• Journal of the Korean Society of Costume
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• v.32
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.133-148
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• 2016

This study examined dahoe(多繪-braided cord) and mangsu(網綬-ornament of husu for ceremonial dress) used in myeon gwan(冕冠), daedae(大帶), and husu(後綬) among royal formal dresses in the Joseon Dynasty(1392-1910) based on historical materials including literature, relics, and paintings. The results of this study are as follows. In myeon-gwan, dahoe was used for cap strings, goeing(紘) and yeong(纓). Cap strings were applied to the king, the Crown Prince, and the eldest son of the Crown Prince regardless of their status, and they showed differences among the periods. Both goeing and yeong were used during the early period of Joseon, and then only yeong was used in the late period. As goeing was removed and only yeong was used in the late period, patterns combining goeing and yeong, in color and wearing method, appeared. Dahoe used in cap strings is dongdahoe(童多繪-a kind of braided cord). In daedae, 'nyuyak(紐約)' was tied up to its fastening part. The material of nyuyak was changed from dongdahoe in the early Joseon Dynasty to guangdahoe(廣多繪-a kind of braided cord) in the late period, and the method of using it was also changed. Husu was imported from Beijing in China during the early period of the Joseon Dynasty, but in 1747, it was regulated to be woven in Joseon, and at that time, King Yeongjo attempted to restore the institution of weaving husu with "320 su(首)," namely, 6,400 strands as specified for the status of a prince of the Ming Dynasty.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

• Journal of the Korean Society for Library and Information Science
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• v.29
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• pp.345-382
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• 1995

The type printing of first Ch'ing dynasty term in China is worthy to be studied because the type printing during that period included metal type, wood type, and clay type as well as the development phase was similar to Chosun dynasty culturally and technologically. This paper studied typography during the first Ch'ing dynasty term, including Shunzhi(1662-1722), Yongaheng(1723-1735), Qianlong(1736-1795), Jiaqing(1796­1820) period. The main results of the study is as follows. 1. The main body of type printing was bookstore, lecture-hall, and individual as well as the royal court that is the central government. 2. The content of type edition covers classics, history, philosophy, and literary works. Specifically, even though Wuyingdienjuzhenban series is excluded, the content includs study of the classics, class of the history, class of the philosophy, literature works that include collection works and novel and government official bulletin. 3. The printing technique of bronze type was very popular In Beijing. Jiangsu, and Taiwan. It's scale and production technique was more elaborate than in Ming dynasty. 4. Wood type was very popular in Beijing, Jiangsu, Zhejiang, Anhui, Sichuan, and Fujian. In addition to wood type, chinese ware type was applied to book printing in Shandong. However, most of them were wood type and they were used after Qianlong period. 5. The production technique of type was skilled enough to present the fine view of a style of type. The typesetting technique was improved as much as woodblock printing. With regard to the making technology of Chinese ink, the light and darkness of chinese ink was not even sometimes. But, the technology was improved significantly when comparing with the failure experience of printing that chinese ink was not developed in early type invention. 6. In case that the book was printed in bookstore with the intention of profit and the number of book was large, the proofreading attitude was rough. However, overally, it was made correction carefully applying the various methods of proofreading. 7. The support of government made a great contribution in the area of all printing technology, including production, typesetting, and brushing of type.

• Journal of Korean Medical classics
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• v.24 no.2
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• pp.23-50
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• 2011

