조선시대 신앙활동에 있어서 불교의식의 비중은 매우 증가하여, 건축, 불 상, 공예 등 불교미술 전반에서 의식문화의 영향이 광범위하게 확인된다. 본 고에서는 불교의례의 성행이 가져온 변화를 불교회화의 측면에서 살펴보았 다. 불화와 의례공간의 관련성은 주불전 내부의 의식과 야외 의식이라는 두 가지 측면에서 조망할 수 있다. 예배 공간으로 인식되던 주불전(主佛殿)은 다양한 법회(法會)와 의례가 개 최되는 공간으로 활용되었고, 전각 내부에는 의식 수요에 부응하는 불화가 봉 안되었다. 불보살을 도량[道場]에 청해 공양을 권하는 권공(勸供)과 육도의 중 생을 청하여 음식을 베푸는 시식(施食) 의례는 특정 의식에 한정되지 않고 불 교 문화 전반에 영향을 미쳤다. 수륙재의 성행은 특히 삼단의례(三壇儀禮)라 는 형식을 통해 저변화되었다. 그 결과 주불전 안에 상단(上壇), 중단(中壇), 하단(下壇)의 삼단이 갖추어지고, 각 단을 상징하는 불화가 하나의 기본 조합 을 이루게 된다. 한편 야외 의식용 대형 불화인 괘불(掛佛)이 전국적으로 조성되는 현상은 전각 외부로까지 확장된 의식에서 불화의 쓰임과 기능 확대를 보여준다. 불 화는 의식단의 가설에 따른 수요로 혹은 전각 내부에서 외부로 의식단이 옮 겨짐으로써 이동하였다. 불화를 거는 절차의 핵심은 의식이 진행되는 곳으로 불보살의 강림(降臨)을 청하는 것이다. 불보살의 강림은 도량에 초청하고자 하는 불보살의 명호를 부르는 거불(擧佛) 절차를 통해 상징되었다. 또한 거불 의 대상이 의식용 불화의 주제로 그려짐으로써 구체적으로 시각화되었다. 의 식을 위해 불화를 꺼내 이동하고, 의식을 마치면 다시 원래의 자리에 가져다 두는 일련의 절차는 불보살의 현존을‘도량으로의 강림’이라는 극적인 방식 으로 전달하였다. 이들의 강림을 찬탄하고 도량에 내려온 불보살에게 공양을 올리는 절차는 의식의 신이력을 높이는 데 기여하였다. 조선시대 불교회화는 전각에 봉안되어 불상의 뒤편에 놓여 불전이 상징하 는 불세계를 상징하는 데 그치지 않고 의식의 성행이라는 신앙의 흐름에서 역동적으로 기능하였다. 전각 외부로 확장되는 의식과 의식을 전담하는 불 화로의 이행을 대표하는 것이 괘불이라면, 감로도(甘露圖)는 의식에 사용되 던 불화가 전각 내부의 불화로 고정되는 현상을 보여준다. 의식의 성행으로 의식 전용 불화가 생겨나는 동시에 특정한 의식에 사용되던 불화가 상설 불 화로 봉안되었다. 조선시대 불교회화는 의식 수요에 부응하는 과정에서 그 주제와 구성에서 다양한 변용을 보이며 전개되었다. 불화가 봉안된 공간과 그 공간에서 이루어졌던 의식 문화를 통해 조선시대 불화의 다각적인 기능 을 이해할 수 있다.

려말선초 혼란기에 불교는 타락하고 활발했던 조영의 분위기는 침체기에 빠져들었다. 그런 가운데 우리나라 사찰건축의 명맥을 유지된 몇 가지 중요한 원인을 가지고 있었다. 첫째, 건물짓는 기술자가 바로 승장 대목 자신들이라는 점과 혼란기를 틈타 엄격함으로부터 어느 정도 자유스럽게 영조할 수 있었다는 점이다. 이러한 인식의 변화는 그대로 건물에 나타나게 된다. 이러한 대표적인 사례가 사찰 전각 측면공포에 대한 등간격배열방식이다. 그 동안 이 문제에 대해 심도갚은 연구가 진행되지 않은 상태에서 서둘러 규정짓는 자세에 문제가 있었다고 본다. 본 연구는 이러한 문제점을 제기하면서 보다 심도있는 연구가 되기를 바라는 마음에서 고찰되었다.

