• Journal of the Korean Society of Costume
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• v.18
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• pp.211-223
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• 1992

The results of the researches in the wig and the Boyo are as follows. The wig is to be classified into Bu, Pyun, Chah, Cheh, and kwik, Bu is an ornamental hairpin used by the empress, and it is decorated with Boyo. Pyun is a wig made of braided hair. Chah is made of Bal which is put together by its lenath, and it was also called Picheh or Pisuck. It is made, one by one, of hair of the convicts and the low-class people. 초도 has a meaning of toupee, and it is used to look beautiful with its thick black hair. Kwik is a wig made of hair as if it is weaved out of thread, and it is rounded with a wire. In ancient times, it was also called chah, Pi, or Pi People wore different wigs according to their class and the use, in order of Bu, Pyun, and Chah. There are remains of the Han Dynasty. Boyo, just like the wig, was originally a custom of the northern nomadic tribes which had been introduced to the later Han Dynasty. It is also called Cho Song and has a different meaning from the Boyo attached to a crown before the Han Dynasty. It became much more beautiful in the Which in period. Boyo gained its popularity by the women in Tang Dynasty, which is due to the influence by the customs of the western Ho tribe. The name of hairstyling using wigs in each period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its properity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found. times, it was also called chah, Pr, or period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing, it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its prosperity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found.

• Journal of the Korean Society of Costume
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• v.35
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• pp.67-89
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• 1997

During thousands of years the people of china have not only created the brilliant cul-ture with a world reputation but also brought about an abundant treasury of paramountly beautiful hairdo fashions beyond comparison. Hair styles are an important symbol of the ma-terial and cultural civilization of a certain his-torical period. In Dang Dynasty the country was unified the economy was properous and the political situation was relatively stable. These spelt the solid foundation on which the rich and colourful varieties in the hair styles of women emerged. The numerous hair fashions in Tang Dynasty woman folk could be summed up into three catagories-high bun hanging bun and flat bun. Of course like the garments hair fashions are also the marks for the social status of the women in the feudal society. The hairstyle of the women of the Song Dynasty still followed the fashion of the later period of the Tang Dynasty the high bun be-ing the favoured style. To dress this type of high bun switches were generally used sometimes fashioned in to switch buns of various shapes coiled directly on top of the head. Women from rich families however usually had hairpins and combs made into the shape of flowers birds phoenixes of butterflies to be pinned on top of the buns.

• Journal of architectural history
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• v.25 no.6
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• pp.45-60
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• 2016

Sangnyang-mun(上樑文) is not only a memorial address for the ceremony of putting up the ridge beam, namely the sangnyang-ceremony(上樑式) but also the executional record of building construction. This paper aims at researching on the oldest five sangnyang-muns written for the constructions of palaces and government offices in Goryeo Dynasty, especially viewed in the architectural history. The results of that are as follows: First, it is supposed that sangnyang-mun originated in the ancient Chinese ceremonial songs for the celebration of building construction. Second, as compared against the former times, the sangnyang-muns in Goryeo Dynasty were written to the advanced establishing forms and literary patterns, so to speak, these were the more developed styles. Third, in the 12th century, sangnyang-mun was introduced from Chinese Song to Goryeo. To the late period of J oseon Dynasty, sangnyang-mun had been to write for the sangnyang-ceremony as necessary memorial address. Fourth, the writers of five sangnyang-muns in Goryeo Dynasty were the new civil ministers appointed by the soldier rulers. They wrote the contents of their sangnyang-muns, especially focused to the king's achievements. And in the yugwi-song(六衛頌), they recited six poems in which were complicated the world view and aesthetics of the time.

• Journal of architectural history
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• v.16 no.6
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• pp.101-120
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• 2007

This paper aims at studying on the medium of cultural interchange regarding who did and how to introduced the new trend of architecture during the period of Koryo Dynasty. Before the era of Koryo Dynasty, Kyungjang(Sutra Pitaka, 經藏) was mainly centered in Kyeongnu with a substantial function of storage. In the early Koryo Dynasty, however, Daejangjeon(大藏殿), which was spatialized for worship, began to appear. Normally, fixed walls were installed and the Sutras were enshrined inside Daejangjeon, while Jeonryunjang (revolving wheel sutras), a type of rational bookshelf, was introduced, and a new trend became developed in Kyungjang construction. Jeonryunjang(revolving wheel sutras, 轉輪藏) is a dharma instrument with a rotational function so that one revolution gives an effect of reading the enshrined Sutra one time, and began to be created actively in the period of the Northern Song. It is considered that the introduction of Jeonryunjang(revolving wheel sutras) to Daejangjeon was resulted from Haejokuksa(慧照國師) Damjin(曇眞) who visited the Kangnam areas in the Northern Song at that time. The Kangjeol areas in the Northern Song, where Damjin concentratively itinerated three times, were the place in which Jeonryunjang was created in many temples. Since Damjin, historical materials and excavated data regarding constructing Jeonryunjang have been discovered in the Buddhist temples, which are related to his pupils and dharma lineage. The only existing Jeonryunjang of Yongmusa Temple in Korea is the one that Joeung Daesunsa, who succeeded to the dharma lineage of Haesokuksa, promoted, and supports strongly such introduction of Jeonryunjang by Haesokuksa.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.57-72
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• 2005

