• Journal of the Korean Institute of Oriental Medical Informatics
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• v.16 no.2
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• pp.163-187
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• 2010

The concept of latent-gi(伏氣) was first mentioned in Yellow Emperor's Canon of Internal Medicine. For example, Elementary Questions states, "Damage by cold in winter necessarily engenders warm disease in the spring." Zhang Zhong-Jing of Han Dynasty in On Cold Damage and Miscellaneous Diseases mentions warm disease, stating, for example, "Greater yang disease with heat effusion and cough and without aversion to cold is warm disease. If sweating is applied, and there is generalized heat, this is wind warmth." However, the concept of warm disease was not central to his systematic presentation of externally contracted disease which placed the emphasis on wind and cold as the major causes of these diseases. Zhang Zhong-Jing's theories centuries after in the Sung Dynasty were to become the focus of the cold damage school, whereas the concept of warm disease was to become the focus of a rival school, the warm disease school. In the Sui-Tang Period, The Origin and Indications of Disease mentions warm diseases, their causes, patterns, and major principles of treatment. Successive generations of doctors wrote about warm disease, and in the Ming Dynasty writings on the subject become more prolific. This development is attributable on the one hand to the opening up of the south of China where febrile diseases tended to be of a different nature than in the north, and on the other to pestilences arising as a result of wars. In this period, Wu You-Xing in On Warm Epidemics explained in detail the laws governing the origin, development and pattern identification of warm epidemics. Notably, he posed the etiological notion of a contagious perverse gi.

• Korean Journal of Human Ecology
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• v.5 no.2
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• pp.101-118
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• 2002

This study focuses on the ideas that Chok-Du-Ri(족두리)ㆍHwa-Gwan(화관) are mentioned a substitute preventing abuses of luxury mood by Gache(가채) as the sharpest social problem at that time. First, the origin of Chok-Du-Ri(족두리) was introduced from Ko-Ko-Gwan(고고관) of Mongo(몽고) in Korea dynasty, then was linked to Chosun. That is, Ko-Ko(고고) started from headgear reflecting spiritual view of the northen people, its size was getting smaller passing through Ming(명) dynasty, its essential decoration changed and it carried out Jeon-Ja(전자) remaining decoration nature by real accessories, then it might be descended to Chosun. Second, Hwa-Gwan(화관) is very different from Nanaec(난액) of Chosun Dynasty Records, rather Jeonia, the original form of Chok-Du-Ri, is more similar to it. Third, its decoration like color, jewel, pattern etc influenced wishes of this life like sex, prosperity, glory, longevity, blessing, wealth and fame. Fourth, Chok-Du-Ri(족두리) was restored a substitute for Gache(가채), it was accessory for preventing luxury life, besides it was modeled from headgear in China, Chosun people had it. It is worthwhile as it was based on Chosun Sinocentrism(조선중화주의) in the latter period of Chosun and made it the fruit of that age. Moreover, in those days Qing(청) society accepted the advanced culture and institutional profit of Qing(청) actually, social mood is that home and overseas policy was corrected in many parts, Chok-Du-RiㆍHwa-Gwan were mentioned a substitute of Gache, symbol of luxury. It shows one part of Practical Thougth that abolishes vanity and affectation and makes useful profits in the latter period of Chosun.

• The Journal of Korean Medical History
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• v.34 no.2
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• pp.109-116
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• 2021

Uihagipmun was a medical book published by Leecheon during the Ming Dynasty of China in the 16th century and was introduced to Korea during the mid-Joseon Period. This text greatly influenced the establishment of the Donguibogam, an important work in Korean medicine. This study confirms that many medical professionals of the Joseon Dynasty loved the Uihagipmun and that the Uihagipmun was very important during the Joseon Dynasty. Since then, the status of the Uihagipmun in Korean medicine continued to be emphasized by Korean medicine doctors throughout the Japanese colonial era. The translation of the Uihagipmun began in the 1970s as part of the classical Korean medicine translation project under the leadership of the Korean medicine group "Hanbanguiuhoe". However, due to a lack of funds, the translation was delayed and the first edition was published on October 10, 1974. Writings of those who led the translation at that time show that the translation of the Uihagipmun thought that the exact translation of the Uihagipmun in Korean medicine could lead to the scientific and modernization of Korean medicine. Therefore, Gugyeok pyeonjuuihagipmun should not be regarded as a mere translation, but as a medical book of important value in Korean medical history.

