• The Journal of Korean Medical History
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• v.29 no.2
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• pp.1-16
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• 2016

The purpose of this study is to analyze how medical texts in Joseon Dynasty have changed in time and to understand their characteristics. Medical texts that reflect the medical standards of the time were enable us to look into how medical bureaucrats were trained and education policies related to the training. Chinese medicine influenced Joseon Dynasty's medicine in different ways at different times. Before the Imjin War, Joseon dynasty's medicine was largely under the influence of the Song dynasty's medicine. After the war, the four noted physicians of Jin-Yuan era had increasingly more significant influence, along with the introduction of Ming dynasty's medicine. The facts found through this study include : 1) the basic courses were composed of Chandomac (纂圖脈), Dongingyeong (銅人經), and Boncho (本草); 2) Josenization of medical division system was established for the first time during the reign of King Sejo (世祖), and updated throughout the time of the King Seongjong (成宗) and King Sun Jo (宣祖); 3) Hyangyak (鄕藥) education with medical texts was limited to some periods like King Seongjong (成宗) and King Sejo (世祖); 4) the high proportion of Bangseo (方書) in the early era gradually decreased, and more of specialized and comprehensive medical books came to find their way into the standard curriculum.

• The Journal of Internal Korean Medicine
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• v.21 no.1
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• pp.55-64
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• 2000

Objectives : this project is to find the developmental possibility of medialcohol theraphy Methods : the investigation was made by finding older oriental medicine books about the medialcohol threraphy from QuinHan Dynasty to this current published Results ; in the QinHan Dynasy. the using was so popular and various in the medicine part at the Han Dynasty especially. in the BeiWei dynasty, the making method, experience and principle was very detailed in records. new medialcohol appeared besides the making method, maintenance and development of the medialcohol before the Tang Dynasty. and the taking method was also presented at that time. in the Song Dynasty, the kinds and practical applications were magnified exactly. the treatment by medialcohol was applicated in various parts. in the MingQing Dynasty, so many doctors maintained the elder doctor, experiences and created the new prescription about the medialcohol Conclusions: the effective results were shown the possibility of development in the classification result about the medialcohol for the longevity and invigoration effect and for the antitumor effect and for antistroke effect.

• Journal of Physiology & Pathology in Korean Medicine
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• v.31 no.3
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• pp.153-158
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• 2017

As social interest in acne treatment has grown, various external preparations have been developed and studied. So, we investigated the external prescription which can treat acne in medical classics, then reviewed and divided it by dynasty. The data for analysis of Herbal formula was taken from 'medicine Dictionary of traditional Chinese medicine prescriptions(中醫方劑大辭典)'. 31 external medicines were searched, 3 were before song(宋) dynasty, 11 were Song(宋) dynasty, 11 were Yuan(元) dynasty, 7 were Ming(明) dynasty and 7 were Qing(淸) dynasty. The recipe and usage were only making them pill(丸) and paste(膏) using grinded medicinal herbs, then rubbing to face. As the age developed, unique manufacturing process(i.e fermentation method), and usage(i.e time-based usage, herbal medicine extracts for wash) were proposed. The external application with oriental medicine for acne used with Angelicae Gahuricae Radix(n=12), Bletillae Rhizoma(n=8), Syzygii Flos, Saposhnikoviae Radix(n=7) and so on. In particular, Bletillae Rhizoma was searched with high frequency in this study, but it was not included or studied in patent composition. The results of this study will provide basic data for future experiments and clinical studies.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.94-113
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• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.

• Industry Promotion Research
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• v.6 no.3
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• pp.49-57
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• 2021

The purpose of this paper is to examine the editions of 'Jeokcheonsu', the best Myoungri Classic in name and reality, that was featuring dozens of annotations and interpretations from the Qing Dynasty to the Republic of China, and modern times. The original author of 'Jeokcheonsu' was Gyeongdo of the Song Dynasty, firstly annotated by Yugi of the late Yuan Dynasty to Early Ming Dynasty, and Im Cheolcho of the Qing Dynasty annotated again. However, several observations in the original text suggest that the author's period of writing is postulated since the middle of the Ming Dynasty, and if the book is not likely to belong to the Song Dynasty, the author is also unlikely to be Gyeongdo of the Song Dynasty. Besides, if you look at the statements of Jin Soam and Jeong Jiwoon, who published the early editions of 'Jeokcheonsu', there are many negative opinions about the usual author recognition. In this study, we conducted a comparative analysis of the four existing editions of 'Jeokcheonsu', 'Jeokcheonsu-Jibyo' edited and published by Jin Soam, 'Myeongri Suji Jeokcheonsu' revised by Jeong Jiwoon, 'Jeokcheonsu-Cheonmi' annotated by Im Cheolcho, and 'Jeokcheonsu-Jingui' edited and published by Seo Rako. It is hoped that this study will help us understand 'Jeokcheonsu' more deeply and help us with related research, such as comparative studies of annotations in the future.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.85-110
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• 2022

