Late Joseon Dynasty Research Articles

유학자의 덜어내는 마음공부 : 황덕길의 「일성도(日省圖)」의 교육적 의미

The purpose of this paper is to examine the meaning of “Ilseongdo(日省道)”, a diagramwritten by Hwang Deok-gil, a confucian scholar of the late Joseon Dynasty, to the present-day education. “Ilseongdo” was created for the purpose of educating students in the author’s later life. “Ilseongdo” was presented through the illustration of five sentences. It means to take out the unnecessary from the inner (thought), personal (learning, work), and relational (talk, relationship) aspects one’s in everyday life. And it deals with Gyeong(敬), which is the core principle of Confucian practice, as a practice of ‘reducing’ in daily life. Since the beginning of modern education, education, it has always placed importance solely ‘adding’ education. Thus, we have now come to think of only accumulating a lot of knowledge and achieving a lot of results through education. Current education has not been able to teach students the values of ‘emptying out’ and ‘resting’. Amid the numerous comparisons, conflicts, and competitions occurring in a hyper-connected society, education of ‘reducing’ suggested by Hwang Deok-gil in「Ilseongdo」comes to be meaningful. Before analyzing the contents of Ilsungdo, this paper examined the thought of Hwang Deok-gil on Gyeong(敬) It which follows the thought of Song Dynasty(宋)'s confucian and toe-gye(退溪) in Choseon Dynasty(朝 鮮), but is characterized by the fact that Gyeong(敬) is mainly discussed from a practical point of view. Hwang Deok-gil's Ilsungdo has originality that distinguishes it from previous scholars’s works in discussing Gyeong in daily life. It is a valid discussion in our daily life today, where the Confucian debate on the mind has disappeared.

지등 문화상품 도안에서 조선후기 풍속화의 적용에 관한 연구

Korean culture is attracting attention both domestically and internationally as its international status has risen. Among them, genre painting in the late Joseon Dynasty can be said to be an important medium of Korean traditional culture that captures the lifestyle of ancient Korean society as a visual image, and it is of great significance to inherit and promote Korean traditional culture by using this genre painting as a design for geographical cultural products. This study seeks to explore new applications of genre painting in the late Joseon Dynasty to design geographical cultural products, expand its scope, and express Korean traditional culture in various ways. First, through literature research, the characteristics and artistic values of genre painting in the late Joseon Dynasty were analyzed, and the application status of cultural products based on the market was considered. Second, as a result of analyzing the application cases of genre painting in the late Joseon Dynasty in geographical cultural products, it was found that genre painting in the late Joseon Dynasty was emphasized only on specific holidays and places, so it was not fully utilized in cultural products such as everyday land, and the style appeared relatively simple. Finally, through case analysis and market survey results, an alternative to applying the genre painting in the late Joseon Dynasty to geographical products was suggested. This study aims to explore a new way to use folk paintings in late Joseon Dynasty cultural products by combining modern geodge materials and other design practice processes to provide new implications and methods for the convergence of traditional culture and modern cultural products, and to provide useful data for the succession and innovation of traditional culture.

