• Journal of Korean Historical Folklife
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• no.33
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• pp.31-72
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• 2010

At first, I extract materials on folk religion from four encyclopedic literatures of late Chosun dynasty-Lee, Ji-Bong-Ryu-Seol(『芝峯類說』) by Soo-Kwang(李晬光), San-Lim-Kyung-Jae(『山林經濟』) by Hong, Man-Sun(洪萬選), Sung-Ho-Sa-Seol(『星湖僿說』) by Lee-Ik(李瀷), O-Ju-Yeon-Moon-Jang-Jun-San-Go(『五洲衍文長箋散稿』) by Lee, Kyu-Kyung(李圭景), and present these materials by tables. Second, I examined the contents and characters of these materials on folk religion. The conclusions from this research are as follows. ① There are common features and points of difference between these four encyclopedic literatures. One of common features are that all these four are encyclopedic works, but San-Lim-Kyung-Jae is more practical than another three. ② These encyclopedic literatures regard folk religion as a negative culture, because these literatures based on Confucianism. But they did not deny miraculous virtues of folk religion. ③ These encyclopedic literatures give us many informations on gods and spirits of Korean folk religion, i.e. city gods(城隍神)·Yup-Sin(업신)·spirits of disease, god Kim-Bu(金傅大王神)·god Jung-Duk-Yang(鄭得揚)·god of King Kuan-u(關王神)·god Bu-keun(付根神) etc. So I review these gods and spirits referenced in encyclopedic literatures. ④ These encyclopedic literatures show much interest in ghost in common. The reason of interest is that authors of these encyclopedic literatures are all scholars of Sung Confucianism and Sung Confucian was concern about ghost. The Sung Confucianism denied the ghost as personal being whom Korean folk religion regards to a kind of spirits. Instead of beliefs in ghost of folk religion, they insist on the ghost as Ki(氣), a kind of cosmic principle. But these encyclopedic literatures acknowledge some parts of folk religion's beliefs in ghost, because they admit the miraculous virtues of these parts. ⑤ There are many items on divination in these encyclopedic literatures. But they show dual attitude on divinations. The one is negative attitude to divinations on individual destiny and the other one is positive attitude to divinations on agriculture. ⑥ There are also many items on witchcrafts in these encyclopedic literatures. Through these items, I assumed pervasiveness of beliefs on witchcraft at that time. ⑦ Shamans, as religious specialist, are stand on a central position of Korean folk religion. So it is a matter of course that these encyclopedic literatures concerned on Korean shaman. As Confucians, authors of these encyclopedic literatures did not regards shamans as positive one. But they did not deny miraculous virtues of shamans. In spite of these encyclopedic literatures have negative view points to, and include false informations Korean folk religion, I would like to emphasis on importance of these encyclopedic literatures to understand Korean folk religions, especially Korean folk religions of late Yi Dynasty.

• Journal of architectural history
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• v.28 no.3
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• pp.7-18
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• 2019

This study analyzed "Bukgwol Dohyeong (Drawing Plans for the Northern Section of Gyeongbokgung Palace)", which is an important source material for the restoration of the palace, by applying Paltaekron, the geomantic principle of bearings, in order to clarify the building layout principle of Gyeongbokgung Palace. Gyeongbokgung Palace shows the typical geographical conditions that meet the principle of Baesan Imsu (mountain in the back and water in the front) which takes Baegaksan Mountain as the main mountain and the overall layout of the buildings that meet the principle of 'Jeonchak Hugwan (narrow in the front and broad toward inside)' by using the natural topography that meets the principle of 'Jeonjeo Hugo (low in the front and higher toward back).' It is estimated that this layout and arrangement must have been led by geomantic principle of bearings. The analysis of the building layout plan of Gyeongbokgung Palace in the late Joseon Dynasty Period suggests the application of two methods: one is to divide central area from Gwanghwamun Gate to Geoncheongung Hall into eight layers and the other is to apply the bearings of the Eight Trigrams based on the building that becomes the center. As a result, the gate, main hall, and kitchen of all major buildings where the royal family lived are located in the auspicious bearings according to the geomantic principle of bearings while the spaces where people other than the royal family such as those who served the royal family and the officials operated in the palace or the hall that enshrines the ancestors such as Taewonjeong Hall are located in the ominous bearings. Therefore, the buildings of Gyeongbokgung Palace are arranged based on the geomantic principle of bearings.