This study investigates the production and use, development of Buncheongsagisang-gamunryongmunho, focusing on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty. The Buncheong Jar with dragon and cloud patterns(龍樽) which is the size of a large bottle as high as 50cm is a form of stability to have gorgeous decorativeness with the inlaid and stamped pattern. The Buncheongsagisanggamunryongmunho is the Buncheong Jar with dragon and cloud patterns(龍樽) used for Flower Vessels(花樽) at Royal Ritual in King Sejong(世宗) era. In the 1420s and 1430s, made in Premium ceramic factory of Sangju-mok, it is Blue and white porcelain in reference to dragon and cloud patterns in the Yuan and Ming Dynasties in aspects of shapes and patterns, to the inlaid Celadon in the period of Late Goryeo Dynasty in aspects of patterns, and to Joseon porcelain in aspects of shapes and decoration techniques. The Joseon Royal family found out the appropriateness of the founding of the dynasty and the base for the system of civilization from Ming dynasty, to follow Ming dynasty by choosing white porcelains as the King's vessel. Jars passed down from Emperor Ming served as a standard for Royal Ritual Jars, to use Blue and White Porcelain Jar with dragon and cloud patterns as Flower Vessels(花樽) and Liquor Vessels(酒樽) for ages. Consequently, the Buncheong Jar with dragon and cloud patterns(龍樽) as Royal Ritual Jar had been used till 1430's when Blue and white porcelain Jar with dragon and cloud patterns(靑花雲龍白磁酒海) was passed down from Emperor Ming, Xuande Emperor(宣德帝), only to lose its Meaning and Use as the Royal Jar with dragon and cloud patterns(龍樽) during the early Joseon Period gradually.

• Journal of architectural history
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• v.18 no.2
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• pp.27-45
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• 2009

This study was to analyze the philological character of Qingwujing(靑烏經). Qingwujing is the oldest and representative documents of FengShui, especially famous for FengShui XingQi(形氣) theories. In spite of is fame, a systematic research for Qingwujing was not yet fulfilled up to now in Korea. In is the main reason why have to research the philological character of Qingwujing. The results from this research were described as following. Qingwujing(靑烏經) as knows of Qingwujing's writer is very famous already in Han 한(漢) dynasty for his accurate FengShui methods. His FengShui thories getting more powerfyl from WeiChen(魏晉) to Tang(唐) dynasty. In Tang(唐) dynasty Qingwujing was abolished by government rulers, but it recovered and retouched by some scholars from Tang(唐) and Song(宋) dynasty. In the process, the block book of Qingwujing were changed for four or five kinds. Qingwujing's block books of Ming(明) dynasty are Yimenguangdu(夷門廣牘), Xiaoshisanjing(小十三經), Jujiabibei(居家必備), and Shuofu(說郛). It's block books of Qing(淸) dynasty are Gujintushujicheng(古今圖書集成), Sikuquanshu(四庫全書), Xuejintaoyuan(學津討原), and Ershierziquanji(二十二子全集). It's block book of Choson(朝鮮) dynasty is KyujangKak(奎章閣). Among them distinctive characters been founded, but the basic contents and theories are almost same. In Korea, Qingwuzi's FengShui theories were confirmed in Silla(新羅) dynasty, and it recoreded in Soongboksa inscription written by Choi-CheeWon. Qingwu(靑烏) or Qingwuzi were known for a great FengShui master of a FengShui standing theories in Koryeo(高麗) and Choson dynasty among royal families and the aristocratic classes. And Qingwujing was a representative FengShui theory book in wh0.1ole period of Choson dynasty. Now for understanding traditional FengShui theories, we have to understand the main FengShui theories on Choson dynasty at first. For understanding Choson FengShui, the study on philological character of Qingwujing is the basic works. If those works fulfilled successfully, we can understand FengShui theories and FengShu itself more correctly.

