• 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.

• Journal of Astronomy and Space Sciences
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• v.26 no.4
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• pp.621-634
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• 2009

We investigated the formation of Pochonka (Song of the Sky Pacers) and Chonmun yucho (Selected and classified writings on astrology) of the early Choson dynasty. We recognized that the songs in these books were deeply influenced by those in a Chinese book Tong-zhi published in 1161 A.D., based on the following facts; the contnts of both treatises are described in the same order; the first phrase of the song for Thai-wei-yuan has composed of five words rather than seven words; in particular, Choson's Pochonka has the song that describes the position of the Milky Way relative to asterisms, which was supplemented by the author Zheng Qiao. Since Tong-zhi were brought into Koryo in 1364 A.D., Choson's Pochonka must be formed after that time. In particular, compared with Chinese Pu-tien-ko, Choson's Pochonka stresses the colors of asterisms in order to represent the origin of each asterism with respect to the astronomers, Shih-shen, Kan-te, and Wu-Hsien. We also find that the star-charts in Pochonka and Chonsang-yolcha-punyajido (Chart of the asterisms and the regions they govern) published in the early Choson dynasty are significantly similar in names, number of stars, and shapes of asterisms in them. This fact means that the star-charts in Pochonka originated from either the parent chart of Chonsang-yolcha-punyajido or Chonsang-yolcha-punyajido itself. The parent rubbing was reappeared in 1392 A.D. and carved on stele in 1396 A.D., and so the publication of Pochonka can be dated back to A.D. 1392. Chonmun yucho is a book that was formed by footnoting Pochonka with astrological descriptions in Chinese treatises. The formation period of Chonmun yucho is estimated to be 1440-1450 A.D. from the facts such as the biographical survey of the author Yi Sunji. Furthermore, Pochonka was adopted as a textbook of the government service examination for the astronomy division in Soungwan or the Royal Bureau of Astronomy in 1430 A.D.. We inferred from these facts that Choson's Pochonka was formed between 1392 A.D. and 1430 A.D. as a part of establishment of the cultural and political foundation of the Choson dynasty by adopting the advanced system of the Song dynasty.

• Journal of Astronomy and Space Sciences
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• v.32 no.1
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• pp.63-71
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• 2015

During the reign of King Sejong (世宗, 1418-1450) in the Joseon Dynasty, there were lots of astronomical instruments, including miniaturized ones. Those instruments utilized the technical know-how acquired through building contemporary astronomical instruments previously developed in the Song(宋), Jin(金), and Yuan(元) dynasties of China. In those days, many astronomical instruments had circles, rings, and spheres carved with a scale of 365.25, 100, and 24 parts, respectively, on their circumference. These were called the celestial-circumference degree, hundred-interval (Baekgak), and 24 direction, respectively. These scales are marked by the angular distance, not by the angle. Therefore, these circles, rings, and spheres had to be optimized in size to accomodate proper scales. Assuming that the scale system is composed of integer multiples of unit length, we studied the sizes of circles by referring to old articles and investigating existing artifacts. We discovered that the star chart of Cheonsang yeolcha bunyajido was drawn with a royal standard ruler (周尺) based on the unit length of 207 mm. Interestingly, its circumference was marked by the unit scale of 3 puns per 1 du (or degree) like Honsang (a celestial globe). We also found that Hyeonju ilgu (a equatorial sundial) has a Baekgak disk on a scale of 1 pun per 1 gak (that is an interval of time similar to a quarter). This study contributes to the analysis of specifications of numerous circular elements from old Korean astronomical instruments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.32-43
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• 2012

Hangzhou, in China, is a city that has a history as long as 2,300 years and is renowned due to its natural scenery of a beautiful lake surrounded by gentle green hills. This world wide famous scenery, known as West Lake(西湖), in 2011, was included in the World Heritage Landscape List. Though this place experienced enormous development and changes during thousands of years, historic sceneries did not disappear with the passage of time. In contrary, they are refined and increased attributing to protection efforts from past dynasties. Therefore, research in landscape transition is significant for building livable environment and preserving historical landscape. This paper mainly focuses on history transition of city Hangzhou. First of all, its urban construction and guiding ideology is analyzed. Then, deep meticulous research is carried out on development and preservation achievements for dynasty Tang, Song, Yuan, Ming and Qing. In the end, from a historical point of view, this paper will provide a new perspective which would contribute to sustainable preservation of historical landscape. From the Song Dynasty to the Qing Dynasty, the West Lake through several times of the rectification and construction, the present landscape was completed during thousand years several times through the construction.

• Journal of Korean Medical classics
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• v.28 no.2
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• pp.103-114
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• 2015

Objectives : The publication year(1608) of Euilinchwalyo is very closed to the year(1610) of Dongeuibogam, so several researches indicate that Dongeuibogam was influenced by Euilimchwalyo. We, authors have recently focused on the way to quote books in Dongeuibogam and found particular aspects in the way of quotation between Euilimchwalyo and Dongeuibogam. Methods : 1. Comparing the contents of Sosokmyeongtang in quotation books between Euilimchwalyo and Dongeuibogam. 2. Tracing the origin of Sosokmyeongtang and comparing chief virtue, consist of herbal medicine, way of dose and making and the method of addition and subtraction in Sosokmyeongtang. Results : Beijiqianjiyaofang was the origin book that recorded Sosokmyeongtang but there was no methods of addition and subtraction. After Jin and Yuan dynasty, the books, which had Sosokmyeongtang, started to record the methods of addition and subtraction in Sosokmyeongtang. However, even though Euilinchwalyo also recorfed the methods of addition and subtraction in Sosokmyeongtang such as other medical books, Dongeuibogam didn't keep that way to document up. Conclusions : The fact that Dongeuibogam was influenced by Euilimchwalyo means 2 ways. The first is that Dongeuibogam was influenced by Euilimchwalyo directly. The second is that Heo Jun, who wrote Dongeuibogam, tried not to duplcate or follow Euilimchwalyo somehow.

