• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.243-272
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• 2022

Jeongeup, Jeollabuk-do, is an area that requires attention from those who study the history of Korean thought. In addition, Jeongeup is an area wherein many works were recorded for the first time in literary history. This is the case with Jeongeupsa as a style of Baekje songs and the lyrics of the noble families of the Joseon Dynasty, Sangchungok. Jeongeup is likewise the location where Choi Chi-won (857~?) was selected to serve as a local taesu (viceroy) and where a unique tradition of music and style were passed down. In this paper, the relationship between Choi Chi-won's role in the process of establishing a silent Confucian academy in Jeongeup and the emergence of scholar culture was examined. When Choi Chi-won left after his term in office, a birth shrine called Taesansa Temple was built to repay the selection of the villagers, and it became the source that led to the opening of the Confucian academy Museongseowon in the future. Jeongeup will be shown to be the location where Choi Chi-won realized his aspirations and honed his capabilities. In particular, Choi Chi-won's played a crucial role in the mid-Joseon Dynasty by supporting the construction and securing the name of Museongseowon. That is why Choi Chi-won was able to be revived as a symbolic figure in the region. In addition, it can be seen that the shape of Choi Chi-won was more sedentary- in the form of a Confucian scholar- and Confucian scholars emphasized the transfer of portraits at Museongseowon. Through the poetry written by Choi Chi-won, readers can learn about the worries and perceptions of scholars during those times. Although his value in the field of poetry is diverse, he can especially be recognized as a Confucian intellectual. In a large number of his works, he expresses his anxiety, agony, and critical inner consciousness all of which came from his encounter with the realities of his time. In fact, Choi Chi-won showed his qualities as a prominent literary figure of his time who had extraordinary aspirations and an admirable work ethic. However, he failed to overcome his regional and mental alienation as a poet in neighboring countries. Therefore, he internalized a sort of fierceness in terms of his perception of the world. However, it seems that it was rather a factor that made his work exhibit a strong lyrical style. In addition, Choi Chi-won's collection of writings includes a number of works that strongly criticized various forms of pathological phenomena caused by terminal phenomena of the time. He also highlighted the wrong in society by realistically depicting the lives poor and needy people and their eventual sacrifice via distorted relationships. This can be read encapsulating the agony of intellectuals of that time. The dictionary definition of a 'Confucian scholar' is "a Confucian term referring to a person or class that embodies Confucian ideology," and in its contemporary meaning it suggests " ⋯ an example of a personality, but not an identity, and the conscience of one's time period as a source of human morality inwardly and social order outwardly." In this respect, it could even be said that Choi Chi-won could be considered the originator of scholar culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.1-14
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• 2022

This study focused on examining the location characteristics of Mujang-Eupchi(茂長邑治), a traditional city of Joseon Dynasty, and shedding light on its prototype landscape. The findings were summarized as follows: Mujang-Eupchi showed a Confucian space system with Munmyo(文廟) within Hyanggyo(鄕校) in the east, Sajikdan(社稷壇) in the west, Seonghwangsa(城隍祠) in the fortress and Yeodan(厲壇) and Seonghwangdan(城隍壇) in Jinsan(鎭山) in the north around the Mujang-Eupseong(茂長邑城), an old fortress, built in the 17th year of King Taejong(1417). It seemed that Seonghwangdan located in Jinsan maintained a coexistence system with Seonghwangsa(城隍祠) within the Eupseong. A Pungsu(風水) stream in a V-shape ran before the southern gate of Eupseong, forming a Sugu(水口) in front of Namsan(南山) that was an Ansan(案山). They dug a southern pond called Hongmunje(紅門堤) to protect the vitality of the village and built Gwanpungjeong(觀豊亭). In the 19th century, Hongmunje and Gwanpungjeong were renamed into Muheungje(茂興堤) and Muheungdang(茂興堂), respectively. Eupsu(邑藪) were planted in front of the southern pond including Wondo(圓島), and Songdeokbi(頌德碑), Dangsanmok(堂山木), and Dangsanseok(堂山石) served as a Sugumagi(水口막이) and protected the entrance of Eupchi. After the Liberation, the southern pond was buried in 1955, and a market was formed at the site, which resulted in the disappearance of its prototype. The study also investigated the name and location of Chilgeori(七거리) in the village as it was lost following the unification of Bu(府), Gun(郡), and Myeon(面) titles in 1914 during the Japanese colonial period. Chilgeori Dangsan was based on Yin and Yang theory and became the subject of the organization mainly composed of Grandfather Dangsan menhir and Grandmother Dangsan tree. Chilgeori Dangsan was a religious place of the community to guard the village, serving as seven gateways to control access at the village boundary and it had a locational feature of protecting the inner mountain ranges of Eupchi.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.120-129
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• 2022