조선 후기 <해도(蟹圖)> 연구 - 조선시대 게 그림

Crab paintings referred to as Haedo(蟹圖) were mainly drawn with auspicious meanings such as congratulations on passing the state examination. Its origins date back to the Five Dynasties and Northern Song periods in China, and Haedo became popular during the Ming Dynasty when Wu or Wumen School, including Shen Zhou and Xu Wei, started drawing them in the style of literary painting. Literary style Haedo refers to a crab painting with poetic sentiment produced by an ink-and- wash/boneless brush technique for the light-and-shade effect; it greatly influenced East Asian Haedo from the Qing Dynasty of China to modern times and even to Joseon. Exactly when Haedo was first introduced into Korea is unknown, but it is thought that crabs were drawn along with various fish icons at the latest during the Goryeo Dynasty. However, Haedo was drawn in earnest after the introduction of the literary style Haedo during the Ming Dynasty, and painters representing the late Joseon Dynasty, such as Kim In-gwan, Shim Sa-jeong, Choi Buk, and Kim Hong-do, enjoyed drawing them. In particular, Kim Hong-do left behind many works with strong pictorial qualities by adding original elements under the influence of Xu Wei, which greatly influenced the paintings of later painters. Popular throughout the late Joseon Dynasty, the literary style Haedo expanded as far as folk paintings, and the tradition was passed down from the late Joseon Dynasty to modern times. Meanwhile, apart from how the literary style Haedo was developed, a new style of realistically depicting the subject with fine brushes, intertwined with various social and cultural backgrounds, was attempted by Jang Han-jong, a painter at the Dohwaseo (court painting institution), in the 19th century. Jang Han-jong accurately captured the appearance and ecology of each fish species with a hyper-realistic painting style based on detailed sketches that were even reminiscent of a collection of illustrations, and he also created fish and crab paintings in the form of folding screens, which inspired later painters.

조선 후기 善息齋 鄭持淳 畫論의 心學的 경향 연구

The late Joseon Dynasty was a time when Yangming Simhak's way of thinking, which sought to recover the suppressed sincerity within the framework of Confucian thinking that had to be warm, kind, gentle, and quiet, was established and a new view of art and painting that placed emphasis on the heart was conceived, and during this period, there was a strong tendency that Yangming Simhak's thoughts spread centering around the recognition of paintings by the writers of the Soron (少論) faction. In other words, this phenomenon influenced the thinking and epistemology of reality by the writers of the Soron faction, enabling them to maintain very elastic and flexible thinking, and they emphasized personal emotions and individuality while insisting on creative theories that found answers on their own. In this context, Jeong Ji-soon(鄭持淳), a writer of the Soron faction, promoted the importance of mind and origin as the main premise of creation and the recovery and conversion to one's own mind and the mind of the subject, broadening the range of aesthetic consciousness and providing an opportunity for new aesthetic reflection.

조선후기 오위 군함체아직의 구성과 告身에 기재된 ‘仍資’의 의미

The Che-a-jik(遞兒職) was a method of government office management applied throughout the entire Joseon Dynasty and a green salary payment system. By the late Joseon Dynasty, most of the titles belonging to Five-Wies(五衛) were still borrowed as Che-a-jik. This is stated in the Five-Wies (五衛) of Byeongjeon(兵典) of Sokdaejeon (續大典). In the late Joseon Dynasty, it was operated in the Che-a-jik(遞兒職) of giving letters of appointment and rust salary to civil servants, military officers, and those who had jobs in technical positions using the military titles of the Five-Wies(五衛). And the government also used it to treat civil servants who were temporarily out of service(San-Guan:散 官). ‘Ing-Ja(仍資)’ is a term that appears in the so-called ‘small letters on the side(So-Ja-Bang-Seo:小字 傍書)’, which is written in small letters on the left or right of the date of issuance of ‘letter of appointment to the government(Go-Sin:告身)’, a document on the appointment of government positions in the Joseon Dynasty. The Go-Sin with this ‘Ing-Ja(仍資)’ marked is commonly written about the award of warships belonging to Five-Wies. And the notation follows the form of “’function’(the actual performance of a government awardee)+’Ing-Ja’” that is actually carried out by the awarded official. The term ‘Ing-Ja’ in this small room appears only in a specific range among the Go-Sin of Five-Wie’s warship award. Analyzing the current Go-Sin, it can be seen that the god marked with “Ing-Ja” appears only when a warship that is not operated under the Won-rok-Che-a-jik(原祿遞兒職), that is, when a non-Won-rok-Che-a-jik(非原祿遞兒職) is awarded. On the other hand, all the Go-Sin, which was awarded to the Five-Wie’s warship, which had no special small room or contained a small room other than “Ing-J”, were military titles that were operated as Won-rok-Che-a-jik. In addition, it is often confirmed that those who have been awarded this Go-Sin often have a rust plaque that proves that they have actually received a rust salary. Therefore, it is not reasonable to say that the interpretation of “‘function’+‘Ing-Ja’” indicated in Go-Sin's so-called “self-sufficiency as before” is not valid. In conclusion, since ‘Ing-Ja’ is an institutional term directly related to the award of Che-a-jik still in the Joseon Dynasty, it is reasonable to interpret it in a way that exposes the term as it is, such as “Ing-Ja to a something function” or “Ing-Ja to a warship position due to a something function.”