• Human Ecology Research
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• v.60 no.2
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• pp.273-287
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• 2022

(K)Hanbok, which is Korea's traditional clothing, differs from the Chinese Hanfu or Japanese Kimono. This study aims to understand the fundamental differences between (K)Hanbok and Hanfu. The Goryeo Dynasty (K)Hanbok, which was particularly popular in China, was established because the Ming Dynasty Hanfu and Chinese fashion were considerably influenced by the 'Koryo Yang'. Firstly, while (K)Hanbok is bulky, Hanfu of the Han Dynasty is characterized by forming a slim silhouette. Due to the climate of the Northern Hemisphere, (K)Hanbok shows a rich silhouette comprising multiple layers of inner pants and a pleated skirt over a voluminous underskirt. On the other hand, the Han's Hanfu creates a straight silhouette in the form of a wrap, revealing the contours of the body. The pleated skirt of the (K)Hanbok can use six to twelve width fabrics, depending on the social position; however, the Hanfu of the Han is a skirt without any pleats. Secondly, the clothing patterns, which have various shapes, are totally different in how they are made and sewn. The Korean (K)Hanbok is a two-piece separate, whereas the Chinese Hanfu style is a one-piece with a skirt. The short length of the (K)Hanbok jacket has a Sup which is cut and pasted allowing the front closure to overlap. Nevertheless, the Hanfu of the Han does not have this Sup because it is of a wrap-around, one-piece style and has an exceptionally large front, and wraps around at the waist which extends to the sides. Thirdly, the (K)Hanbok jacket has separate string Gorums for fastening, and an additional belt around the waist; however, in the case of Gorum, it is unnecessary for a wrapping style of Hanfu. Fourthly, Koreans as an agricultural horse-riding people, basically wore the trousers attached a comfortable gusset, while the Chinese Hanfu had no pants, but the Chinese wore Gaedanggo pants which exposed the hips, inevitably during the Warring States period.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.114-159
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• 2012

The Northern Song Dynasty Period (北宋時代) was a drastic transitional era in all aspect of Chinese society including the politico-economic system, ideology and cultural trait. These changes that began in the late Tang (唐) Dynasty Period accomplished in the Northern Song Dynasty. In this phase, the fundamental change influenced in all institutional area; and among them, the capital city planning and its associating building technology to pile stone walls shows one of the significant change of those time. Based on the geographical factor, confluences of many rivers, the Kaifeing (開封) area where the BianLieng palace had developed as a political and economical centre since the Tang Dynasty when the Grand Canal was constructed. According to archaeological researches, the central city structure of Dongjing Walled Town was begun to plan in the late Tang Dynasty and formed in Five Dynasties. The fundamental functional change of city completed in the Midnorthern Song Dynasty. In spite of the relatively late beginning of archaeological investigations to Kaifeng Walled Town and Dongjing Walled Town due to unfavourable natural environment, excavations inaugurated since 1981 have achieved the significant investigations including the actual measurement and excavation to the outer wall, the preliminary excavation to the inner city area, the investigation and excavation to the royal palace of Song and the survey to the royal palace of King Zho in the Ming (明) Dynasty. These surveys have provide important data to reconstruct the 변량 palace, and elucidate the characteristics of city plan in the Dongjing Walled Town and the institutional change of capital city plan of the Northern Song Dynasty. The basic layout of Dongjing Walled Town reflect the realisation of ideality of the late Chinese medieval capital city structure that establish the commercial and economic centre based on the intensification of emperor's power by means of the organisation of ethical institution and the development of commercial economy. Firstly, the central place of the Kaifeng area is encircled with triple walls. This emphasise the authority of emperor located on the summit in the hierarchical ethic system succeeding to the main capital city plan of the late phase of ancient China. Secondly, the location of Dongjing Walled Town was decided by the transport network and the commercial function and defence function. Thirdly, this site shows the change of city structure and landscape of the Northern Song Dynasty. The closed Fengri (坊里: block) system transferred the open Jiexiang (街巷: road) system. Fourthly, the capital city was characterised by the free market trade and the diversification of market place. Fifthly, a convenient transport network in the Bian River, a centre of the Grand Canals, enabled to construct the Kaifeng Walled Town. Therefore, the Northern Song Dynasty continuously accomplished the developed water system as concerning about the utilisation of waterways after the construction of city.