Sajik, the altar of land and grain was treated as one of the most important national ritual facilities by the Joseon dynasty and the Ming dynasty because it symbolized the legitimacy of a dynasty, and its architectural ordonnance was arranged strictly by the government. But when the Joseon government considered to reconstruct its national Sajik altar in Hanyang during the Sejong period, they found the new architectural ordonnance for local Sajik altars recorded in 『Hongwulizhi(洪武禮制)』had been published by the Ming government was hard to adopt, because it was too narrow and totally different from the traditional style. Above all things, they doubt of there was other architectural ordonnance for kingdoms, not for local governments. King Sejong ordered to investigate the origin form and former examples, and tried to get other ritual documents of authority published by the Ming government such as 『Damingjili(大明集禮)』. After several academic researches and intense debates, they decided to create a new architectural ordonnance for their national Sajik altar, its form was in accord with the traditional style and its size was in accord with the new ordonnance. But they did not know there had already been the architectural ordonnance for the kingdom in the Ming dynasty. Because the first emperor of the Ming dynasty had changed its Sajik ritual system several times, even the whole country of the Ming dynasty also had gone through chaos on this issue even after his death. Consequentially, the official documentation works had been made partially, there was no a complete document on this issue even in the Ming government.

Insamsokmieum (人蔘粟米飮), which is a kind of water gruels made with millet, ginseng, glutinous rice, and some minor ingredients, was frequently used as a medicinal food for the royal family, and it appeared first at the 10th year of King Sukjong’s reign. We investigated Insamsokmieum through a literature review and the「SeungjeongwonIlgi(承政院日記)」 of King Sukjong (肅宗) from his 1st year (1674) to 46th year (1720). We analyzed the nutritional value and efficacy of Insamsokmieum. In Oriental medicine, Insamsokmieum is prescribed mainly to treat symptoms such as nausea, languidness, and exhaustion in King Sukjong and Queen Inhyun (仁顯王后). In nutritional terms, Insamsokmieum has higher nutrition density than that of rice porridges (白粥) and has relatively high vitamin and mineral contents. Some nutrients such as leucine and glutamic acid, which are contained in the millet, are also known to help alleviate these symptoms. Whereas there have been studies on the efficacy and types of diet during the Joseon Dynasty, studies regarding nutrition characteristics are lacking. This study will demonstrate the superiority of dietary treatments of the Joseon Dynasty and their potential for application to modern nutrition.

One of the main processes of tenderizing beef in Joseon Dynasty was chemical methods involving Apricot seeds, manchu cherry twig and leaves, bamboo skins, mulberry tree bark, mangsa (硭砂), salmiacum (磠砂), alcohol, fermented malt, and original honey. This study analyzed and compared the effect of broussonetia papyrifera, fermented malt, cherry trees, and mulberry tree bark from old cookbooks. Tenderizing beef with cherry trees was most effective in the experiment on shearing force, TPA, and electrophoresis of beef. According to sensory evaluation and electrophoresis test results, tenderized beef with mulberry tree bark was slightly more preferred over the method using cherry trees. However, in accordance with the above mentioned experiment, quantitative descriptive analysis showed that the most common tenderizing material was derived from morus alba powder.

This paper aims to explore the roles of Shijing in the diplomatic relations between the Joseon Dynasty and neighboring countries including China. Section 1 of Chapter 2 examines the good-neighbor policy of the Joseon Dynasty implemented throughout the diplomatic relations with Jurchen and Japan. Section 2 investigates the trends of submissive diplomacy practiced by the Joseon Dynasty and deeply rooted in its relations with the Ming and the Qing Dynasty. Section 1 of Chapter 3 analyzes the roles of Shijing applied to the good-neighbor policy toward Jurchen and Japan from the Confucian perspective. Section 2 of Chapter 3 looks into the roles of Shijing throughout the trends of submissive diplomatic relations with the Ming and the Qing Dynasty. The study learned that the good-neighbor policy towards Jurchen and Japan implied confidence of the Joseon Dynasty being a far more superior Confucian civilization to those two nations. The submissive diplomatic relations with the Ming and the Qing mostly confirmed that the Joseon Dynasty was inclined to accept the environment where distinct discrepancy in national power and culture between the Joseon Dynasty and those two nations was evident.

