrofungi are visible to the naked eye and play important ecological roles in nutrient cycles as decomposers and symbionts in forest ecosystems. Collectively, macrofungi have great potential as valuable resources for food, cosmetics, and medicinal uses. We surveyed the Royal Tombs (Donggureung and Seooreung) of the Joseon Dynasty and Jongmyo Shrine, where the surrounding vegetation is well-preserved, to investigate indigenous macrofungi. During surveys in 2015-2016, we discovered six macrofungi that were previously not recorded to Korea. They were identified to the species level using morphological features and phylogenetic analysis based on the internal transcribed spacer region: Cruentomycena kedrovaya, Dacrymyces aureosporus, Laetiporus versisporus, Parasola setulosa, Piptoporellus soloniensis, and Pluteus longistriatus. The detailed morphological descriptions and molecular analysis are provided in this study.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.5
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• pp.48-56
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• 2000

This study aims to find out the norms and principles reflected in the spatial organization of royal tombs in the Chosun Dynasty through the modern interpretation of traditional oriental philosophy theory. We examined the characteristics of royal tomb sites including Jeshil(Shrine), Hongjunmun, tomb mound, ponds, and attached buildings employing an analysis of the spatial formation and landscape. This study covered 36 tombs of kings and queens in the Chosun Dynasty. The entire layout of royal tombs, including annexed buildings, was informal in may cases. This was due to following the natural contour rather than adhering to certain philosophical principles. The royal tomb site is divided into three zones. Jeshil and pond constitute a space for living people, visitors. Secondly, the semi-scared space includes the space from Hongjunmun to the entrance to the Chungjaka. The last space is for the dead, from the back of Chungjakak to tomb mound. This is in line with the layout of palaces of the Chosun Dynasty which is characterized by "three gates and three zones": outer yard-court yard- back yard. The size of the space for holding memorial ceremonies, from Hongjunmun to the Chungjakak entrance, was set at 900m until the early Chosun Dynasty. Since that time the distance varied according to the land topography due to the influence of metaphysics. It can be summarized that the spatial organization of royal tombs in the Chosun Dynasty is based on the Confucianism value, the natural contour of the site, and inner spiritual value.ual value.

• Journal of the Korean Institute of Landscape Architecture
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• v.15 no.3
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• pp.21-31
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• 1988

This study was executed to investigate the vegetation structure and to propose the administration planning of the Royal Ancestor's Shrine. Five sites sampled in the study area with the clumped sampling method. Pinus koraiensis community covered 27.3% and Quercus aliena community 61.5% of total forest area when considering the actual vegetation. This area of environmental impact grade 3 and 4 area covered 46.9% and it should be restored. The ecological diversity, i.e. species diversity and evenness, showed low class, and especially site 2 which was controlled the user's after 1985 showed the lowest value. Pinus koraiensis community which is a dominant species now in the study area shall be succeed to Quercus aliena community. Robinia pseudoacacia at the eastern wall shall be excluded step by step and it shall be replaced with native species gradually. Ailanthus altissima, Populus ${\times}$ albaglandulosa and Styrax japonica which had higher selection invaded conspicuously the bare land. As the administration planning of the study area, Pinus koraiensis and Styrax japonica shall be thinned out gradually and it shall be replaced with Quercus aliena and Acer palmatum.

• (The)Study of the Eastern Classic
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• no.73
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• pp.119-151
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• 2018

This paper is a study of the historical significance of The water and land ceremony performed by Bongeunsa temple in the Joseon Dynasty. The Bongeunsa temple was originally a hermitage named Geungseongam, which was located in the Hakdang-dong, Gwangju County, Gyeonggi Province. After that, Geungseongam was named as Geungseongsa temple. Geungseongsa temple was left in that position and acted as the Temples belonging to Royal Tombs(陵寢寺, TRT) of the King Sungjong, later the name of the temple was changed to Bongeunsa Temple. As a result of movement of the royal tomb of the Joongjong(靖陵) next to the royal tomb of Sungjong, the Bongeunsa was also used as a TRT of the Seonjeongneung royal tomb. After that, the grandson of the King Joongjong, crown prince Soonhoe early passed away, Buddhist shrine (願堂) was set in Bongeunsa temple. Bongeunsa temple remained as a royal prayer place, serving as a Buddhist shrine for crown prince Soonhoe and serving as a Jopo temples for Seonjeongneung royal tomb until the end of the Joseon Dynasty. From the time when it was called Geungseongam to the time after when it was renamed as Bongeunsa Temple, this temple performed The water and land ceremony. But the characters changed little by little. From the King Sejo to King Sungjong, The water and land ceremony characterized Consolation ceremony for the spirit of the dead for prince Gwangpyeong, King Sejong, Queen Soehan and served as the Buddhist memorial praying for the well being of the royal family and people. From the time of the King Yonsan to the time of King Myeongjong, The water and land ceremony had strong characters for Consolation ceremony for the spirit of the dead for King. In the late Joseon Dynasty, Bongeunsa Temple served as the royal party of The water and land ceremony. On the other hand, after the Manchu war of 1636, Bongeunsa Temple also served as the national water and land ceremony for the victims who were killed in the mountains of Namhan. In the Joseon dynasty, The water and land ceremony performed by Bongeunsa Temple was strongly directed for Consolation ceremony for the spirit of the dead for royal family members, and Bongeunsa Temple was maintained as a royal prayer throughout the Joseon Dynasty.

