• 복식
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• 제7권
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• pp.5-19
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• 1983

Sacredotal robe(法服) means full court dress. We can't know about the shape of sacredotal robe before Dae-Han Empire(大韓帝國) since there are no remains of it. The study of sacredotal robe for queen have also been made centering around the socredotal robe granted from Ming(明) dynasty and the system of Juck-Eui(翟衣) in Dae-Han Empire. In this thesis I tried to study about the sacredotal robe for queen from King Gong-Min(恭愍王) of Koryeo(高麗) dynasty to the close the Cho-Sun(朝鮮) dynasty by investigating the Literature of Cho-sun Dynasty Chronicles(朝鮮王朝實錄), Ga Rae Do Gam Eui Gue(嘉禮都監儀軌), Sang Bang Jung Rae(尙方定例), Gook Hon Jung Rae(國婚定例), Sok-Orae Eui-Bo(續五禮儀補), and Dae Myung Whe Jeon(大明會典). The first documents on sacredotal robe for queen is regarded as that in the period of King Gong Min., which says that Chil Whee Gu Bong Gwan and Juck Eui of the 9th grade had been given from Ming dynasty. The sacredotal robe for queen in Chosun had been granted from Ming dynasty since the 3th years of King Tae-Jo(太祖) to the 3th years of King In-Jo(仁祖). They were Ju Chui Chil Juck Gwan, red Dae Sam(大衫), Bae Ja(褙子) embroidered with. pheasants on blue silk, and ivory flat baton (笏), which belonged to the court dress for the first class of court lady. When Qing(淸) dynasty succeeded to Ming dynasty, Cho-sun adopted the system of luck Eui which had it's origin in the system of Ming, denying to comply with Chung. But as a matter of fact, the system of sacredotal robe for queen actually used was one which were different from the dress system of Ming and converted into our national ways. In the latter period. of Cho-sun, the system of Bae Ja or Juck Eui were used together until the period of King Young Jo(英祖), and the system of Juck Eui which was written in Gook Hon Jung Rae was continually used from King Young Jo to the close of Cho-sun. It was composed of Juck Eui, Beol Eui(別衣), Nae Eui(內衣), Pe Sool(蔽膝), Dae Dae(大帶), HaPi, Sang(裳), Ok Dae(玉帶), Pae Ok(佩玉), Gue(圭), Mal(襪), Suk, and Myun sa(面紗), The headdress was used in our own ways, not complying with Juck Gwan(翟冠). The color of Juck Eui was red for queen, deep blue for the consort of the crown prince. The color of Juck Eui in DaHan Empire was deep blue, different from that of Juck Eui in Cho-sun. Bo(補) for queen wus embroidered with dragon with five claws and the one for the consort of crown prince with dragon with four claws. The back length of Juck Eui was longer than front about 28cm (1尺), and the front opening was straight down. 51 motifs of a brace of pheasants which were similiar to Bong(鳳) were embroidered on Juck Eui for queen. But we can't find out whether there 31 or 51 on Juck Eui for the consort of the crown prince. The system shows independant aspects, because there are Bo, Myun Sa, Sang, Ha Pi, Beol Eui, and Nae Eui which were not found in the system of Ming. As mentioned above, I have studied on the sacredotal robe for queen. But we can't guess the detail of sacredotal robe for queen, because there are no remains at all. Therefore I expect more study on this.

• Journal of Construction Engineering and Project Management
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• 제7권1호
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• pp.37-49
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• 2017

The Jinshanling section of the Great Wall of China is a series of fortifications in northern China that was constructed for strategic military defenses. This section was first built in the beginning of the Ming Dynasty in AD 1368 and then underwent major construction, reconstruction and renovation during the late Ming Dynasty, approximately in AD 1569. The Jinshanling section is 10.5 km long, a very short section compared with the entire 21,200 km wall. The wall section is located in Luanping County, Hebei province, China. This research paper focuses on the construction methods and materials of the wall and the towers in the area. The research methodology includes site visits, knowledge acquisition of experts and 3D graphic modeling. This study reveals that the materials selected for the structure include rubbles and rammed earth, bricks, stones, timber, and mortar. The erection sequence of the wall and the towers was a bottom-up fashion using various ancient construction techniques, such as the fire-setting rock blasting techniques and the surveying techniques from the Sea Island Mathematical Manual.