Mongdueui(蒙頭衣) and mongduri(蒙頭里) in the Joseon dynasty was one of women's robe. The style of Mongdueui was same as Chinese baeja(褙子 $\cdot$ vest) having non-overlapping front opening with collar, This form was conformed through the wonsam excavated baeja from tomb of South Song dynasty. The basic construction was same as Joseon dynasty's except the collar. In the early Joseon dynasty the noble women wore Jangsam(長衫) as an outer wear, the common and lower class women wore Mongdueui, and the queen and royal household we baeja. The court lady wore baeja as well as Mongdueui for funeral ceremony. The style of women's robes was classified into two categories by the literature Byungwajip(甁窩集). The first was the hongjangsam(紅長衫長) in red for noble women. The other was the mongduri for the common lady. Whangchosam the outer wear of Jeongjaeyong(呈才女伶), a professional women entertainer, having non-overlapping front opening with collar, has been examined in the painting. And it had been evolved into the shaman's clothing in the last stage of Joseon dynasty.

• The Journal of Korean Medical History
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• v.34 no.2
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• pp.79-87
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• 2021

The civil service examination system is an important part of the history of education in East Asia. In China, the civil service examination system lasted for almost 1,300 years. Through this, each dynasty was able to prevent the concentration of power to the hereditary nobles and to give competent talents an opportunity to rise to an important position in the state. In terms of medical education, in China, doctors have already been selected through tests since the Song Dynasty. However, the actual cases of medical tests currently remaining in each dynasty are very rare. This paper, firstly, examines the implementation method of the medical test during the Qing Dynasty and examines how it influenced the merit rating. and secondly, this paper examines the actual cases of the remaining Qing medical exam questions, in terms of content, related to the medical text "Uijonggeumgam (醫宗金鑑)" and was influenced by the style of the civil service examination at that time.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.3
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• pp.127-144
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• 2022

This paper aims to analyze the different external images of women expressed in ancient artwork through the socio-cultural background and the aesthetic view during the Tang and Song dynasties of China. The research method contains a literature review involving the collection of historical literature, thesis, and artwork data. The image of women according to the aesthetic view of the two periods is summarized as follows. In terms of face shape, the Tang pursued a round face while the Song pursued a more slender shape. As for hair ornamentation, the Tang wore various shapes of hair buns like "Paojiaji", and decorated them with coronets. The Song wore various types of braided hair called "Tongxinji", but the coronets were smaller and more sophisticated. For makeup, the Tang wore colorful and heavy makeup and the Song makeup was lighter and more elegant. In attire, the Tang followed revealed shape, used splendid colors and thin, transparent material. The Song exhibited a more simple design and was conservative and neat, using luxurious silk fabric with low chroma. In body shape, the Tang pursued the "beauty of obesity" with a voluptuous body shape; the Song pursued the "beauty of gaunt" with a slim body shape. As the result of the analysis according to the aesthetic views of the Tang and Song dynasties, women of Tang were depicted as rich, and women of Song were rather neat. The research on the aesthetic views that changed according to the development of social civilization and the status of women will play an active role in the transmission and development of traditional Chinese culture. At this point, the paper may contribute to the creation of images of women as well as changes in the art of future generations.

• Industry Promotion Research
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• v.5 no.1
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• pp.157-164
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• 2020

After the Qing Dynasty overthrow of the Ming dynasty, this is far-reaching influenced on the Ming Dynasty's Sovereign state of the Joseon dynasty. Not only did regulations prohibit the entry into various books published by the Qing Dynasty, In addition, the "Northern Expedition" of Song Siyeo put forward the mainstream political proposal of the Northern Expedition and Qing Dynasty.Even in this context, Representatives of scholars such as Hong Daeyong, Bak Jega, Kim Jeonghui on the Joseon dynasty peninsula at the time, put forward the idea of "Learning from Central Plains" through several visits to Shuntian Prefecture (now Beijing), And gradually formed the well-known Silhak (Practical Learning) ideological of "Bukhak, (Northern Learning)" in the Joseon dynasty history. the Joseon dynasty Silhak ideological scholar of Kim Jeonghui also was under the influence of the Weng Fanggang and Ruan yuan other famous Qing Dynasty Textual scholar, Fruitful achievements in Chinese Classical Studies Epigraphy, Calligraphy.He founded the "Chusa-che" style of calligraphy Chusa, the "Chusa-che" styled is although born out of the clerical script, but more composition and See also asymmetrical in harmony, Strong and vigorous brush strokes, Every word vibrant, Make it a master of gold stone calligraphy in the Joseon Dynasty.This study based on some records of Kim Jeonghui's visited to Shuntian Prefecture(now Beijing), this article examines the academic activities of seeking truth to facts in Korea and the Qing Dynasty at the time, and the impact on these activities on calligraphy and painting in the Joseon Dynasty.