조선후기 인척 세교(世交) - 노상추가와 해주 정씨가를 중심으로

This study is based on the diaries of Roh Sang-chu (1746-1829), a military officer in the late Joseon Dynasty, and shows the intergenerational contact between Gyeongju Roh and Haeju Jeong in the 18th century. In addition to the common history of being a military department for generations, the two families had been connected since their ancestors through academic and regional ties, and through the marriage of descendants of the two families, relations between in-laws were established and maintained. The three main factors of the two families contact are as follows in terms of academic ties, social relation capital, emotional empathy and ritual mutual aid. First, the two families lived in the Seonsan area of Gyeongsangbuk-do and responded together to local issues, including the restoration of ancestral tribute and the reconstruction of Seowon, based on their academic ties with the Yeongnam Sarim faction. Second, Noh Sang-chu was able to obtain information about examinations and government life from his Haeju Jeong in-laws, who were former and current military officials, and the social relation capital he built up with the Chungs provided him with additional motivation and guidance to become military life. Third, there was an emotional consensus among the members of the two families to share their leisure and cultural activities. Fourth, Roh and Chung's in-laws attended each other's mourning ceremonies, consoled each other, and helped with various Confucian wedding and funeral rites to complete the ritual. By analysing the intergenerational contact between the Roh and Jeong families in the 18th century, this study highlights the importance of the study of in-laws, which has been neglected in the academic field, and shows that in-laws in the Yangban families of the Chosun Dynasty were very close emotionally and mentally.

A Study on Commoners’ Perception of the Full Moon and Their Cultural Aspects Featured in Yeohangsisado during Late Joseon Dynasty

A Study on Commoners’ Perception of the Full Moon and Their Cultural Aspects Featured in Yeohangsisado during Late Joseon Dynasty

중세 유럽 대학의 운영과 조선후기 서원의 경제 운영 - 이탈리아 볼로냐 대학과 상주 옥동서원을 중심으로

There is a prevailing agreement among academic experts that medieval universities in Europe underwent a transformation from parochial and monastic schools to institutions recognized as universities during the 11th or 12th century. However, the date of the university's founding is less clear, due to a lack of empirical evidence. This is because early European medieval universities were not established by royal or ecclesiastical decree, but rather slowly developed out of the existing parochial or monastic school system. Furthermore, the understanding of higher education at the University of Bologna in Italy, University of Paris, and University of Oxford during this era differed from the contemporary notion of a university, referred to as a studium or studium generale. The studium functioned as a “studium generale,” gathering students from various regions, rather than the modern concept of a “universal study center” in universities today. The universities founded in the late 12th century were perceived as distinctively European institutions, lacking direct connections to Greek, Roman, Byzantine, or Arab educational traditions. This indicates that prior to the Middle Ages, universities as institutions comprising professors and students with specific privileges, including administrative independence, curriculum development and implementation, and degree conferral, had no precedent elsewhere in Europe. Many academic studies have found that medieval universities in Europe emerged and developed in a distinctive manner. The origins of medieval universities in Korean history can be traced back to the state-sponsored establishment and operation of Taehak and Gukhak in ancient society. These institutions were passed down and evolved into Gukjagam (國子監) during the medieval Goryeo Dynasty. The Gukjagam underwent several name changes, becoming Gukhak in 1275(King Chongryeol's first year), Sungkyunkam(成均監) in 1298, Sungkyunkwan(成均館) in 1308, respectively, and undergoing subsequent renamings until it was succeeded by Sungkyunkwan following the establishment of the Joseon Dynasty. In the early Joseon Dynasty, the state promoted the policy of Sungkyunkwan and Sahak(四 學)in the central capital, and Hyanggyo(鄕校) in the provinces, which greatly encouraged the growth of learning, with Confucianism as a national policy. However, as the hall of higher education in the Joseon Dynasty, Sungkyunkwan, which was responsible for academic education and the recruitment of officials, began to show its limitations in the late Joseon Dynasty due to the decline in the quality of its instructors and the induction of students into the dutiful ranks of the royal army(忠順衛). The decline of the governmental school(官學) became a factor in the emergence and growth of private schools(私學). Many students chose to leave the governmental school to pursue their studies in the private schools, and the purpose of the private schools was to promote education based on the political ideology of learning of way(道學), rather than to promote education as a means of promoting to educate officials. In addition, if the main cause of the decline of governmental education was the lack of academic virtue of professors, private schools were opened with the power of teachers and scholars who had both academic virtue and scholarship, and were able to grow rapidly.