• Journal of architectural history
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• v.19 no.3
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• pp.71-87
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• 2010

Sewon was a new type of private academy established by a class landed Confucian scholars known as sarim. During Joseon dynasty, sewon had dual functions as a shrine and a place of learning. The site plan of seowon appeared mainly two types of site plan according to the indications of the age and school. This paper was done to analyze the site plan and construction history of Simgok seowon with historical materials and excavation investigation result. Simgok seowon is dedicated to Jo Gwang-jo(1482~1519). This private Confucian academy was founded in 1605 as a small shrine, which was destroyed in 1636. Thereafter, when the shrine received a royal warrant naming as Simgok seowon in 1650, the new site for the seowon was chosen, which is currently located in Gyeonggi-do Yongin-si Sanghyeon-ri 203. Since then, buildings of Simgok seowon was constructed and repaired couple of times. Through the investigation, it was found that the site plan of Simgok seowon was originally a type of 'jeonjaehudang', that is, dormitory building between the lecture hall and the outer gate, or dormitory building is in front and lecture hall is in behind.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.59-70
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• 2004

Tea has influenced the basis of Korean culture in history for a long time. The dissertation aims to establish the history of the costumes for the tea ceremony based upon historical data. During Thee Kingdom Period. there was a ceremony called Tea Offering Ceremony In Silla times, there were Tea Offering Ceremony and Royal Shrine Tea Ceremony: In Corea age, they served Tea Presenting Ceremony: In Chosun age. tea ceremony was a part of Tea Presenting and was held during official greeting feasts for foreign envoys and during feast ceremonies at the court. The costumes for the tea ceremony by period are as fellows : In Corea times, king and all the government officials wore official court attire for Enthronement Ceremony (Ka-Rye). For Official Guest Reception Ceremony (Bin-Rye), king wore official costume, but in case the envoy was not carrying an Official King＇s Letter, king wore Ordinary Costume. In Chosun times, both king and prince crown wore ordinary costumes of winged silk crowns and royal robes (with golden dragon patterned segment) for Envoy Reception Tea Ceremony. In time of royal feast ceremony, king and prince crown wore ordinary costumes of winged silk crowns and royal robes, while queen wore red purple silk robe (red purple embroidered segment). Chosun＇s royal court occasionally held tea ceremonyat royal feast ceremonies during which king also wore ordinary costume of winged silk crown and royal robe as a costume to attract good fortunes. In case of ceremonies for bad occasions, a tea ceremony was included in Royal Inquisition procedures (joong-hyung-ju-dae-eui) during which king wore simple costume (Pyun-Bok).

• Journal of architectural history
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• v.31 no.4
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• pp.17-28
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• 2022

This study aims to investigate and reveal the spatial structure of Boryeonghyeon by examining the geographical status of its Eupchi (Local administrative center:邑治) through an analysis of the location, tracing locations of governemnt offices including Dongheon(東軒) and Kaeksa(客舍) in the walled town, and checking the lot numbers of Sajikdan(社稷壇), Yeodan(厲壇), and Cheongyeonyeok(靑淵驛) outside it. Buildings of Boryeonghyeon in the walled town in the Joseon Dynasty were almost lost and now, part of the city wall and Haesanru(海山樓) just remains as relic. The walled town consisted of several buildings of government offices as well as Dongheon and Kaeksa which are government organs. Altar and shrine(壇廟) facilities including Shrine of Confucius(文廟), Altar of Land and Grain, and Preceptor's Shrine were placed outside the walled town and Cheongyeonyeok were operated as the facilities for transmission of royal orders. Therefore, the government office facilities in the walled town, altar and shrine facilities outside the fortress, and the location of the post station were required to trace and check each of them. For the checking method, the lot numbers could be checked by checking the original cadastral maps and the then land categories and owners, analyzing the records and circumstances of the relevant township annals(邑誌), and examining analyses on the locations by using a numerical map of one to 5 thousands. The study estimated the locations of government facilities including Dongheon and Kaesa placed in the walled town and was grasped to be the east and west gates with the south gate which remains now in the fortress. And the lot numbers of Sajikdan, Yeodan, Cheongyeonyeok.