Researches on the pit dwellings in the Joseon Dynasty era have been constantly conducted in the archeology field since the beginning of the 2000s. Most of the related researches in the past have been on the classification and chronological record of dwelling types in archeology, but architectural researches on the dwelling history that is connected from the prehistoric age to the Joseon Dynasty era are insufficient. There are no big differences between the excavated pit dwellings of the Joseon Dynasty era and those of the prehistoric age, so pit dwellings were considered to have been used as dwellings for common people until the Joseon dynasty era. This fact is confirmed by the frequency and density of pit dwellings. In this research, what space composition of the pit dwellings that are equipped with the Korean floor heating system is shown according to the plan types was examined and the development and transition process from pit dwellings to Folk houses were analyzed and their correlations with the Folk houses of the Joseon Dynasty era were examined. The Folk house form did not start with the form of the house on the ground but originate from the introduction of Ondol, the Korean floor heating system, to pit dwellings. As the Korean floor heating system is used, the room and kitchen space are composed in the pit dwelling, and the kitchen is expanded to the one that separates the fireplace for cooking to avoid heating that is unnecessary for the summer season. As the size of the dwelling was getting bigger, the division of the space is made by the pillars that support the interior space. Also, the dwelling is expanded into a single row house and a double row house according to the progress direction of Ondol. In other words, the pit dwellings in the Joseon Dynasty era develops with making up diverse floors through the combination and expansion of Ondol and kitchen according to the dweller’s convenience and life style and surrounding environment. This research is significant in the sense that it helps understand the formation and development process of our traditional Folk houses and fills the gap between the pit dwellings, which have been dealt with inadequately, and traditional Folk houses in the Korean dwelling history.

Finding the origin of life-centrism in East Asia, especially a longevity, you can find a harmony of the nature and mankind in Ancient Chinese myth and rarity about a idea of afterlife. In Chinese important trend, Confucianism and Taoism, their attitude to life shows a life-centrism. Confucianists' final aim at life is remaning their name in real life, so they don't care about afterlife. They put emphasis on the immortal fame and the happiness, comport in life. Taoists think the lifespan is the absolute objective because they believe the penalty for faults is lifetime shortening. The Ten Traditional Symbols of Longevity is a group of the long life stuff symbolize the longevity. The first record of them appeared in the royal paintings in Goryeo Dynasty. These symbols used in the folding screen, windows and doors in palace and expand to ordinary people because of the development of commerce after the 18th century. After that, symbols have widespread popular support so appear in the folding screen, woodcraft and embroidery. The Ten Traditional Symbols of Longevity describes the hermit's world, it contains the real organisms of sky, underwater and land. Symbols are the combination of objection to life, desire of longevity and transcendence in life. They show us the concentration of real life.

Dahoejangs in the Joseon Dynasty were craftsmen who belonged in the Gyeonggongjang in Hansung government office. Out of 2,841 craftsmen who specialized in 129 types of work, 1 of them were Dahoejangs. Dahoejangs were craftsmen who made cords. However it was not passed down and currently Maedeupjangs are making cords and making Maedeup with the cords they have made. In the Uigwes the composition of Dahoejangs number and types of tools used in creating good for ceremonies are indicated. This study has found records of Dahoejangs from 50 Uigwes. The tools used were indicated as Haesagee, Hapsagee, Hapseongee, Yeonsagee, Sangsagee, Dahoegee, Yungjapan and some others. Haesagee is a tool that winds thread from a skein to a spool. Hapsagee is a tool that combines more than two yarns together. Hapseon is for combining thicker threads. Yeosagee is not a process of scouring for refining, but is assumed to be a tool to twisting yarn. There are no information left about the shape or working methods of Sangsagee but it is considered to be a tool for doubling several threads together. Based on the existing artifacts and painting of Dahoe, it is assumed that threads were woven on usually a round plate or bowl. Youngjapan is considered to be a tool for making tassels. This shows that Dahoejangs made tassels and it was completely separate from making Maedeups. There, it is evident that Dahoejangs made cords as well as tassels but the work of Maedeupjang were constricted to only making Maedeup with the cords given to them.