The Diplomatic Tea Ceremony in the Late Joseon Dynasty from the Tsusima Souke Archives

The Diplomatic Tea Ceremony in the Late Joseon Dynasty from the Tsusima Souke Archives

조선시대 筆巖書院의 운영과 재정

Piram-seowon is one of Korea’s representative academies included in ‘Seowon, Neo-confucian Academies of Korea’, which was inscribed in World Heritage List in 2019. Piram-seowon was recognized as Outstanding Universal Value in that it retains a variety of data that can be used to understand the operation and finances of the Seowon in the late Joseon Dynasty. The Wonim(board of directors) of Piram-seowon consisted of the Wonjang(director), Won-yi(deputy director), Jangeui(manager), Seakjang (manager), and Yusa(manger). Among these, the director was appointed as a representative of Neo-Confucian scholars or high-ranking official in the Joseong Society. Local officials were in charge of the Won-yi and Jangeui. Other members were generally elected by literati residing near Jangseong. Piram-seowon has 30 Wonseang(students) recognized by the government, plus additional students. In a seowon, activities centered on ritual rites and lectures are confirmed centered on the Wonim and Wonseang. The guestbook, which has been recorded since the mid-17th century, contains a list of about 3,000 people, allowing the region and origin of those who visited Piram-seowon to be confirmed in detail. The main pillars of Piram-seowon in terms of financial management were slaves and farmland. The slaves show the unique operating method of Piram-seowon, and a representative example is the record of the family relationships of the slaves centered on the maternal line. The number of slaves at Piram-seowon was around 30 since the late 18th century. In the case of fields, the level of tax exemption was consistently maintained at around 3.23ha. Based on finances comprised of slave and farmland, the expenditures of the Piram-seowon were carried out within the scope of income. In addition, the finances of the seowon were secured through various donations.

18세기 후반 근기(近畿) 사족의 일상 의료와 식치(食治)

Sunam Ahn-jeongbok was a leading scholar of the late Joseon Dynasty, who not only wrote the history book Dongsagangmok(東史綱目), but also the Imgwanjeongyo(臨官政要) for local officials. In this article, I wanted to explore his family’s medical and dietary practices through the various recipes handed down by the Ahn’s family. Joseon scholars considered the preservation of one’s body to be the highest form of filial piety. Ahn-jeongbok suffered from chest pains that caused him to cough up blood throughout his life. However, he was concerned about his wife’s health and that of his sickly children. An analysis of the recipes handed down to the Ahn-jeongbok’s family reveals the following. First, there are many recipes for porridge for the health of the elderly. Then there are recipes for medicinal liqueurs and teas with medicinal ingredients. In addition, there are porridge recipes using lotus flowers, bamboo, goji berries, turnips, and so on. As for medicinal liquor, there is a special liquor made from the flesh of a lamb, or known as the liquor of Taoist hermits. As for drinks, there were summer drinks with cinnamon and medicinal teas with plum and goji berries. Many of the prescriptions in the Ahn-jeongbok’s family collection are recipes for pills for longevity. Ahn-jeongbok’s family sought to maintain longevity and good health by taking pills made from special herbs and special recipes over time. Through this article, I hope to convey the desire for medical care and healthy food among Joseon scholars in the late 18th century.