The purpose of this study is to analyze the chemical composition of smalt pigments used in 10 large Buddhist paintings in the Joseon Dynasty using energy dispersive X-ray spectroscopy, and to clarify the material and characteristics by observing morphological characteristics using polarized light microscopy and a scanning electron microscope. Through chemical composition analysis, the smalt of all 10 large Buddhist paintings is judged to be potash glass using SiO₂ as a former and K₂O as a flux. In addition to the components related to cobalt ore used as a colorant, the paintings were found to contain high levels of As₂O₃, BaO, and PbO. The smalt particles did not have specific forms, and were blue in color, with various chromaticity. In some particles, conchoidal fracture, spherical bubbles, and impurities were observed. Through backscattered electron images, it was found that the smalt from paintings produced in the early 18th century AD had a high level of As, but the smalt from paintings produced from the mid-18th century AD onwards exhibited various contrast differences from particle to particle, and there was smalt with high levels of As, Ba, and Pb. Through the above results, the large Buddhist paintings in the Joseon Dynasty are divided into three smalt types. Type A is a type with high As₂O₃, type B is a type with high BaO, and type C is a type with high PbO. Looking at the three types of smalt pigments by the period of production, although some in-between periods were not detected, type A was confirmed to have been used from 1705 to 1808, while type B and type C were shown to have appeared in 1750 and used until 1808. This reveals that only one type of smalt was used until the early 18th century AD, and from the middle of the 18th century AD, several types of smalt were mixed and used in one large Buddhist painting. Studies such as this research are expected to provide insights into the characteristics of the smalt pigments used to produce large Buddhist paintings at the time.

• The Journal of Korean Medical History
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• v.26 no.2
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• pp.9-21
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• 2013

Purpose : The purpose of this study was to analyze the history and characteristics of laws and regulations of the medical and pharmaceutical system in Korea-focusing on the Korean (Oriental) medical and pharmaceutical system-from the modern period to the early days of the Republic. We reviewed how traditional notions and categories of Oriental medicine, which were regarded as experiential and conventional, became part of the current dualistic medical and pharmaceutical system, and examined problems and effects during the course of positioning. Methods : We classified the development of the medical and pharmaceutical laws and regulations chronologically, from the Korean Empire to the beginning of the Republic. The abolishment of the traditional medical system that was based on laws and regulations of the Joseon Dynasty, the implementation of dualistic medical system in the Korean Empire, the attempt to demolish Korean (Oriental) medicine under the Japanese colonial rule, and the process of developing a statute-based continental law system were thoroughly reviewed. Results : Although the dualistic medical system was specified in legislation via the enactment of the National Medical Services Law in 1951, we found that it was actually enacted in 1963, when the laws and systems regarding the educational institution of Korean (Oriental) medicine were stably established. Moreover, the dualistic pharmaceutical system was specified in legislation through the partial amendment of the Pharmaceutical Affairs Act in 1994, but we concluded that the actual enactment was rather in 2000, when the first Korean (Oriental) pharmacist was produced. Discussions and conclusions : An effort to establish a dualistic medical system of Korean (Oriental) medicine and Western medicine during the Korean Empire bore fruit a few decades later, after the Republic of Korea was founded. It means the basis for the legal system finally took shape in spite of the numerous attempts during the Japanese colonial era and the beginning of the Republic to abolish Korean (Oriental) medical and pharmaceutical system.