• Journal of Haehwa Medicine
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• v.9 no.1
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• pp.243-258
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• 2000

From the reference research, the results obtained were as follows. 1. Until the "Song" dynasty, the predominant cause of facial nerve paralysis was the attack of Pathogenic Wind to "the Stomach Channel of Foot Yangming, (St.C.); and "the Small Intestine Channel of Hand Taiyang, (S.I.C.). They recognized the facial paralysis as an aspect of palsy. 2. In the period of Jin-Yuan(金元), the predominant cause was described as "Xuexu"(the deficiency of blood) and phlegm. They recognized that the facial palsy was a palsy. However, they also acceded to the possibility that there could be other explanations. 3. In the period of "Ming & Qing", there were numerous kinds of causes. For example, the following were identified as attacking the Meridian: the Pathogenic Cold; Pathogenic Heat; "Xinxu"(the deficiency in the heart); Fire and Heat combined as a pathogenic factor; "Pixu"(the deficiency in the spleen); and, "Xinxu"(the deficiency of blood). 4. In the past, Koreans have explained the facial paralysis according to the Chinese theories mentioned. However, recently there has been an emergence of another Chinese theory; whereby, facial paralysis is classified into causes and symptoms, and then medical treatment is applied accordingly. 5. From the occident medical perspective, the facial paralysis is categorized into two causes. The first is called central facial nerve paralysis and the second is called peripheral facial nerve paralysis. The latter is mainly caused by Bell's palsy, Herpez zoster oticus, and trauma.

• The Journal of Korean Medical History
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• v.34 no.2
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• pp.65-77
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• 2021

Lee Jema said in his book, Dongui Susebowon, that the prescriptions for Soum constitutional type were already developed by doctors during the Song Jin Yuan China around 10th-13th century. Those prescriptions were common techniques that were used throughout the East Asian region. Among them, Lee Jema specially selected some candidate formulas and modified them according to his constitutional theory. This study investigated how similar his modified prescriptions to original formulas through database[ancient formula database] analysis. 24 out of 24 Soum prescriptions selected meaningful ingredient herbs from the original formula. A 50% or higher concordance rate compared to the original formulas. There are only 9 treatment prescriptions that cannot be checked in the ancient formula database. A future task will be to reveal the practical meanings of the ingredients Lee Jema adjusted for the Soum constitutional type patients.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.164-183
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• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.78-103
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• 2016

This research is a study on the side framework structure of the hipped and gable roof of Muryangsujeon at Buseoksa Temple. There is a record that Muryangsujeon was deconstructed and repaired in the period of Japanese Occupancy, and its authenticity has continuously been called into question because the structure of the hipped and gable side roofs, and the bonding of the rafters and eaves were not in good order and very different from those of Joseon Dynasty. Scholars date it differently. It is either dated at 13th century or 12th century. This study compares the non-planar configuration of the middle and front proportions of Muryangsujeon's hipped-and-gable-roof framework with those of the Tang(唐) and Song(宋) Dynasties in China. It concludes that the hipped-and-gable-roof framework of those architecture were built with the same technique. The style of architecture that side rafters directly touch the internal security (梁), like in Muryangsujeon, is not usual even among the hipped and garble roofs of the Tang(唐) and Song(宋) Dynasties. The technique of constructing the hipped roofs developed much further after the Tang Dynasty because they began to use garble eaves to build the side structure. The technique seems to have developed greatly by the period of Ming and Qing Dynasties. It also seems that the parallel-flat (平行輻射椽) rafter, which is the form of rafters used between the parallelrafter period and the half-flat-rafter period is very similar to the construction style of the current rafters of Muryangsujeon. However, the Muryangsujeon's eaves do not touch the corner rafter from the middle part. This seems to be a unique style, which is not common in China. In conclusion, the style of the side roof framework of Muryangsujeon at Buseoksa Temple is not of the China's southern regions, but of the northern regions of Tang(唐), Song(宋) and Liao(遼) Dynasties. And when considering the construction year and proportions of the middle front and side front on the same flat, this must be an ancient technique of the northeastern regions of Asia. Since it is likely that the structure of the side roof framework of Muryangsujeon at Buseoksa Temple has not been altered but is a unique style of hipped and gable roofs, this roof can serve as a good guide to restoring the hipped and garble roofs of the pre-Goyreo Dynasty period.

• Journal of the Korean Society of Marine Environment & Safety
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• v.13 no.4
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• pp.101-105
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• 2007

The people who lived in Fujian district along the south-eastern coast of China long ago began to construct ships and go fishing. For this reason, they grasped sound navigation skills and gained rich navigation experience. These skills and experience laid basis for the following large-scale overseas trade. In the Tang dynasty, with the development of economy, the people who lived in Fujian district started to leave home town and engage in overseas trade. In the Song dynasty and the Yuan dynasty, with the fast development of overseas communication, more and more Fujian maritime merchants, navigating the Fujian ships which were safe, fast and could arrive at destination on time, engaged in overseas trade. The Fujian ships made it possible for the Fujian maritime merchants to shorten trade time, catch business opportunity, level up the chance of success in trade and make full use of capital. As a result of this, Fujian maritime merchants gained fast development and they reached far areas such as eastern Asia, south-eastern Asia, southern Asia, and eastern Africa. This study deals with the issues such as the reasons for the development of Fujian maritime merchants, the trade engaged in by Fujian maritime merchants, the Fujian ships which played a decisive role in the overseas trade of Fujian maritime merchants.