• Journal of the Korean Society of Costume
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• v.9
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• pp.89-106
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• 1985

The peony patterns represent one of decorative designs with their fortunate and auspicious implications. The pattern emerged first from T'ang Dynasty, flourished during the periods of Sung and $Y\ddot{u}an$ in China, and then was introduced to Korea and Japan. For the purpose of systematizing the development of the pattern, this thesis is about the process of formation and various changes in peony patterns. It examines in general the literatures and the craft works, such as textiles, lacquer wares, chinas and porcelains, and metals. The characteristics of peony patterns are dealt respectively in this study about T'ang, Sung, $Y\ddot{u}an$, Ming and Ch'ing Dynasties of China, Shila, Korea, Chosun, of Korea, and Nara, Haian, Kamakura, Muromachi, MomoYama, Aedo of Japan.

• Journal of the Korean Society for Library and Information Science
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• v.48 no.2
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• pp.241-257
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• 2014

Seokssiwonryu originally published in China's Ming Dynasty was published twice in our country. While the engraved period of Bulamsa Temple version was clearly known from its obvious colophon indication, that of Seonunsa Temple version was not clearly identified with its colophon mentioning only its publishing temple. Thus, this study examined the relevant data such as Seonunsa Temple's history of its records and collection of the National Library of Korea, and as a result found a new fact that it had been engraved in 1710 not in 1649 as previously known.

• Cartoon and Animation Studies
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• s.29
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• pp.61-75
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• 2012

The essay explores the narrative structure of the classical Chinese feature animation, (a.k.a. Da Nao Tian Gong, 1964). The film is presented with a modular structure which is quite unique compared with the storytelling in feature animated films from other cultures, but could be connected with the tradition narrative structure in Chinese Zhanghui style novels in Ming and Qing Dynasty. By relating the original text of the story, the 16th century novel Journey to the West (a.k.a. Xi You Ji), with the film , the essay addresses the question of how the narrative tradition in Chinese classical literature influenced the Uproar in Heave for its segment narrative structure, character driven storytelling strategy and mirrored repetitive 2 plot lines. The subject of this essay is even more significant after the restored 3D version of was re-released in the spring of 2012 and became one of the best-selling animated feature film in the history of the country.

• Journal of Korean Medical classics
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• v.13 no.2 s.17
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• pp.2-12
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• 2000

Zhang Jie Bin had a lot of influences on the oriental medical world to write Lei Jing(類經) and Lei Jing Tu Yi(類經圖翼). His oriental medicine is based on profound philosophy. In this thesis, he understand the thousand year of chinese philosophy of ancient times in the reign of Song, Yuan, and Ming dynasty and his view of the world which is revealed in Oriental Medicine is regarded as Qi(氣) and then Li(理) is considered not an object for a special purpose but an attribute of Qi(氣). The base which a debater is able to suggest like this is that because of his saying that Tai Ji(太極) is Yin and Yang(陰陽). The basis of his world is Qi Yi Yuan Lun(氣一元論) of Yin Yang Wei Fen(陰陽未分)