The "Jeongjagak(丁字閣, T shaped building)" was important building from Goryeo Dynasty to Joseon Dynasty. For long period, the scale and form of the building had been changing bit by bit. The change of building results from the function. As the Jeongjagak accepted the functions of the Yeongakjeon(靈幄殿), there appeared changes of plane. The main function of Yeongakjeon was suppling space for the dead king's coffin. The Yeongakjeon was not built in the first year of King Sukjong(1674). At that time, the Jeongjagak was responsible for the function of the Yeongakjeon as an alternative. Starting from this, the Jeongjagak was used as space for the dead king's coffin. Because the coffin should place on from south to north, it demanded long inner space in south-north direction. Therefore the effort to make enough length in south-north direction was begun from the first year of King Sukjong(1674). In order to solve the problem, the Toigu(退構) was made from the reign of King Sukjong to the 28th year King Youngjo(1852). The Toigu was temporary inner space which was made in one compartment at the Baewichung(拜位廳, the part of the Jeongjagak). But the length of the Jeongjagak's south-north direction was reduced to 61.8m(20尺6寸) at the 33th year of King Youngjo(1857) when the 『Gukjosangryebopyon(國朝喪禮補編)』 was completed. Also it extended to 84m(28尺) during the reign of King Jeongjo(1774～1800). Following these process of extension and reduction, the length was standardized as 72m(24尺) at the reign of King Sunjo(1800～1834). These facts explains that the main cause of plane change at the Jeongjagak was acceptance of functions that was used as space for the dead king's coffin. Also, the important points of change at the Jeongjagak were the first year of King Sukjong, the 33th year of King Youngjo and the first year of King Sunjo. When it was the first year of King Sukjong and the 33th year of King Youngjo, there were two national funerals. Because of concern about the increasing labor and tax of the nation, the scale of the Jeongjagak was changed to decreasing size. Due to the improvement of drawings and annotation on a Eugwe(儀軌) at the first year of King Sunjo, the size of Jeongjagak was standardized.

Although the royal tomb keeper's house in the late Joseon period did not undergo dramatic changes, overall, the keeper's house of Yeong Mausoleum, the tomb of King Hyojong, and other royal tombs afterward showed the classification of its rooms according to their purpose and the expansion of its size. During King Yeongjo's reign, the tomb keeper's house tended to consist of Jaesil, Anhyangcheong, Jeonsacheong and Haenggak. The size and arrangement pattern of the tomb keeper's house of Yeong Mausoleum were partially maintained in royal mausoleums constructed afterward. Especially Anhyangcheong was first established in the tomb keeper's house of Yeong Mausoleum and its architectural form was maintained until that of Ye Mausoleum, the tomb of King Cheoljong. The tomb keeper's house of Yeong Mausoleum in Yeoju was constructed in 1659 and then moved in 1673 and 1674. In order to bury King Hyojong's wife with King Hyojong, the site of Yeong Mausoleum was moved twice with using almost all materials used for the initial tomb. In addition, as norms related to rites performed at royal tombs were created in the early 20th century, the tomb keeper's house of Yeong Mausoleum was selected as an exemplary tomb keeper's house representing the royal tomb keeper's house of the Joseon era, and it mostly coincides with its remaining arrangement pattern. Through records distributed in relatively similar periods, it is considered that most of the features of royal tomb keeper's house in the Joseon period have been inherited until today and that Yeong Mausoleum has a very higher architectural status as an especially valuable tomb keeper's house among royal tomb keeper's houses in the Joseon era.

The purpose of this study is to analyze paejang system of the castle constructions in the late period of Chosun dynasty. Moreover, this study aimed to examine effects and influences of its constructional productivity. The results are as follow ; 1. Paejang was originally a sort of military positions. Thereafter it had been adopted to the various fields like soonrapaes. Pae, which was a regular working unit organized with 30~50 laborers, took charge of the works allocated with its own chargeable section. 2.The first adoption of paejang system was found at the construction of Ganghwa-oyseong in 1690. Since the period of King Yeongjo and Jeongjo, it was generally used as a working system. 3. Yoo Hyeongwon had early suggested that this system should be adopted as a reformative system because it had a perfect command system like Soko-je, the provincial military system. 4.At the constructions of Dongnae-upseong, Jeonjoo-upseong and Daegoo-upseong in the period of King Yeongjo, paes were organized to 40~60units, and worked in the fields of masonry, carriage and picking of stones. 5.At the construction of Soowon-seong in the period of King Jeongjo, a large number of various paejangs participated in all of working fields. Especially masonry-paes were usually organized with over 100 units. 6.It was estimated that paejang system surely could guarantee saving labors and term of works. Moreover, it was a basis for the further development form of dogup-je, a contracted work system. 7. Paejang system was applied in the constructions of Buddhist temples since the middle period of 1700s and later, it was widely used in the constructions of palaces.