Manufacturing Technique Characteristics of the ｢Shide (monk)｣ Mural Painting in Yeongsanjeon Hall, Seonunsa Temple, Gochang

In this study, in order to understand the manufacturing technique characteristics of the ｢Shide (monk)｣ mural painting in Yeongsanjeon Hall, Seonunsa Temple, Gochang, we conducted microscopic, SEM-EDS, XRD, particle size analysis, FT-IR, and starch-iodine reactions. As a result of the study, the ｢Shide (monk)｣ mural painting reflects the manufacturing style of Joseon Dynasty temple murals that have been studied to date, in terms of the composition of the wall and the material characteristics, such as the pigments used. However, the fact that the middle layer has not been confirmed and that there are multiple ground layers below the painting layer is confirmed by the unique manufacturing technique that can only be found in the ｢Shide (monk)｣ mural painting in Yeongsanjeon Hall, Seonunsa Temple. In particular, the technique in which the surface of the finishing layer is coated with a carbohydrate-based adhesive component and a coarse-grained layer is plastered on top of it is considered to be a different characteristic from the composition trend of the Buddhist mural painting previously studied. It is believed that the results of this research on the manufacturing techniques and characteristics of the ｢Shide (monk)｣ mural painting can contribute to establishing a direction for conservation treatment of murals in Yeongsanjeon and preparing long-term conservation plans. It is also hoped that it will provide important materials for research into the characteristics of the manufacturing techniques and conservation management of murals inspected during the late Joseon Dynasty.

An iconographic study of the Joseon Dynasty that appeared in the late Joseon Dynasty and modern times

An iconographic study of the Joseon Dynasty that appeared in the late Joseon Dynasty and modern times

<성진사전>의 문제의식과 사회적 갈등의 해소 양상

<Seong Jinsa-Jeon> was written by Lee, Ok, a writer in the late Joseon Dynasty. It deals with a fraud case that Jinsa Seong, Hui-ryong in Sangju went through. However, the social critical consciousness of <Seong Jinsa-Jeon> draws attention to the serious economic imbalance in late Joseon society and class conflicts between the yangban and the common people, the rich and the poor through the appearance of refugees caused by famine, not just in fraud cases. In particular, the essence of <Seong Jinsa-Jeon> lies in its approach to resolving societal conflicts. The purpose of this study is to the perspective on and proposed solutions to conflict within <Seong Jinsa-Jeon> with a particular focus on the relationship between its two protagonists, Seong, Hui-ryong and a beggar. The narrator argues that Seong, Hui-ryong's self-refinement[謹身] was instrumental in resolving the conflict, exploring the broader connotation of such self-refinement. Within <Seong Jinsa-Jeon> the ‘door’ represents both the starting point of the incident and is the boundary that separates the space between Seong, Hui-ryong and the beggar. The space in <Seong Jinsa-Jeon> is divided into a rich inner space inside the door where the rich reside along the boundary of the door, and an outer space outside the door of the refugees who become beggars and wander after losing their homes. Therefore, it is recognized that the ‘door’ should be closed and protected for the rich, and open for the beggars. Nonetheless, the door also serves as a conduit that connects and associates the two worlds inside and outside. By opening the door and recognizing the beggar as another subject, Seong, Hui-ryong facilitates conflict resolution through dialogue. Face-to-face communication fosters empathy centered on the other, paving the way for conflict resolution. In other words, ‘face-to-face’ is to recognize the other outside the door as another subject like me. ‘Self-refinement’ encompasses not only self-cultivation but also placing others at the core of one's concern. The possibility of resolving such conflicts offers insights into bridging the gap between the reality of laws and legal sentiments. In a space governed by legal standards, endless opposition between legality and illegality persists due to a binary perception that merely seeks a stronger law to satisfy one's legal sentiments. Recognizing the other as a mutual subject through communication allows for attentiveness to one's conscience, unveiling hidden truth, and enabling forgiveness through empathy. This is the way to resolve conflict suggested by <Seong Jinsa-Jeon>. Although it is a short work, what <Seong Jinsa-Jeon> has achieved is truly great.

