• Journal of Korean Medical classics
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• v.18 no.3 s.30
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• pp.126-135
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• 2005

통과분석(通過分析)${\ulcorner}$금궤요약심전${\lrcorner}$경병조문중우재경적주석(痙病條文中尤在痙的註釋), 득출여하결론(得出如下結論) 1. 경병적원인유이(痙病的原因有二) : 외인시태양풍한중감한습(外因是太陽風寒重感寒濕); 내인시혈기음양적손상(內因是血氣陰陽的損傷), 단진액부족시기공통지처(但津液不足是其共通之處). 2. 경병기본속우표병(痙病基本屬于表病), 출현심맥시인감수습사소치(出現沈脈是因感受濕邪所致). 3. 경병(痙病), 출현강직시인감수풍사(出現强直是因感受風邪). 4. 강경유오한증상(剛痙有惡寒症狀), 단유가능인위표실증무오한증상(但有可能認爲表實證無惡寒症狀), 고장원문중적'반'자직접인용과래설명(故將原文中的反字直接引用過來說明). 5. '기맥여고'화'폭복장대'시풍사거이습사잔존적시후출현적('其脈如故’和‘暴腹腸大'是風邪去而濕邪殘存存的時侯出現的). 6. 경병적양명어열증가사용대승기탕(痙病的陽明瘀熱證可使用大承氣湯), 기병불시위료거제조실(其幷不是爲了去除燥實), 이시위료하양명어열(而是爲了下陽明瘀熱), 고실제상사용대승기탕적시후요소심근신(故實際上使用大承氣湯的時候要小心謹愼).

• 대한한약
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• s.2
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• pp.318-318
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• 1998

• Journal of Sasang Constitutional Medicine
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• v.1 no.1
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• pp.49-53
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• 1989

• Annals of Clinical Neurophysiology
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• v.12 no.2
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• pp.82-83
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• 2010

• Journal of Korean Medical classics
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• v.19 no.4
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• pp.147-168
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• 2006

통과대이연화장개빈관우중풍관점적비교연구, 이급기대중풍적분류(以及基對中風的分類), 증상(證狀), 치료(治療), 예후적관점진행분석득출여하결론(豫後的觀點進行分析得出如下結論): 이연파중풍적원인분류위진중풍(李挻把中風的原因分類爲眞中風), 겸중풍(兼中風), 류중풍(類中風), 사중풍(似中風), 종이조취료구분외풍여내풍계기(從而造就了區分外風與內風契機). 대어중풍적원인(對於中風的原因), 장개빈주장배제외풍근한어내풍적관점(張介賓主張排除外風僅限於內風的觀點). 재차기초상(在此基礎上), 설기여조헌가주장진수고갈급진화허시기원인소재(薛己與趙獻可主張眞水枯褐及眞火虛是基原因所在), 대차관점(對此觀點), 장수신적"중풍각전"중, 기유찬동적(旣有贊同的), 역유지비판의견적내용(亦有持批判意見的內容). 대어중풍적증상(對於中風的證狀), 이연근거병사소재분위중장, 중부(中부), 중혈맥(中血脈), 중경등(中經等). 우기대중경증적분류(尤基對中經證的分類), 재기타의서중시무법견도적분류적표준(在基他醫書中是無法見到的分類的標準). 저가이인위(這可以認爲), 타이 "금궤요략" 위의거(爲依據), 시부합내풍적증상분류(是符合內風的症狀分類). 장개빈파비풍적증상종대적방면분위경병화장병(張介賓把非風的症狀從大的方面分爲經病和臟病), 연후재파경병세분위경증화위증(然後在把經病細分爲經證和危證), 장병세분위초경증화위증(臟病細分爲稍經證和危證). 진관경병출현어지체(盡管經病出現於肢體), 이장병출현정신이상(而臟病出現精神異常), 단시경병여장병균유경증화위증(但是經病與臟病均有經證和危證). 저일주장시흔유지이성적. 대중풍적치료(對中風的治療), 이연대체상견지료금원이전적치료방법. 기용신한혹신온거풍화담(旣用辛寒或辛溫去風化痰), 혹용신온발한(惑用辛溫發汗), 혹용고한공리등(或用苦寒攻裏等). 장개빈지출상술방법대원기쇠약적중풍부적합사용(張介賓指出上述方法對元氣衰弱的中風不適合使用), 차장수신지출차시거풍치법실제상부적합내용풍이적합어외풍적치료(且張壽신指出此時去風治法實際上不適合內風而適合於外風的治療). 장개빈인위비풍적원인시진양여진음지허이불시풍담(張介賓認爲非風的原因是眞陽與眞陰之虛而不是風痰), 진관시급성기(盡管是急性期), 여과몰유담증(如果沒有痰證), 타견결반대사용거담지법(他堅決反對使用祛痰之法). 재중풍치료상(在中風治療上), 장개빈인위한다(張介賓認爲汗多), 소변소(小便少), 시진액부족소치(是津液不足所致), 소이수유열증역불요사용삼리지법, 병지출유뇨증시신허소치적위증(幷指出遺尿症是腎虛所致的危證), 종이진일보강조료진액적중요성(從而進一步强調了津液的重要性).

• Journal of Haehwa Medicine
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• v.8 no.1
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• pp.371-378
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• 1999

Through the thought of etiology and pathogenesis of convulsion disease in past document, we concluded as follow. 1. Convusion disease brings about some symptoms such as myotonia, neck stiffness, myospasm of four limbs, and in the ancient times it was called in Gye-Jong, Chu-Pung(抽風), Chi. 2. Etiologies of convulsion disease are external invasion of Pung-Han-Seub(風寒濕) and Ybul-Sa(熱邪), mistreatment, great loss of blood, deficiency of Gi-Hyul(氣血), stagnation of phlegm and blood. 3. There are four pathologic cases which arise convulsion disease. They are muscular denutrition from meridian stagnation by external invasion, muscular denutrition of heat injury, stagnation of phlegm and thrombus in meridian, muscular denutrition with deficiency of Gi-Hyul(氣血). 4. The treatment methods of convulsion disease are divided into three. If caused by external invasion, the methods are San-Han-Hae-Gi(散寒解肌), Hwa-Yung-Jo-Joong(和營調中). If caused by deficiency of Gi-Hyul(氣血), the method is Bo-Gi-Ik-Hyul(補氣益血). If caused by stagnation of phlegm and blood, the methods are Hwal-Hyul-So-Eo(活血消瘀), Do-Dam-Gun-Bi(導痰健脾).

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.