This study focused on Jungchimak (coats with side slits) which was typically worn by men in the mid and late Joseon Dynasty. It was done research by examining the case of wearing Jungchimak centering on literature and paintings and analyzing its changes in terms of its form based on the relics that have been found in order to suggest the standard for the evaluation of the period of Jungchimak. Results are as follows. First, men who wore Jungchimak were the king, crown prince and Aristocratic under the official uniform or other robes or as ordinary clothes and shroud. Second, Jungchimak for king was mostly made of Dan (satin damask) and mostly jade green & navy in color, and it commonly used dragon pattern, cloud and treasure pattern, or grape pattern. The fabric used to make Jungchimak for crown prince was Dan & Ju (coarse-finished silk) and puple, green, jade green & navy in color. The fabric used to make Jungchimak for Aristocratic was Ju and indigo or white in color. Third, 251 relics have been announced until now. Most of them were made of silk fabric and had cloud and flower patterns. Fourth, Jungchimak showed changes through time in terms of collar and sleeve shapes, the ratio of armhole to sleeve opening, Geotseop (panel sewn on front opening for overlapping), Dang and Mu (side panel), the ratio of the total length of outer collar to the length of side slits, and the ratio of chest size to the width of lower end.

We report the results of our study for ascertaining whether Ganui-dae built in the Josen Dynasty actually performed an astronomical role or not. The Ganui-dae was the first astronomical structure built as a part of the state astronomical undertakings by King Se-Jong. Our analysis was based on the Annals of the Joseon Dynasty. At first we extracted the records regarding Ganui-dae from the Annals of the Joseon Dynasty and then classified them under six heads according to their astronomical meaning and historical significance. From this analysis we found that the Ganui-dae performed the actual astronomical role. In addition, the provisional offices and peoples mentioned in the records show the astronomical correlation. Generally, when taking into account the functional side of the records, the Ganui-dae was related with the observation. Therefore, the Ganui-dae was the space for the astronomical activity. In conclusion, the Ganui-dae was built for the purpose of the astronomical activity.

This article examines the different types of Mandoo as recorded in 15 royal palace studies from the Joseon dynasty (1392-1909). The types of Mandoo during the Joseon dynasty were Byeongsi (餠匙), Mandoo (饅頭), EMandoo (魚饅頭), Rukmandoo (肉饅頭), Yangmandoo (月羊饅頭), Saengchimandoo (生雉饅頭), Golmandoo (骨饅頭), Dongkwamandoo (冬果饅頭), Chaemandoo (菜饅頭), Chimchaemandoo (沈菜饅頭), and Saenghapmandoo (生蛤饅頭). The frequencies of the different Mandoo types during the Joseon dynasty were in the following order: Mandoo (29.8%), Emandoo (19.1%), Rukmandoo (14.9%), Byeongsi (12.8%), Yangmandoo (6.4%), Saengchimandoo (4.3%), Golmandoo (4.3%), Dongkwamandoo (2.1%), Chaemandoo (2.1%), Chimchaemandoo (2.1%), and Saenghapmandoo (2.1%). “Muja-Jinjakeuigwe (戊子進爵儀軌)” (1828년) gijumi (起酒米) is not used, suggesting that Koreans could see perched Mandoo. “Musin-Jinchaneuigwe (戊申進饌儀軌)” (1848) configurations of materials Mandoo, SoongChimchae ( 沈菜), Dupo (豆泡), Nokdujangum (綠豆長音). Now, we enjoy mandoo’s ingredients based documents materials. Further studies will be conducted on recipes and ingredients recorded in Euigwe in order to develop a standardized recipe for Mandoo.