"LeiGongPaoZhiLun" is the first pharmaceutical book, and there are various opinion on when LeiXiao(雷斅), the author lived. From the aspect of several data, it is appropriate most that LeiXiao live in the period of Sui(隋) Dynasty, like SuSong(蘇頌) in the Sung Dynasty said, This book was not made at one time by one person. At the beginning, it was written by LeiXiao and the later generations enlarged to finish. The original of "LeiGongPaoZhiLun" disappeared already but a large amount of this book was quoted to "ZhengLeiBenCao(證類本草)" to be preserved. The contents of "LeiGongPaoZhiLun" are the first professional book about processing of medicinal, in which most of processing of medicinal that is generally used today, is included and some methods are unused. Besides, the regulations of this book are specific, the range is broad, and theoretical frame is established for the first time. This book has abundant contents, in which several processing of medicinal are written. There are 10 methods such as steaming(蒸法), boiling(煮法), baking(炮法), stir-frying(炒法), calcining(煅法), long time boiling(煉法), scorching(燒法), baking after wrapping(煨法), immersing(浸法), washing(洗法), flying(飛法), etc. How to remove some section that is not used for drug, how to separate according to medical use and region to be applied, how to smash, how to cut, how to dry, container for medicine, warning for making a prescription, time to make medicine and amount of medicine, how to distinguish superior and inferior and origin, how to make medicine partially, etc, are contained in this book. The contents of "LeiGongPaoZhiLun" can be mixture of processing of medicinal of medical scientists and taoists. In conclusion, however, the effect by the later medical generations of "LeiGongPaoZhiLun" was not great on processing of medicinal. It stemmed from the difference of processing of medicinal in this very taoistic book that realistic difficulties were disregarded by taoists for training and practical purpose, treatment that is the reason that later medical generations used processing of medicinal. Consequently, there is no great relation between the development of processing of medicinal in the Sung Dynasty and this book. "LeiGongYaoXingFu(雷公藥性賦)" that was abundant in medical market in Ming(明) and Qing(清) period has no relation with "LeiGongPaoZhiLun" is kind of a distribution-purposed book that was mnge in or after Ming Dynasty. However, since a book that is said to be written by 'LiGao(李杲)'PaoZhihis nof a dijust borrowed and focus on a brief summery, it is not desirable for beginners to learn medical knowledge. "LeiGongPaoZhiLun" is the first pharmaceutical book and is a model to show how a science in the history of the herb medicine generated and developed and how such a book is changed and modified to make a change of value.

• Korean Journal of Acupuncture
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• v.23 no.4
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• pp.15-25
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• 2006

Objectives : ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$ is a medical literature dealing deeply with the theory of internal organs thought to be the core of theories in Chinese medicine. The aim of this study was to explorer on the formation and the organization of ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$. Methods : We investigated the process of the formation of ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$ and analyzed the organization of ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$ on the medical-historical points of view. Results : As a result from studies. Main contents include 11 pieces of pictures about the positions of the regions of acupuncture and moxibustion as well as the internal organs, in addition to descriptions in detail regarding each disease in the internal organs, problems occurred among them, obstinate diseases, etc. Conclusions : A published book in Ming Dynasty and another transcribed by someone in Qing Dynasty as the xylographic books of this literature in China, which turned out to books referred considerably to contents of YangGae's ${\ulcorner}JonJinDo{\lrcorner}$, a famous doctor in Northern Song Dynasty in China. Moreover, the main contents of ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$ greatly affected the theories of the internal organs for the following generations as they were quoted in Yicheon's ${\ulcorner}UiHakYipMun{\lrcorner}$ in Ming Dynasty in China.

• (The)Study of the Eastern Classic
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• no.33
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• pp.159-191
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• 2008

This study aims to look into the three-dimensional characteristics of Euniljisa (a scholar who lived in a hidden place) demonstrated in the poems of Myeongam Jeong-Sik (1683-1746, the 9th year of King Sukjong to the 22nd year of King Yeongjo), who was a scholar in the region of Yeongnam in the 18th century. Myeongam Jeongsik had a very righteous aspect in terms of integrity. He was born about 40 years after the Ching Dynasty was established. However, as shown in his pen name of 'Myeongam', he still used the Ming Dynasty as a subject of adoration and reverence, and he lived as an integral man of scholarly virtue in seclusion while refusing to have a government post during his lifetime. In his poems, there may be various discussions, but this study focused on following two aspects. First, the study reviewed his attitude toward the world, that is a retiring attitude, in looking into his works. Second, the study did not merely keep the existing two-dimensional perspective in simply reviewing a hermitage poem in the analyzing of a poem. Instead, the study attempted a three-dimensional review in seeking to see whether three items involving the fidelity and integrity of a dignified and daring person (a person who does not care about worldly views), the ambivalent emotion of Jo Wul reflected in the poem, and the delicate description and the expression of emotions, are placed in a serial relationship.

• Korean Journal of Pharmacognosy
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• v.11 no.2
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• pp.85-94
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• 1980