• The Journal of Korean Medical History
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• v.33 no.1
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• pp.31-41
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• 2020

Purpose : This study compares prescriptions in the 1901 edition of the Donguisusebowon (東醫壽世保元) and the 1901 edition of 24 Revised Tae-eum constitution prescriptions (新定太陰人病應用要藥二十四方) (1901PCDT) with medical herbs found in classical texts. This study also examines whether to include patterns which compose medical herbs for the person of Tae-eum constitution (太陰人). Method : The prescriptions for Tae-eum-in in the Shinchukbon and the ingredients of medical herbs of the prescriptions of the Complete Works of Zhang Jingyue (景岳全書), Secret Works of Universal Benefit (廣濟秘笈), Treasured Mirror of Eastern Medicine (東醫寶鑑), Comprised Edition for Formulas (方藥合編), Protecting Essence for Longevity (壽世保元), Introduction to Medicine (醫學入門), New Book for Saving People (濟衆新編 ENGLISH), and Compendium of Local Medicinals and Formulas (鄕藥集成方) were input into a database. The prescriptions were examined and combinations of medical herbs used to treat the person of Tae-eum constitution were noted. Result : Among the prescriptions for the person of Tae-eum constitution, similar examples of the 17 prescriptions of Kudzu Decoction to Relieve the Muscles (葛根解肌湯), Regulate the Stomach and Coordinate the Purity Decoction (調胃升淸湯), Clear the Heart and Lotus Pip Decoction (淸心蓮子湯), Decoction for Stabilizing Asthma with Ephedra (麻黃定喘湯), Profuse Heat and Sparse Cold Decoction (熱多寒少湯), Decoction for Coordinating Qi with Kudzu (葛根承氣湯), Major Decoction for Coordinating Qi with Kudzu (葛根大承氣湯), Minor Decoction for Coordinating Qi with Kudzu (葛根小承氣湯), Decoction for Dispersing the Exterior with Ephedra (麻黃發表湯), Boost the Lung Essence Decoction (補肺元湯), Major Supplementing Decoction with Deer Antler Velvet (鹿茸大補湯), Boosting Black Essence Pill (拱辰黑元丹), Honeylocust Fruit and Rhubarb Decoction (皂角大黃湯), Kudza and Duckweed Decoction (葛根浮萍湯), Sweet Flag and Polygala Powder (石菖蒲遠志散), Liriopis and Polygala Decoction Powder (麥門冬遠志散), and Cattle Gallstone Formula to Clear the Heart (牛黃淸心元) were found in important ancient literature and Dried Chestnut and Holotrichia Decoction (乾栗蠐螬湯) and Dried Chestnut and Tree of Heaven Root Bark Decoction (乾栗樗根皮湯) are the combination originally set by Lee Jema. Conclusion : Because 70.8% of the prescriptions in 1901PCDT could be found in literature which were pervasive in the period of the Joseon Dynasty (the period of Ming and Qing), it corresponds with Lee Jema's view that medical men in the Song, Yuan, and Ming Dynasties disclosed half of the prescriptions for Tae-eum person by studying these texts more.

• Journal of architectural history
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• v.26 no.6
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• pp.67-76
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• 2017

Royal banquets under the reign of King Sunjo saw developments in the playacting stage, which exhibited characteristics unique to the transitionary period between Jeongjo and Gojong this period established the framework of the Joseon Dynasty's playacting stage construction. Starting with the Jagyeongjeon-Hall banquet and continuing into the Year of the Golden Rat banquet, the next-day banquet by the Crown Prince demonstrates a renewed format, with the stage also changing accordingly. This change was substantiated by more assertive use of the Red Blind and gabjang. Previously, the Red Blind has been installed in the palace hall and around the royal courtyard, to form three sides, but as next-day banquets became more frequent under Sunjo, the Red Blind developed and came to be installed in accordance with the hierarchy within the royal family. In the Year of the Golden Rat banquet, the Red Blind was lifted and the throne of the crown prince was situated in the palace hall. In the banquet of the following year, however, the Red Blind was let down and the crown prince's throne was placed outside, in palace court yard. This seems to have been a gesture to reorient the crown prince's political standing and restore Sunjo's sovereignty the following year. Hence, the installation of the Red Blind developed in accordance with the royal hierarchy and ranks under Sunjo's reign. The gabjang provided the second layer of protection for the playacting stage. The hongjeongju gabjang surrounded the stage in multiple layers and served as a partition. The gabjang from the Year of the Golden Bull banquet, in particular, boasted a unique installation, where it dangled from both sides of the royal palace's facade. Hongjeongju gabjang, lapis lazuli gabjang, red gabjang, and yellow curtains were installed in the stated order to reflect Sunjo's 40th birthday as well as the 30-year anniversary of his coronation. The Red Blind and gabjang from Sunjo's years were positioned in creative ways to reinstate the royal authority, and demonstrated many improvements from those of Jeongjo's reign.