• 한국의사학회지
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• 제20권2호
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• pp.149-168
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• 2007

This study compared the figures of viscera (臟腑圖) in the seventh volume titled "Body" of Sancaituhui (三才圖會), the illustrated Encyclopedia published in the Ming Dynasty (明代), and the figures of viscera in Leijingtuyi (類經圖翼). One hundred and six volume Sancaituhui was compiled by Wang Qi (王圻) and his son Wang Siyi (王思義) in the Ming Dynasty. It was first published in 1607 and republished in 1609. Sancaituhui is somewhat different from other existing medical books in terms of form and content. Thus, this study examined the difference. Another comprehensive medical book, Leijingtuyi, was written by Zhang Jing-yue (張景岳) in 1624. Both Sancaituhui and Leijingtuyi were published in China before Terrenz's Taixirenshenshuogai (泰西人身說槪), the book which first introduced Western anatomy. Therefore, this study accessed the two medical books to examine the development of figures of viscera before the instruction of Western medicine.

• Asian review of World Histories
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• 제1권1호
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• pp.117-149
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• 2013

The purpose of this essay is threefold. First, to highlight research of Seonmin KIM, whose 2006 Ph.D. dissertation elucidates complex relationships among Ming China, Choson Korea, Tokugawa Japan, and mountainous ginseng-producing "borderlands" between Korea and China; her story concludes with the remarkable rise of a borderlands power that overthrew Ming China, there-by establishing dominance that lasted into the $20^{th}$ century - the Qing Dynasty. A second purpose is to showcase application of a non-standard-model - the Hydraulic Metaphor - that elucidates economic components of Professor KIM's history via visual and intuitive mechanisms designed to be understandable for non-specialists. Last, an outline of East Asian history is placed within context of centuries of monetary evolution that eventually yielded the late-$16^{th}$-century birth of globalization.

• 한국식생활문화학회지
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• 제12권3호
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• pp.341-352
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• 1997

A study was carried out to compare the food cultures among Korea (Chosun dynasty), China (Ming, thing dynasty) and Japan (Muromachi, Edo era) from 14 century to 19 century. For this study, geographical environments, historical background with the times were researched and also bibliographies related on food cultures were compared among these three countries. There were special geographical environments in three countries upon their territories and geographical features. Historically, in those era, the livelyhoods of the common people in three countries were difficult considerably because of the disturbances of war in the inside and outside of the countries. But the food cultures of three countries were changed owe to introduce the new western culture and institutions. And also there were numerous bibliographies related on food culture which were published from 14C to 19C in Chosun dynasty, Ming and Ching dynasty, and Muromachi, Edo era. They were shown to be the most in Japan, and order of China and Korea followed them. The bibliographies of Ming and thing dynasty showed less than those of Edo era for considering their population and territory, comparatively. In Japan, the biliographies related on food culture of Edo era was given the term of the age of cookery books. It was thought to be resulted from that the peoples of Japan were concerned about cooking and had more chances to contact foreign culture earlier than other country.

• 한국의사학회지
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• 제30권2호
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• pp.101-118
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• 2017

Purpose : This paper explores the extent to which ZangFu diagrams made after Northern Song Dynasty were influenced by ZangFu diagrams made before Northern Song Dynasty, and how diagrams of the whole body and heart originated from MingTangZangFuTu and affected each other when quoted in books published after Northern Song Dynasty. Method : The author used four form factors including heart shape, internal curved lines, cylinder-like structures above heart, and wuzangxi (五臟系) which resembles a lotus flower which has not yet bloomed, to analyze and compare different ZangFu diagrams before and after the Northern Song Dynasty. Results : Two form factors, the shape of heart and wuzangxi, are described in ZangFu diagrams before Northern Song, and may have influenced ZangFu diagrams after Northern Song. However, the other two form factors (internal curved lines and cylinder-like structures above the heart) did not influence ZangFu diagrams after Northern Song. All form factors of heart found in WuCangLiuFuZhiTu (within the whole body) and diagram of heart in ZhenJiuJuYing (鍼灸聚英) were most similar, but the two paintings became less similar as they were cited in several books. With the exception of the form factor with structures above heart, the three other form factors are almost identical between two paintings produced after Northern Song dynasty, as displayed in the same book. Conclusion : ZangFu diagrams of the heart produced after Northern Song Dynasty, were not completely based on ZangFu diagrams made before Northern Song Dynasty. Diagrams of whole body and those of the heart were changed, while influencing each other after Northern Song.