소고는 倭亂(1592年～1598年)과 胡亂(1636年～1637年) 이후 조선후기의 사 상을 ‘実心’과 ‘実心実学’을 키워드 삼아 고찰하였다. 조선후기는 전쟁의 폐허를 재건하고, 보다 견고한 왕조지배체제를 제구성해야 한다는 당면과제가 있었다. 따 라서 그 이전과는 다른 氣流가 정치․경제는 물론이고 사회와 문화 등 여러 분야 에 흐르게 되었다. 특히 ‘実’이라는 개념을 자주 눈에 띠는데, 이는 兩亂의 原因을 반성한 결과일 것이다. 즉 ‘虛’에 대한 대응으로서의 ‘實’이다. 따라서 英祖․正祖時期의 文書에서 발견되는 ‘実心’과 ‘實心實學’의 용례는 ‘實’을 내용을 고찰함에 좋은 실마리를 제공해준다. 儒學의 텍스트에서 ‘実’은 ‘誠’의 내용을 설명하는 말이었다. 특히 中庸에는 ‘誠’은 하늘의 道이고, ‘誠之’는 사람의 道라고 하는 規定이 있는데, 이는 ‘実心’을 분석하고 논의함에 있어서도 중요한 거점이 된다. 용례를 정리하면 실심은 크게 두 종류로 나누어진다. 하나는 공식문서에서 신하가 군주에게 요구하는 ‘実心’이 다. 이 경우 군주는 끊임없이 신하의 忠告과 警告를 받아들이고, 그것을 정책에 반영하는 ‘実心’을 갖추어야 한다. 政治的의미가 강한 실심으로, 君民共治를 위한 實心이라고 할 수 있다. 다음은 行動主体로서의 군주 自身의 文書, 혹은 신하 의 個人的文書에 사용된 ‘実心’이다. 하늘에서 부여받은 本然의 마음을 실심으로 보는 것이다. 朱子学적 修養論인 ‘存天理去人慾’과 ‘戒愼恐懼’의 자세를 갖추고, 内面의 純粋性으로서의 실심을 보존하는 것이다. 이런 ‘実心’은 他者에게 感動을 주어 共感하고, 他者와의 疎通을 꾀하며, 他者의 마음과 하나가 된다. 여기서의 ‘実心’은 實事에 임하여 實政을 행하고 백성에 도움이 되는 實效를 거두는 원동력이다. 또 이 실심에 근거한 학문이 ‘實心實學’이다. 이 ‘實心實學’은 陽明学的絶対純粋의 마음을 자각하고 그것을 重視하는 観点이 기초를 이룬다. 실심을 강조하는 人士들은 文字에 얽매여 있는 知識을 実践에 옮기는 ‘實心實學’ 의 구현을 위하여 노력한다. 즉 朝鮮後期의 새로운 학문기류에서 보이는 實心이 란, 자신을 향한 엄격 수양의 필요성을 자각한 데서 나온 개념이다. 이런 실심을 전제로 하는 실심실학이란, 이상적 민생실현을 위한 의식의 표현이라고 생각된다.

본고는 조선후기 여항인의 교육양상과 그것이 지니는 의의에 대해 고찰하는 것 을 목적으로 하였다. 조선후기 여항인들은 사대부가의 자제들을 비롯하여 여항인 과 하층민 등 광범위한 계층을 대상으로 교육활동을 전개하였다. 그 형태는 여항 인에게는 書堂방식의 강학이, 사대부를 대상으로 행해진 강학은 塾師의 형태를 띠고 있다. 또한, 조선후기 여항인들은 규모의 차이는 있었지만, 한문학 전반에 관한 지식 과 유교적 교양뿐만 아니라 학문, 처세 등 삶의 자세에 관한 全人敎育차원의 교 육을 실시했는데, 이러한 조선후기 여항인의 교육은 여항인 내부에 문식층을 증가 시키는 결과를 낳았다. 그리고 이는 점차 동류의식으로 발전하며 높은 수준의 ‘여 항문학’을 산생하는 데 일조하는 한편, 여항인에 대한 기존의 시각을 일부 교정하 는 역할을 하기도 했다.