1945년 해방 이후 1970년대 부산 동래 회동마을 洞中의 역할과 위상

This research aims to illuminate the role of Hoedong village in Dongjung and its associated changes until the 1970s after liberation. Dongjung, which have a long history, has been discussed its role and status in the village, taking over public services until the industrialization era after liberation. Although Hoedong village is considered as a local elite village, its appearance does not represent its status, so we can see it as a typical example of local elite village. In this village, the records of Dongjung have been passed down, Especially the records in 1907 to 1975 are valuable, as they shed light on the post-liberation situation with a broader context, providing valuable insights. After its establishment in the late Joseon Dynasty, Dongjung in Hoedong village was reorganized in 1907 and served its role as the focal point of the village. This role continued after liberation, but began to change from the mid-1960s, ultimately being disorganized in 1976. Dongjung played a significant role in generating income for the village by acquiring new assets while also directly engaging in the village's management. Additionally, it played a certain role in addressing various policy matters after liberation. After urbanization underwent from the mid-1960s and the village office took on the official duties of the state within a modern administrative system, Dongjung underwent a transformation, carrying out another role related to the order and operation of the village community. As a result, in 1976, Dongjung underwent a process of disorganizition and was reorganized into a new form of organization. Therefore, this study can be considered extremely valuable as a case study that illuminate the role and status of Dongjung in the new changes and situations after liberation.

한국전통혼례과정의 대례행례고(考)

The purpose of this study is to examine the inherent meaning of the structure and ritual of Haengrye (An Act of Conducting a Ceremony) of Daerye, in the traditional Korean wedding ceremony process. ‘Daeryehaengrye’ refers to Chinnyeong (親迎, Bridegroom Personally Inducting the Bride into His Home), one of the rituals, Uihon-Napchae-Nappye-Chinnyeong, in Karye of Seongni daejeon (Great Collection of Neo-Confucianism). For the purpose of the research, the changes in the wedding institution were first examined, followed by an exploration of the inherent meaning of structure and ritual of Daeryehaengrye. The examination of the changes in the Korean wedding institution revealed that the traditional Korean wedding system was Seoryubugahon persisting from the Three Kingdoms period (Samguk) for over 1000 years. The traditional Korean wedding ceremony was ritualized, influenced by the Chinese wedding ceremony tradition of ｢Karye(嘉禮)｣ passed down from ancient times to the late Joseon Dynasty. The analysis of the inherent meaning of the structure and ritual of Daeryehaengrye reveals that it consists of three main parts: Jeonanrye(奠雁禮), Kyobaerye(交拜禮), and Hapgeunrye(交拜禮). Jeonanrye involves conducting a ceremony with a goose as a symbol, wherein the groom makes a promise to the bride. Kyobaerye includes the first formal big bow, conduct Jaeju(祭酒), and the drinking of the rice wine. Yi Hwang introduced Kyosoorye(交手礼) between Kyobaerye and Hapgeunrye. There are three methods of bowing in the first formal big bow. Of these, the method where the bride first bows four times and then the groom responds with bowing two times aligns with the custom where men with two bows and women with four bows are considered propriety, although it is only found in only 12 out of 65 surveyed books of propriety (18%). The positioning of the bridegroom and bride was predominantly Seodongbuseo(壻東婦西). However, the reason for this ‘Seodongbuseo’ positioning can be seen as a horizontal shift of the bridegroom and bride's positions during Dongrweyeon of Karye. On the other hand, positioning them in Seoseobudong can be attributed to a vertical shift according to the female-centric wedding customs in Korea. Jaeju(祭酒) is the most crucial ritual in Daeryehaengrye. It can be seen as an act formed through the ethos and thought process of Koreans. It is an act of praying to the heavens and earth by a person of high virtue or the marriage officer in the process of a wedding ceremony. Initially performed by clan elders or village leaders then by family elders, it is assumed to had evolved to be performed by the bridegroom and bride. Hapgeunrye is an oath ceremony. There are various methods of Hapgeun, but when drinking rice wine, pouring it and each drinking it was considered symbolize the essence of mutual exchange. Thus, they do not exchange the Hapgeun gourd. While some Koreans in the modern age may hold negative views on traditional wedding ceremonies, there is a high level of pride in Korean culture. To preserve and uphold the wedding ceremonies designed in Korean way, it is essential to standardize the rituals and meanings of Daeryehaengrye, thereby ensuring that traditional Korean wedding ceremonies continue with a theoretical framework.