• 복식
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• 제56권1호
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• pp.44-55
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• 2006

The purpose of this study is to examine the characteristics of man's boots in the Joseon Dynasty and compared them with those of the Ming and Qing Dynasty to find the influential relationships between them. Boots in the Joseon Dynasty are divided into several kinds such as Heukgwejapihwa, Hheuksapihwa(黑斜皮靴), Heukpihwa(黑皮靴), Mokhwa(木靴), Hyeopgeumhwa(挾金靴), Suhwaja (水靴子), Jeonpihwa, Gijahwa(起子靴), and Baekhwa(白靴). In addition, Jeong(精: footwear) was put inside boots. They tend to be named according to their materials or ornaments on them. First, Jeong put inside the boots is regarded as footwear for the comfort of the feet or protection against cold. Mokhwa appears in literature around the 19th century. As shown by remains and paintings of those days, it is considered to have become the common name of boots as it underwent many changes. On the other hand, a book in the era of King Gojong includes pictures of Suhwaja. Compared to Hukpihwa in the same book. The topside seems to have been raised in order to make the wearer who put on a military uniform feel comfortable when walking, since the bottom piece is hard. Baekhwa is worn not only with funeral garments but also with Sibok(時服), one of official uniforms. Boots in the Joseon Dynasty had been made following the design of the Ming Dynasty since official uniforms were conferred upon King Gongmin in the late Koryo Dynasty. But turning the late Joseon Dynasty its detailed design changed little by little. The topside of the boots became more round, the entrance part became wider, height of the shoes became taller, and the bottom piece became parallel to the ground.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2008년도 춘계 종합학술대회 논문집
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• pp.708-711
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• 2008

한국 조선시대와 중국 명나라 가구들에 표출된 문양들을 문헌자료와 비교분석을 통해 심미적이며 객관적 조형 분석 툴을 이용하여 한국과 중국 양국 간의 현대적 콘텐츠 디자인에 응용 가능한 학문적 가치를 제시하고자 한다. 21세기 무한 경쟁 시대에 걸맞게 문화와 경제적 마인드를 형성하기 위해서는 전통 문양을 어떻게 디자인 요소로 이끌어나느냐 하는 여건 마련이 선행된 연후에야 가능한 것이므로 이에 대한 프로그램의 활성화의 전략에는 어떤 것이 있는가에 대해 살펴보았다.

• 복식문화연구
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• 제23권6호
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• pp.955-971
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• 2015

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.

• 한국의상디자인학회지
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• 제14권4호
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• pp.63-72
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• 2012

In this study, Characteristics of colors on Chinese traditional costume in Tang, Song, Yuan, Ming, and Qing Dynasty were compared. And general colors of Chinese traditional costume and the viewpoint of them were considered. The purpose of this study were to apt colors of Chinese traditional costumes to the sensory appetite of modern people for new things, and make the recreation inspired by new senses be applied into the fashion industry effectively. The results were as followed : Firstly, colors distribution of 5 dynasties were different. In the Tang, R(red) was highest, YR(yellow red) and Y(yellow) followed. In the Song, YR was highest, Y and R followed and PB(purple blue) was increased, In the Yuan, R, YR, PB, B were concentrated at low rates, and other colors were increased, In the Ming, Y, R and B were concentrated at low rates orderly, and other colors were increased, In the Qing, PB was highest and Y, R, YR, B, P(purple) were increased. Secondly, tons distribution of 5 dynasties were different. In the Tang, L(light) was highest, P(pale) and Lgr(light grayish) followed. In the Song, P(pale) was highest, Lgr, Gr(grayish) and Dl(dull) followed In the Yuan, Dp(deep) was highest, P and Lgr followed, and other tones were increased, In the Ming, S(strong) was highest, DI and V(vivid) followed. Thirdly, The general colors of 5 dynasty were R, YR, Y, B, PB colors with vivid, deep and light tones. Forth, the viewpoint of color on Chinese traditional costume was based on the Yin-Yang and the Five Elements theory. Based on results of this study, the successive researches will be carried out about the unique colors of each nation and application traditional colors to modern fashion industry in order to the unique cultural sense.