위항인들은 독특한 풍류를 즐겼다. 물론 일부이기는 하지만 그들이 위험을 감내하며 이런 풍류를 탐닉한 데는 그들의 특수한 신분적 구조에 기인한다. 양반으로 상승하는 것이 현실적으로 매우 어려운 한계 속에서 그들의 일부는 매우 통속적인 풍류생활을 즐긴다. 그리하여 기생과의 수창시조가 빈번하였고, 서울 종로의 술값을 주도하고, 질펀하게 놀아보는 각양의 풍류를 만끽했다. 이들의 일부는 각종 이권에 개입하여 사회적 부패를 야기하는 부정적인 면을 갖고 있었다. 그러나 이들의 상당수는 가난과 신분적 제약이라는 불우한 삶을 살았다. 그리고 이들에게 문학은 양반과 대등할 수 있다는 가능성을 열어주는 장이었다. 그리하여 위항인은 신분적 한계를 풍류를 통해 풀어냈다. 그리고 그 풍류는 매우 통속적이며 기괴하였다. 그들 중 일부가 이런 기괴한 풍류를 탐닉한 것은 모순된 제도에 대한 기롱과 당대의 고관대작이 일생의 목표였던 양반과 달리 인생의 의미를 다른 곳에서 찾으려 했기 때문이다. 그리하여 보편성과 달랐기에 그들은 기괴한 내용을 문학으로 그려냈다. 이 ‘기괴성’은 ‘재미있다’, ‘다채롭다’ 등으로 압축되며 주로 ‘記事’의 양식으로 표출되었다. 그리하여 이 ‘記事’는 전대와 달리 인물의 취재범위가 다양해졌다. 즉, 중인에서 평민, 노비, 異人, 악공, 화가, 협객을 넘나든다. 또 구체적인 묘사나 객관적인 서사를 통해 형상화 방법이 좀 더 치밀해졌다. 그리고 허구적 요소가 개입되었다. 단순한 사건의 보고에서 벗어나 논자의 문학적 가능성과 역량을 덧씌움으로써 읽는 재미를 더하고 대중화를 꾀하였다. 이런 것을 통해 문학의 근대화로의 이행성을 보여주고 있다. 그리고 그들은 최기남처럼 삽입시를 통해 자신의 불우한 처지를 작품 중에 투사하기도 하였으며, 야담집에서 덕으로써 원한을 갚는 행적을 통해 평범한 시골 사람이라 해서 결코 사대부들의 처신에 뒤떨어지지 않는 것을 보여주기도 했다. 이런 작품에서 위항인의 탁월한 능력이 쓰이지 않는 현실에 대한 비분과 사람은 신분에 관계없이 지혜로우며 대등할 수 있다는 평등의식을 피력하였다. 이것은 곧 평민의식이 성장한 것을 입증한 것이며 동시에 평등사회에 대한 열망을 표출하고 있다.한편 그들이 즐겨 선택한 사설시조는 형식이 자유롭고 다양한 내용을 구김살 없이 담기에 적합하였기에 이를 많이 애용하였다. 파격이 형식이고 엮는 것이 내용이었으며 그 가운데 빚어진 풍류 중심에는 여인들이 있었다. 그리고 여성에 대한 새로운 이해를 시도했다. 즉 대등하거나 인간적인 사랑을 전제로 그들을 읽고 함께 하고자 했다. 이들의 풍류는 근대 대중문화의 전단계로서 不(얽매이지 않음)를 갈망하던 자유의지의 표출이었으며 더 넓은 세계를 갈망하던 모순된 제도에 대한 역설적 놀이이기도 했다.

This study is on the characteristics of the food culture through the written folk poetries which were described vividly the life customs peculiar to the Nation and so much that were Korean National customs papers written by Chinese poetry - during the latter part of the Choson period. It is used the way which is studied by the literature after collection, analysis, synthesis the analyzed second material of the latter part of the Choson period's written folk poetries. It is summarized to below five contents of the characteristics of the food culture through the written folk poetries. The first is the various and abundant food culture. The second, that is the food culture of praying blessing and praying a fruitful. The people prayed to be a year of abundance of food stuff and train oneself and have medicine for their health, but there has been repeated seasonably an occult action for being blessing which had settled down to the beginning of the year's customs. The third, it is the food culture of share tender feeling with among the people. The fourth, it is the food culture of business and economy's growth image. The fifth, it is the food culture of an image of economic distress and the trouble between rich and poor.