• Journal of the Korean Home Economics Association
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• v.19 no.2
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• pp.123-133
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• 1981

If we are to define that the traditional costume is a comprehensive expression of the culture, thoughts, and arts of a country, it is needless to say that the traditional costume would have always reflected the social and cultural aspects of the times. In order words, the cultural contemplation of a certain people at some point the history is only possible when we observe the distintive features of the costume worn by the people of respective times. Although the Korean people had the native costume of its own from the times of the Ancient Choson to the Three Kingdoms of Koguryo, Paekche, and Silla, the Chinese influence on Korean traditional costume became somewhat pronounced ever since the Silla strenghtened the political ties with the T'ang dynasty in China, and it came to a climax when the dual structure in Korean native costume, being compounded with the Chinese touch, continued to be prevailed from the era of the Unified Silla to the Koryo and throughout the succeeding Yi dynasty, thereby copying the typical aspects of Chinese pattern in clothing and dresses worn by the ruling classes, namely the goverment officials including the Kings. Therefore, it is our aim to study the pattern of Chinese influence on our traditional costume, as well as social and cultural aspects by way of contrasting and comparing our official outfit system, which had been developing in dualism since the era of the Unified Silla, with that of China, and to trace in part the Korean traditional costume. In comparing our traditional official outfit system with that of China, we have basically concentrated on the comparison of the official outfit systems during the periods of the Three Kingdoms, the Koryo, and The Yi dynasty with that of corresponding era of Chinese history, namely the dynasties of T'ang, Sung, and Ming, and followed the documentary records for the comparison. Koreans had fallen into the practice of worshipping the powerful in China and begun to adopt the culture and institutions of the T'ang dynasty since the founding of the Unified Silla. From this time forth, Korean people started to wear the clothes in Chinese style. The style of clothing during the period of the Koryo Kingdom was deeply influenced by that of the T'ang and Sung dynasties in China, and it was also under the influenced of the Yuan dynasty(dynasty established by the Mongols) at one time, because of the Koryo's subordinative position to the Yuan. At the close of the Koryo dynasty, the King Kongmin ordered the stoppage on the use of 'Ji-Joung', the name of an era for the Yuan dynasty, in May of the eighteenth year of his rule in order to have the royal authority recognized by a newly rising power dominating the Chinese continent, the Mind. Kind Kongmin presented a memorial, repaying a kindness to the Emperor T'aejo of the Ming dynasty in celebration of his enthronement and requested that the emperor choose an official outfit, thereby the Chinese influence being converted to that of the Ming. As a matter of course, the Chinese influence deepened all the more during the era of the Yi dynasty coupled with the forces of the toadyic ideology of worshipping the China, dominant current of the times, and the entire costume, from the imperial crown and robe to the official outfit system of government officials, such as official uniforms, ordinary clothes, sacrificial robes, and court dresses followed the Chinese style in their design. Koreans did not have the opportunity of developing the official outfit system on its own and they just wore the official outfit designated on separate occasions by the emperors of China, whenever the changes in dynasty occurred in the continent. Especially, the Chinese influence had greatly affected in leading our consciousness on the traditional costume to the consciousness of the class and authority. Judging from the results, Koreans had been attaching weight to the formulation of the traditional outfit system for the ruling classes in all respective times of the history and the formulation of the system was nothing more than the simple following of the Chinese system.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• autumn
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• pp.41-44
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• 2004

• Journal of architectural history
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• v.17 no.4
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• pp.25-42
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• 2008

The Gyeongbok Palace was completed during the reign of King Taejo and King Sejong in the early Joseon Dynasty. The most remarkable spacious feature of the palace is that it has an inner palace wall without an outer palace wall. The absence of the outer palace wall had its origin in the palace of the late Goryeo Dynasty which did not provide the outer palace wall. Gwanghwamoon was the main gate of the palace, and the office buildings of the Six Ministries were arranged on the right side in front of the main gate. A wide road called Six Ministries Avenue was made between the builidings. The avenue was completed during the reign of the third king of Joseon, Taejong, and it was assumed that this arrangement was influenced by the government office arrangements of Nanjing, the early capital city of the Ming Dynasty. Gwanghwamoon held national rituals as well as the civic and military state examinations nations in front of the gate. The avenue was decorated with flowers and silks when kings and the royal families, or Chinese envoys enter the gate, and the civilians watched the parade, Because there was no outer palace wall, all the events held at Gwanghwamoon and the Six Ministries Avenue ware opened to the public, it was the unique feature of Gyeongbok Palace that the palaces of Goryeo dynasty and China did not have.