• Cartoon and Animation Studies
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• s.46
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• pp.151-179
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• 2017

The purpose of this study is to analyse the characteristics of the 1920s and 1930s to analyze the emotions of laughter in the popular culture, This period, such as the style of comic books, tools, and textures, has been influenced by the influence of the eodi, and it is in its way to establish the aesthetic aesthetics of the colonial Joseon Dynasty. In the pop culture of the 1920-30s, laughter was a new feeling in the gloomy atmosphere of colonial rule. It was the comic media that showed the sensation to the public, owned it, and injured it. Also, the comic book was an important period in which comic books were produced to produce quantitative and qualitative growth. The study explored how the comics interacted with other media in the 1920s and 30s. And the study analyzed what was selected in there. This can quickly explain how the comics gained, or how they obtained them. This shows how the comics gained, in a way, how they obtained laughter.

• Journal of the Korean association of regional geographers
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• v.21 no.1
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• pp.79-97
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• 2015

Regional specialty products should be representative of the regional characteristics for a long time, this was not done for geographical research. This study examines current the regional specialty products on 12 web-site of the cities counties in 2013 and the products registered on the Tosan(土産) category from old Jiriji(古地理誌) in Chungcheongbuk-do. Futhermore, the study analyzed periodical change and regional distribution characteristics of regional specialty products. Major findings are as Follows. First, current the regional specialty products types are 4 products(crops, marine products, forest products, livestock products) and 3 manufactures (processed food, handicraft, cosmetic products). Among the regional specialty products, various crops and processed food were distributed in all the regions. Second, the traditional products types are 5 products(crops, marine products, forest products, livestock products, mineral products) and 1 manufactures(handicraft) that registered on the old Jiriji in the Joseon Dynasty period. The jujube, ginseng and honey were cultivated in the most regions. Third, the traditional products types are 4 products except for marine products and 1 manufactures(handicraft) that registered on the old Jiriji in the period of Japanese colonial rule. Its total item numbers of the regional specialty products are greatly decreased, but items of handicraft relatively increased in the Danyang and Goesan regions. Finally, regional analyzing of current local items shows that there are only a few regional specialty products(18 items) that have historical traditionality.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.64-79
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• 2016

The purpose of the present study is to clarify the process of change to the pond at the Jongmyo Shrine(宗廟), from the Joseon Dynasty period to the modern and contemporary era. The consequent research results can be summarized as follows. The first record of the Jongmyo pond is confirmed in the "Annals of King Sejong(世宗實錄)". The pond, which was being constructed at the time, refers to the current upper pond(上池). A pair of islets(雙島) were constructed during the Sukjong(肅宗) period, with several trees planted on the middle islet(中池). The middle pond is thick with lotuses. In particular, the middle island on the middle pond subsequently changed into a single island(單島), which is likely to be related to the pond expansion during the reign of Youngjo(英祖). When the lower pond(下池), involving dualistic arrangement, was constructed in the modern and contemporary era, the pond of the Jongmyo Shrine underwent a drastic transformation phase. The lower pond was constructed before 1947 at the latest, and when the right side of the lower pond was filled in the mid 1980s, the dualistically arranged lower pond became a unified type of lower pond. On the other hand, the bank protections of the upper and middle ponds were constructed with earth, but was subsequently modified into its current form using stone.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.279-286
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• 2019

Jo, Hee-ryong(1789-1866), who was given the title of "boss of the world handling a China inkt" in the late Joseon Dynasty, was from a noble family, but he claimed to be a yeohang-in himself. The byeoggyesa was formed based on Jong-in and they are engaged in literary activities. Hee-ryong Jo, "I do not follow people's back" is the art spirit of my life. The theory of the Holy Spirit has inspired emotion or inspiration as the essence of art. He pursued original aesthetics of painting with the true nature and personality as important. During his early 60s, the period of banishment for about three years had a profound impact on the identity and direction of his art world. During this period, he wrote four volumes, including "Hwaguamlanmug", "Uhaeagamgo", "Sugyeongjaehaeoejeogdog", "Hanwaheonjehwajabjon" and among his paintings with 19 paintings, eight paintings were produced, including "Hwangsannaengundo", "Bangunlimsansudo", "Maehwaseoogdo". These works reveal the Playful sokmi sprit, the grotesque of manual dexterity, and the aesthetic of painting through the natural divergence of natural nature.