This study presents the food culture as analysis food material, food and cooking tools in the novel literature and examines the food as a code of current cluture of common social through five Pansori texts among the twelve Pansori texts into written form. It is a many Pansori, but this study is analysed to select early copying papers. It can be found rice, Kimchi, salted fish as the common people food in Simchong-ga text. It can be known characteristics of Jeolla-do Area food used many food material and acceptance of foreign crops in the late period of the Chosun in Chunhyang-ga text. In Hungbo-ga text, it can be found the popularity food is rice cake and meat and looked the special feature of dog meat, rice cake, scorched rice-tea. In Toebyol-ga text, it can be looked many sea food and medicine beverages, and in Chokpyok-ga text, it can be found peculiarity of drink for making excitement during a war. Moreover, in five Pansori texts, that is seemed characteristics such as cover of tableware, spoon and chopsticks, tableware china, a cauldron, a charcoal burner, a brass chafing dish, a table, a flail and a mill.

Since the 17th century, the society of Joseon dynasty belongs to a period of rapid transition in many fields. As the building is a result to be produced on the basis of a society and economy, the general transition in a society is to be reflected into a process of building construction. Especially, a study on the material supply system of economic base in a process of building construction is one of very important factors in an understanding or estimate of a building. On the premise, this paper is to examine the supply system of iron materials and the tools in the construction of the government managed buildings in the late of Joseon dynasty on a viewpoint of productivity. Construction reports and other documents in those days are examined for the study. Following conclusions have been reached through the study. 1) The general supply method of iron materials for a large-scale government construction was based on 'byulgong', that is, a kind of tribute. 2) Various methods were selected in the supply method of iron materials for government use in the late of Joseon dynasty. The priority order of choice in its government policy was put on an easiness of amount security, on a minimum of expenditure, and on an efficiency of construction execution. 3) The manufacturing technique of weaponry was used in the production method of iron materials and the tools for government use. The cooperation of the official, the army, and the merchant had improved the manufacturing technique of building construction.

This study examines the joint and splice of wooden structure at Geunjeongjeon Hall of Gyengbok Palace, which was constructed in the late Joseon Dynasty. The scope of the study is on the part of columns, the bracket sets, and the frame structure. This research also deals with the relationship between vortical load and horizontal load. Firstly, the examination of the joint and splice methods between the pillar and penetrating ties is on the joint and splice methods of the outer and corner. Through the investigation, it is verified that the joint methods between pillar and penetrating tie on the outer and corner pillars is the method of Sagal joints(cross joints, 사개맞춤). Joints used between pillar and penetrating tie are dovetailed tenon joints, between columns and Anchogong(안초공), between columns and Choikgong(초익공) are tenon joint(장부맞춤). Secondly, the examination of the joint and splice methods of the bracket set is on that of Salmi and Cheomcha(첨차), and Salmi and Janghyeo(장혀). Joints used between Salmi and Cheomcha, Salmi and Janghyeo are halved joint, and between each Janghyeo are stepped dovetailed splice. It is Cheomcha that is used the Jujang-Cheomcha(주장첨차) on center line. Therefore it is connected with each bracket set, which gets to is the strong system, easy and convenient on the construction of that. Thirdly, the frame structure of wooden architecture in royal palace is consist of purlins and beams, Janghyeo(장혀, timber under purlin), tall columns, king posts, etc. Through the investigation, it is verified that the joint and splice methods between purlins and beams are used with the methods of Sungeoteok joint(숭어턱맞춤). It is verified that the joint and splice methods between beams and high columns are used with methods of mortise and tenon joint(장부맞춤), is highly related with tensile force. To reduce the separation of parts, sangi(산지) and tishoi(띠쇠) are used as a counterproposal, which were generally used for architecture in royal Palaces in the late Joseon Dynasty and continued to be used until these days common wooden architecture.

This study examined food culture appearing in Giroyeon paintings in the late Chosun Dynasty (early 17th~l9th century), a period under political and economical difficulties in overcoming frustrations and looking for self-restoration methods after Imjinweran(1592~1598) and Byungjahoran(1636~1637). Paintings related to Giroyeon include Lee Gi-ryong's (1600~?) 〈Namjiginohoedo〉 painted in 1629 under the reign of King Injo (1623~1649), 〈Gisasayeondo〉 painted jointly by Kim Jin-yeo et al. in 1720, the first year of King Gyeongjong (1720~1724) and Kim Hong-do's 〈Giroseryeongyedo〉 painted in 1804 under the reign of King Sunjo (1800~1834) in the early 19th century. These paintings over three centuries of the late Chosun show changes in the character of Giroyeon, food culture and tableware culture, etc. According to these paintings, the character of Giroyeon was expanded from a feast held for high civil officials to a banquet comprehending general civil servants. These paintings show Hyangeumjueui, which means the decorum of respecting and sowing the aged men of virtue with alcohol beverage, table manner, seated culture represented by cushions and mats and individual-table culture. In addition, the expansion of demand for sunbaikja and chungwhabaikja and the diversification of vessels and dishes are demonstrated in Giroyeon paintings after Imjinweran in 1592. in this way, Giroyeon paintings show the historical characteristics of the late Chosun Dynasty, such as the collapse of Yangban-centered political system, the disintegration of the medieval system due to the emergence of the Silhak and the diversification of food culture.