• Journal of the East Asian Society of Dietary Life
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• v.12 no.6
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• pp.447-488
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• 2002

The annals of the Chosun dynasty (朝鮮王朝實錄). on CD-ROM was studied to understand e ceremony and dietary culture of the Chosun dynasty. The Chunshin (薦新) ceremony. the service of offering the first food product of the year to ancestors, was begun in the Song dynasty in China and initiated in the Koryo dynasty in Korea. Chunshin ceremony as the national auspicious ceremony was settled through the 311 the Chosun dynasty. The offerings were graded and the Saongwon (司饔院) was in charge of the transportation of them. A king attended the ceremony in person at Jongmyo (宗廟) once in a while. but the Bongsangsi officials usually took charge of ceremony. Even though the harvest of crops had failed due to the drought. the quantity of the offering was not curtailed. Seven kinds of the new products It ere offered in the Koryo dynasty, twenty-seven kinds of them during the reign of king Sejong, and thirty-one kinds of the them during the reign of King Sungjong according to the Gukjooreeui (國朝五禮儀) (1474). The offerings were served on the utensils called Du (두(豆)), Byun (遼), and Jak (爵). Most of the of the offerings were dedicated by public officials and civilians. The meat products in particular were caught by the king on hunting trips, and offered by the king in Person.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.24-48
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• 2022

Bronze mirrors found in pagodas were regarded as simple offerings and thus have received little attention in studies. Furthermore, the few studies on bronze mirrors enshrined in pagodas have focused on the line-engraved mirrors found in the pagodas of the Kingdom of Wuyue; therefore, it is difficult to understand the general characteristics of the bronze mirrors enshrined in the pagodas. This study assumes that the bronze mirrors found in many pagodas in the Kingdom of Wuyue and the Song dynasty were enshrined for a specific purpose. To explore this assumption and accurately understand the artifacts, this study focuses on the location and method of enshrinement. The number of bronze mirrors enshrined in pagodas increased during the Kingdom of Wuyue, with the mirrors expressing statues and inscriptions related to Buddhism rather than being simple offerings. This shows that the purpose of the bronze mirror changed. The influence of the Kingdom of Wuyue continued during the Song dynasty; however, the pattern of bronze mirror enshrinement changed due to the culture and social atmosphere of the time. The most common types of enshrined bronze mirrors were plain, and bronze mirrors from the Dang dynasty were also used consistently. Plain bronze mirrors were used more frequently in this period despite the lingering influence of the Kingdom of Wuyue because it was less laborious to engrave images and inscriptions such as the inscription of Buddha. Additionally, bronze mirrors were valued during this period because of the attention toward the imitation of the archaic bronze(仿古銅器) of the Song dynasty and the influence of the emperor. Moreover, it is believed that bronze mirrors were enshrined in pagodas as offerings as they were deemed valuable at the time. There was a change in the method of enshrining bronze mirrors in pagodas during the Kingdom of Wuyue and the Song dynasty. During this time, bronze mirrors that were positioned on the floor or in iron boxes were intentionally attached to walls or hung from the ceiling. This method was largely divided into two types: attaching to walls or the ceiling(嵌入鏡) and hanging from the ceiling(懸鏡). A typical example of hanging a bronze mirror from the ceiling can be seen in the Jingzhisa Temple Pagoda, and Teng County's Fushengsa Temple Pagoda contains an example of attaching a bronze mirror to the ceiling. The methods of hanging or attaching bronze mirrors to the ceiling were closely related to the methods employed in Chinese tombs. Song dynasty burial chambers had a high and wide structure, so to defend against evil spirits(辟邪用), bronze mirrors were used to protect the burial rooms. Bronze mirrors were, therefore, placed high to illuminate the burial room. This was achieved in the ways mentioned above. As underground chambers became wider and higher, mirrors also protected the important areas of the chambers and illuminated the interiors. Thus, it is believed that the methods of enshrining bronze mirrors in the pagodas during the Kingdom of Wuyue and the Song dynasty arose from the method of enshrining bronze mirrors in tombs at the time. Thereafter, pagodas, such as the Miaojuesa Temple Pagoda, in which the placement of a bronze mirror was actively considered from the design stage were constructed.