• The Journal of Korean Medical History
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• v.32 no.1
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• pp.63-76
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• 2019

The $S{\bar{u}}tra$ of Great Dhāraṇī of the Uṣṇīṣa-cittā is one of the most widely published scriptures of Esoteric Buddhism during the Goryeo and Joseon dynasty. The sutra is often referred to as a Buddhist medical scripture whose recitation is believed to allay diseases such as difficult birth, chest pain, and infectious and incurable diseases. It utilizes two major methods for healing: reciting and copying the sutra or copying the dharani and talisman which appear at the end of the text with fine cinnabar and ingesting them with aromatic water. In order to understand the medical and historical value of this sutra, this study examines the historical background of its establishment in early China and its migration to Korea in the Goryeo period. This study also investigates the identity and value of the scripture in Buddhist medical history. The oldest known printed texts of the sutra in Korea are dated to the late 11th century. Because of the material benefits of the text, the tradition of printing and distributing the sutra was very popular between the 13th and 19th centuries. Therefore, examples of the sutra having been used for medicinal purposes during rites are found in historical records. Finally, the study tries to identify the relationship between the treatment methods of the Sutra and those of Korean traditional medicine focusing on several Korean traditional medical texts such as the Hyangyak-Jibseongbang (Compilation of Native Korean Prescriptions), the Donguibogam, and the Euibang-Hapbu.

• Publications of The Korean Astronomical Society
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• v.34 no.1
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• pp.1-16
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• 2019

"Hon-Chon-Jeon-Do" is a woodcut star map with the size of $79.4cm{\times}127.5cm$, and was widely disseminated as it was made into a set with Kim, Jung Ho's "Yeoji-Jeon-Do". This study confirmed that Yixiang kaocheng xubian ("의상고성속편") star catalogue was used as a source to produce the star map, and the stereographic projection was applied with the projection center being the mid-point (Q) between the celestial and ecliptic north poles. The 'mid-circle' around the Q is arisen between the equator and the ecliptic, and on this circle, the hour angle and the ecliptic longitude of a star can be marked using the same scale. This means that the hour of the day and the season of the year can be read on the same dial of the mid-circle, and the application of this character in the practical use was the key point of the star map production. By observing either transits or positions of the 28 xiu (宿), it is easy to find the corresponding season and time by simply reading the dial on the mid-circle. This is just the function of a portable almanac and thus by disseminating it widely, the convenience of the people would have been promoted. For this reason, it can be stated that "Hon-Chon-Jeon-Do" was a practical astronomical tool which was produced by the western astronomical projection method and was used to find time and season. Choi, Han Ki and Kim, Jung Ho are strong candidates for the makers of this star map. The time of production is estimated to be 1848 ~ 1857, and "Hon-Chon-Jeon-Do" could be regarded as a good contributor to popularization of astronomy in the late Joseon Dynasty.

• Publications of The Korean Astronomical Society
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• v.37 no.3
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• pp.35-47
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• 2022

This study investigated the stone Angbu-ilgu (scaphe sundial) of the Korea Meteorological Administration (KMA) and the Seoul Museum of History (SMH). Since the first Angbu-ilgu was produced in Korea in 1434 (the year of the reign of King Sejong), Angbu-ilgu has been reproduced with various materials. The upper surface of these two stone Angbu-ilgus symbolizes the horizon. On the hemisphere concave at the center of the horizon, the South Pole, the time line, and the season line are engraved. On the horizon of both the KMA and SMH Angbu-ilgus, the schematic, typeface, and composition of the inscription completely coincide with each other. In this study, it was estimated that the appearance of the KMA Angbu-ilgu, which was damaged at some point previously at least once, was similar to that of the SMH Angbu-ilgu, and this means that it is superficially similar with Treasure No 840, the stone horizontal sundial. In the concave hemisphere of both the stone Angbu-ilgus of the KMA and SMH, there are hour lines and 24 solar-term lines (13 line), and there is an intersection point where these lines meet the horizon, respectively. It can be verified that these intersections of these two Angbu-ilgus can be calculated as having a latitude of +37°39'15". The hour lines of the two stone Angbu-ilgus show that they were made after about 1900.

• Journal of the Korean Society of Food Culture
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• v.37 no.5
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• pp.418-428
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• 2022

Research on the birth (起源) and names (語源) of foods such as kimchi is important to understand traditional food culture. kimchi, an 'add flavored, fermented, pickled, vegetable food' was initially prepared with the simple purpose of increasing storage capabilities, but later, through a complex process of change, morphological diversification occurred. In addition to the basic name of 'kimchi', each variety has its unique name and history. This study was conducted through qualitative research using various research methods, such as oral records and interviews, as well as investigation of data from literature, including ancient literature, modern cookbooks, newspapers, magazines, papers, and videos. The study sought to investigate the context and the meaning of the name Chonggak kimchi. In addition, it is a compilation of how the name spread through the ages and evolved to its current name. The name Chonggak kimchi did not exist during the Joseon Dynasty and Japanese occupation and first appeared in the records in the late 1950s. Nevertheless, the original name of 'Altarimu kimchi' evolved and finally became a part of the standard Korean language (標準語) in 1988. In the process of the name spreading and becoming popular, the movie "Chonggak kimchi (1964)," starring Shin, S.I., and Eom, A.R. played a significant role. It was also confirmed that this was a meaningful and valuable case of contentization of traditional food culture, regardless of the intention behind the same.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.411-429
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• 2023