The aim of this thesis is to study how tableware china has developed, on the basis of social and cultural changes, during the latter period of Chosun Dynasty. First, general sociological background of Chosun Dynasty has been reviewed. To examine the kinds of tableware china and their use during this period, this thesis is based on Asakawa Dakumis 'A ceramic ware of Chosun Dynasty' one of the most thorough references available in the field. Various antiques and remains of different periods were compared to study the changes in tableware china types and uses In conclusion, the development in food culture brought the changes in tableware china. Tableware china and food has developed together complementarily throughout the latter period of Chosun Dynasty.

This study is to analyze the building layout of traditional government office building in Chungchong province with Chungchong-do regional maps and Eupjis(邑誌) being compiled in the late Chosun dynasty. The building layout of government office in Chungchong-do is followed in the wake of the spatial structure, Sam-Jo(三朝, three reign) and Oejeon-Naejeon(外殿-內殿), of Chosun dynasty palace. The planning principle of Sam-Jo at government office, Dongheon(東軒) territory for rule administration corresponds to Chijo(治朝) with a local governor who is the ruler, as for the Naea(內衙) territory which a family of him and he lives in, it is corresponded to Yeonjo(燕朝), and in the job space of Ajeon(衙前), it is corresponded to Oejo(外朝). As for the application of the inside and outside principle of provincial government office, Dongheon is corresponded to Oejeon and Naea to Naejeon. A compositive and an approach axis of government office in Chungchong-do is correspond with Dongheon in the center, and these axes form an central axis and an entry space of government office included Oesammun(外三門) Naesammun(內三門) Dongheon or Naea. Because an essential performance of provincial government office is provincial administration, the layout configuration of government office is a function, which is an expression of an official institution.

본고는 조선 후기 서화 감상과 감식이 일어나게 된 배경과 그 내용에 대하여 살펴본 것이다. 특히 주목해 보려고 했던 것은 작품의 심미적 속성보다는 진위 판별에 대한 구체적인 테크닉의 문제들이었다. 이와 같은 문제가 다루어져야 하는 것은 그것이 감상지학의 핵심적인 부분이기도 하겠거니와 작가와 작품 비평에 심대한 영향을 미치기 때문이다. 조선후기 감상지학의 이해에 필수적인 부분은 위작과 그것을 둘러싼 감식기법이었다. 발표자는 위작의 산지를 크게 중국과 조선으로 나누어서 그것이 등장하게 되는 배경을 살펴보았다. 중국 작품은 조선후기 청나라와 외교관계가 정상화되면서 사행원들이 가지고 들어오는 경우가 대부분이었다. 이런 작품들은 거의 가짜인 경우가 많았다는 것을 확인할 수 있었다. 조선에서 만들어진 위작들은 특정 작가의 작품에 대한 과대한 수요로 인해 등장하게 된다. 위작이 등장하는 과정을 보면, 문인이나 자제가 대필하는 경우가 있는가 하면, 위작 기법을 익힌 상인들이 조직적으로 위작을 만들어 유통시키는 경우도 있었다. 한편 위작의 유통과 함께 시작된 것이 작품에 대한 감상과 비평이었다. 이 분야는 중국으로부터 들어온 전문 서적의 구독과 함께 비약적인 발전을 이룩하게 된다. 본고에서는 중국에서 유입된 서적들의 종류와 내용을 간략히 정리해 보았다. 그리고 이런 책들이 조선후기의 작품 감상과 감식에 어떻게 이용되었는지에 대하여 남공철과 서유구를 중심으로 살펴보았다. 그 결과 이들은 작품의 심미적 속성뿐만 아니라 지질, 인장, 먹, 제작법상의 문제 등 구체적인 테크닉의 문제들에까지 언급하고 있었다. 이는 작품 감상과 감식이 전보다 더욱 객관화되고 과학화되었다는 것을 입증해주는 것이라 할 수 있다. 아울러서 감식 테크닉에서 이러한 진보는 위작을 보다 정확하게 분별해 주는 데에 기여할 뿐만 아니라 좋은 작품을 양산해 내는 데에도 일정한 역할을 했으리라 확신한다.