A Study on the Characteristics of Han-dam-guan-hwa(漢談官話) through Comparison with Classificatory Glossaries in the Late Joseon Dynasty

A Study on the Characteristics of Han-dam-guan-hwa(漢談官話) through Comparison with Classificatory Glossaries in the Late Joseon Dynasty

The Reality and Ideals of Unmarried Women in the Late Joseon Dynasty Seen in〈Doaenghaeng〉

The Reality and Ideals of Unmarried Women in the Late Joseon Dynasty Seen in〈Doaenghaeng〉

A Study on the Method of Estimating of the Size of Literacy Population and Literacy Rate by Class in the Late Joseon Dynasty

A Study on the Method of Estimating of the Size of Literacy Population and Literacy Rate by Class in the Late Joseon Dynasty

선상기 최순이의 진주검무 계승과 국가무형유산 지정

The purpose of this study is to examine the background and changes in the designation of the national intangible heritage of the sword dance passed down through Choi Soon-i in the selecting period. The sword dance is the oldest traditional dance in Korea, and the only sword dance designated as a national intangible heritage is ‘Jinju sword dance’. Choi Soon-yi’s existence in the study of the Jinju sword dance is hardly highlighted. Although the sword dance was handed down in the Jinju area, Choi Soon-yi played a decisive role in the designation of the national intangible heritage of ‘Jinju sword dance’.
 Choi Soon-yi was selected as a shipbuilder for the royal retreat in the early 1900s, danced, and returned to Jinju to teach sword dance until 1969.
 According to the Intangible Cultural Property Investigation Report, the sword dance demonstrated by Choi Soon-yi retained the original form of the court sword dance. Through Choi Soon-yi, the sword dance of the court and the sword dance of the Jinju Gyobang were influenced by each other.
 Starting with Choi Soon-yi, the sword dance of the late Joseon Dynasty and the sword dance designated as an intangible heritage differ in form and content. The sword dance, which was performed by four people until the late Joseon Dynasty and the 1930s, was also fixed with the number of eight in the process of designating intangible cultural properties. The shape of the Jinju sword dance knife was a form in which the neck and blade were rotated without being fixed when it was designated as an intangible cultural property. Around 1901, it was improved to a form in which the sword was turned nationwide. In other words, all the swords of sword dance used by Choi Soon-yi in the Jinju Gyobang and court were straight blades, and a temporarily improved knife was used for Japanese colonial era.
 In the late Joseon Dynasty, Jinju’s sword dance did not wear Hansam. However, after 1930, Hansamsawi was added and designated as an intangible cultural property. At that time, the popular event among Kwon Bun’s dances was Geommu. Choi Soon-yi combined and developed the elements of court dance and the part passed down from Gyobang to form a perfect dance.