Modernism is an internationally accepted design style. In addition, traditional Korean costume is not the clothing of the past, but its form is also used in modern fashion. Therefore, the purpose of this study is to examine the social and cultural contents of the morphological structure of traditional Korean costume, in order to derive the design characteristics of modernism and examine the global applicability of traditional Korean costume structure. For this study, photographic materials from museums, schematic drawings of relics, and Hanbok production books published by government agencies were analyzed. Further, this study examined traditional Korean costume, especially the modernism characteristics derived from Paul Greenhalgh and previous studies. The results are as follows. First, The traditional Korean costume is a cut based on basic shapes, along with a silhouette appears according to the background of the times. Second, the characteristics of modernism can be divided into universality, functionality, and simplicity. Third, as a result of analyzing the form structure of traditional Korean costume based on the characteristics of modernism, universality is expressed as standardized form, functionality as practical aesthetics, and simplicity as sustainable diversity. Furthermore, Korean costume has a difference in that was greatly influenced by various Eastern ideas and aesthetics of the late Joseon Dynasty. These findings provide a perspective of modern reinterpretation of the uniqueness and universality of traditional Korean costume in line with globalization by utilizing the design characteristics of modernism, an international style.

• Journal of the Korean Society of Food Culture
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• v.23 no.4
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• pp.438-447
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• 2008

"Gyuhapchongseo" was published in 1809, and introduced the cooking method of the noble class in the late Joseon dynasty. The characteristics of the side dishes in "Gyuhapchongseo" are as follows. Firstly, red pepper was used as whole red pepper, shredded red pepper, powdered red pepper, or Korean hot pepper paste. Secondly, salt-fermented fish was used in some forms of Kimchi, including Sukbakgi, Dong A Sukbakgi, and Gyochimhae. Thirdly, to retain the juiciness of meat during roasting, meat was spread cold water on the surface, dipped into the washing water of rice or wrapped with wet paper. Fourth, to improve the visual effect of a dish, cooked foods were displayed with various color schemes, panfried foods with two tones (egg white and yellow) of color on each side and the use of radish pigmented with deep red color. On examination of the characteristics of food in "Gyuhapchongseo", I would suggest applicable practices for the present cuisine. The use of gravy produced from the boiling down of fish flesh could raise the nutritive value of Kimchi. In "Gyuhapchongseo", Yak po (semi-dried minced beef) is noted as being good for elderly people with bad teeth. A steamed dish with dog meat in Dong A in "Gyuhapchongseo" is made by hollowing out Dong A and putting a dog in it to cook the dog meat to well done in a fire made with the hulls of rice. This technique could be used to present cuisine for steamed and roasted dishes using food ingredients such as pumpkin, sweet pumpkin, and overripe cucumber.

• Korean Journal of Oriental Medicine
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• v.17 no.3
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• pp.17-24
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• 2011

Bonchoyuham Nyoryeong(本草類函要領) shows how Donguibogam(東醫寶鑑) -Mirror of Eastern Medicine- is understood, digested into Korean medicine, and at the same time how it participated in the historical shaping of Korean medicine since the publishing in the early 17th century. The author, Hyeon Jae-deok, internalized the structure, content, and significance of Donguibogam and drew out a novel, concise, but comprehensive type of medical manual, while many other medical books since the 17century in Korea are estimated to have been an abridged edition of the Donguibogam. It may well be estimated as exemplar of the extent to which Donguibogam informed Korean medicine since the 17 century. The book shows as well how Bencao Gangmu(本草綱目) -Compendium of Materia Medica- and Donguibogam are merged and set a new medical stream in the 19th century Korea. Hyeon Jae-deok looked at the Bencao Gangmu from the lens of clinical treatment and prescription such that he focused on sections, elements, or parts of procedures, treatments, and prescriptions, not on the herbal taxonomic knowledge of the book. This perspective was embodied in Bonchoyuham(本草類函), which cited simple remedies, prescriptions, or treatments from Bencao Gangmu.

• Journal of Conservation Science
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• v.29 no.4
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• pp.445-450
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• 2013

This study investigated the properties of the painting materials used in the temple wall paintings of the $18^{th}$ to $19^{th}$ centuries by synthetically comparing the component analysis data on the pigments used in the temple wall paintings. The study subjects analyzed from ED-XRF are the data on the 61 temple wall paintings distributed nationwide. The colors of the wall painting coloring layers are classified into seven categories: white, incanadine, yellow, red, green, blue and black color. No big geographical and temporal differences in the type of the pigments were found in the temple paintings of the late Joseon Dynasty distributed in Gyeongsangdo and Jeollado. On the other hand, there were differences in the use of a color when mixing it with other colors depending on the painted parts.