In this paper, we studied what the drug name of Sang-Baik-Pi(桑白皮) Mori Cortex Radicis) is, how to collect it; and how the chief symptoms had changed in the chinese medical references and herbological literatures and formularies. Also we bibliographically analyzed in the herbological way the drugs combinated with Sang-Baik-Pi and their active principles among the prescriptions in the famous medical book; 'Dong-Ui-Bo-Gam', (東醫寶鑑) of our country. Finally, we concluded as foolow. Numerous names of botainical origin were described, but it was not recorded that San-Keun-Baik-Pi(桑根白皮) in old days is different from root bark of Morus sp. in this times. Sang-Baik-Pi has been a common designation since Ming dynasty (AD 1500). Collections of it were independent of seasons, it could effect perfectly over 10 years old. And its cork layer should be removed after collections, it was especially emphacised that root bark on ground was poisonous. The chiefly cured symptoms with Sang-Baik-Pi were constantly not different from the contents of 'Shin-Nong-Bon-Chau-Kyung'(神農本草經) in ancient times, but it has been developed since Ming dynasty. Its uses are widely extended to a surgical and dermatologic desease; rheumatis, beriberi and diabetes in this times. and its efficacies depend upon curing. Prescriptions on Sang-Baik-Pi that were prescribed in 'Dong-Ui-Bo-Gam' are there, 177 drugs combinated with it. Glycyrrhizae Radix is most frequently combinated with Sang-Baik-Pi(frequently 68%). It is proved that Armeniacae Semen, Platycodi Radix etc, in the order take strong effects on anti-tussive, anti-phlogistic, diuretic, anti-pyretic etc. It is expressed 34 times, frequently, that a dose is 3.75g, and it shows that a usual doses is 2-4g. As the above prescriptions are classified, the results is as follows, respiratory tract desease is most frequently in 69 prescriptions, the next gastrointestinal tract 13 times, diuretic 12 times, and antipyretic 11 times. Therefore, Sang-Baik-Pi contains a good remedial value chiefly of the effects upon the respiratory diseases.

• The Journal of Korean Medical History
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• v.22 no.2
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• pp.15-22
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• 2009

In this thesis, the emphasis is laid especially on the culture & structure of Huizhou Province, China as the prime mover of the specifically-regional Huizhou $X{\bar{i}}n^{\prime}{\bar{a}}n$ medicine. Huizhou was the home town & stronghold of Neo-coufucian masters Cheng-Zhu (Cheng brothers and Zhu-hsi)". The tradition of the region as "The arts province" resulted in the flourishing trend of nurturing prominent Confucian-doctors. The remarkable all round activities of Huizhou Merchants (新安商人 $X{\bar{i}}n^{\prime}{\bar{a}}nsh{\bar{a}}ngr{\acute{e}}n$), as the reigning power merchant at the period were the second mover of the Zeitgeist. Their nation-wide network all over China made it possible to gain valuable inlormation and access to news including the field of medicine in time. Some merchants actually have "abandoned their own jobs to become doctors of medicine". This Confucian-Merchant culture was one of intrinsic characteristics of Huizhou region, inducing "Pragmatic Scholarship". With the enlargement of the population of Confucian-tumed doctors and improvement of the societal status of doctors, the resultant occupational triad of local Confucian govemment officials, local $X{\bar{i}}n^{\prime}{\bar{a}}nsh{\bar{a}}ngr{\acute{e}}n$ merchants, and local doctors was established after the Middle-Ming Dynasty. Ultimately, the two prime movers of the concomitant development of medicine in the Province Huizhou in this study are concluded to be the synergy effects of the Neo-Confucian tradition and economic power of the prevalent Huizhou Merchants ($X{\bar{i}}n^{\prime}{\bar{a}}nsh{\bar{a}}ngr{\acute{e}}n$).

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.238-261
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• 2012

This research was carried out about the Bansu which surrounded the Sunggyungwan(成均館), national university in the Joseon Dynasty to get the main characteristics of the landscape at Korean traditional school campus by analyzing cultural meaning and historical origin. The earliest record about the Bansu was in "The Book of Odes(詩經)" as Bansu was the water flowing near the Ban palace(泮宮). But, in the following time, Bansu has become the symbol of the school which was built by the feudal lords and one of very important elements in the temple-school(廟學) landscape. The Bansu of Sunggyungwan at Joseon Dynasty was the streams flowing at the east and west of the school campus and get together at the south. Sunggyungwan was located in the sacred place which followed the special organization of Bansu at the beginning of the Joseon Dynasty. And, Bansu in Joseon Dynasty was influenced by the Bansu in Song Dynasty(宋), but it was different from the Bansu in Ming and Qing Dynasty which has been formulated as the halfround pond in front of the school. This research tried to find the reason why in the Josenon Dynasty the stream flowing around the school was regarded as the Bansu. Bansu was also regarded as an important element in the public school, Hyanggyo(鄕校) and the private Seowon(書院). According to this research, the streams which flows around the Seowon or the Hyanggyo were found as called Bansu. Water stream around the Hyanggyo and the Seowon in the Joseon Dynasty has to be reconsidered under the deep research on the organization of Ban-su.