• Journal of Korean Library and Information Science Society
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• v.22
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• pp.299-325
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• 1995

The aim of this thesis is to attempt a bibliographical analysis of Gu Geub Eui Seo that were published during Yi-Dynasty. In this study maters that were treated concretely are the same as follows: 1. Formulation of a system about Gu Geub Eui Seo that were published from Three Kingdoms to Yi-Dynasty. 2. Background of each period about compilation ad publication of mathematical materials. 3. Investigation to transition, block book and domain of subject of Gu Geub Eui Seo through analysis on each period of publication. But it was not easy to contrast materials on each catalogue with existed books one by one. In further, we must a new chance for better a n.0, ppreciation about Yi-Dynasty's Gu Geub Eui Seo through continuous studies to this field.

• Journal of the Korean Society of Clothing and Textiles
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• v.5 no.1
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• pp.31-40
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• 1981

It is of great significance to perform a ceremony with the utmost honor in every society and the fact is that ancient Koreans executed sacrificial rites to natural scenery with primitive reilgious things from the beginning of Korean history. Minute records on the various ceremonies to the Koryeo Dynasty are found in Koryeodogyeong and it might be said that there were no standing rules and the many ceremonies were resorted to an expedient, because in the Yi Dynasty the first codified ceremonial lawbook, Kukjooryeeui was formalized and after then all the ceremonies and formalities were carried out by the referential rules of the above-mentioned Kukjooryeeui. After the imperial enthronement of Kojong, all the ceremonial goods and flags symbolizing the heaven and auspicious animals-authority and fortune-were made by Daemyeongjibyei, which are found at Changdeokgung now. There are no remarkable differences in the Yi Dynasty between the records at the beginning and the remaines at the last stage, which shows once-fixed standing rules were kept faithfully to the end. The main patterns used on flags were of imaginary animals such as dragon, indicating the wish that countless authority and fortune should be realized. This is the former part of the study on the ceremonial flags in the Yi Dynasty and I hope the detailed idea and symbolic meaning concerning the flags will be discussed later.

• Korea journal of population studies
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• v.14 no.1
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• pp.35-46
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• 1991

Improvements in various health indices have been ushered in, along with soaring economic growth in the last few decades in Korea. Life span of Koreans at present stands at somewhere around age of seventies. It seems of worth to elucidate some facets of health profile of historic Koreans during Yi dynasty encompassing about five hundreds years between the 14th and 19th century. Datas on health of historic Koreans are meager with exception for sovereigns for whom royal archives have been preserved intact through centuries. Though the health environments for monarchs are, no doubt, incomparable to that of the grassroot levels during the same period, health profile of monarchs would facilitate to assess health indices for historic Koreans during Yi dynasty. Arithmetic average of life span of 25 consecutive Kings(omitted the last two Kings under Japanese control) is 44.6 years of age 81 year old for King Yongjo and 16 year old for King Danjong, representing two extremes. The principal causes of death are septicemia, subsequent to infections of soft tissue and ether organs(8 in number, one-thirds of all). Secondly, both epidemic disease and vascular accidents caused deaths of three Kings each. Two kings succumbed to diabets and one suicide. The causes for the remainder, eight kings are hardly ciarified. The monarchs who contributed in establishment of new Yi dynasty with highspirited and disciplined survied beyond their fifties and sixties. In contrast, those who reigned during mid - era of the dynasty at its culmination succumbed to death in their young adulthood, most likely due to their indulgence in court life.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.135-144
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• 2010

This study is on the reproduction of King Sejong's costume presented in at the National Classical Music Institute in the late of 2008. The performance was presented focusing on the idea of ceremonial music of hoi-ryeyeon produced in the reign of king(1433). The reproduction of King Sejong's costume was undertaken to keep pace with the times and to pay due regard to the performance costume. The implications of the study are as follows. King Sejong's Hoi-ryeyeon ceremonial costume is a royal robe(gonryongpo), the best one of king's clothing. The basic type of gonryongpo is that of fastening four yongbos to danryoung. The type of gonryongpo is, therefore, made with reference to unearthed articles and portrait of the first king of the Yi dynasty. The yongbo is larger one than the late period of the Yi dynasty in the light of portrait of the first king of the Yi dynasty. The supporting type of gonryongpo is that of gonryongpo, dapho, and chulrik, king's dress granted by Myeong dynasty. In the late period jikryeong was used as supporting dress and fixed to be lining and included jikryeong. Therefore the order of supporting dress was jikryeong, dapho and chulrik and was reproduced with reference to unearthed articles in the early Yi dynasty, as did the small piece of crown, belt and shoes.

• The Journal of Korean Medical History
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• v.30 no.2
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• pp.133-143
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• 2017

Objectives : This paper summarizes results from review of 36 cases and medical records extracted from Yeoksimanpil, involving treatment of exogenous disease in the last Joseon dynasty, and considers significance of treatment protocols. Methods : About 130 medical records from Yeoksimanpil related to exogenous disease were reviewed, and 36 cases were extracted for closer investigation. The author examined the characteristics of exogenous diseases treated in Yeoksimanpil during the Joseon dynasty, employing Yi Suki's theory about exogenous febrile disease, and analyzed the theory from the viewpoint of epidemic febrile disease (溫病學). Results : The majority of exogenous diseases recorded in Yeoksimanpil include Sanghan (傷寒); Seo (暑); Ryeohwan (厲患); and Hongjin (紅疹). Sanghan was found to be prevalent among the exogenous diseases, but diseases caused by warmth and epidemic are recognized separately from Sanghan. Yi Suki's theory about exogenous febrile disease is similar to the basic theory of modern epidemic febrile disease, although his theory was developed independently during the last Joseon dynasty. Conclusions : Although some exogenous diseases in Yeoksimanpil were recognized separately, Yi Suki did not specify each feature nor did he focus on each symptom. Instead, the author's research suggests that Yi Suki was able to identify and treat a variety of various exogenous diseases due to his accumulation of medical knowledge and skill.

• Cross-Cultural Studies
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• v.29
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• pp.55-84
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• 2012

This paper is to study the Tang Dynasty monk poet Ling-yi's poem world and his significance on history of literature. In Chinese literature history, "the monk poets" is a very unique literature creation group. The means of a word "the monk poet", from the literal can see " he is the monk that Can write poems", which is dedicated to professionally writing poetry monk. Buddhism spread to China, from the Wei and Jin Dynasty beginning has been writing poetry of the monks, but the real meaning of "the monk poet" (i.e., professionally poetry monk) appeared to the Mid-Tang Dynasty period. The monk Ling-yi is the pioneer of the monk poets group and Buddist monk creative poem in Mid-tang Dynasty period. Although the Lingyi life is very short, only 35 had died, and his poetry has not been too much, only 44 songs, but he in this life of 35 years and 44 poems, for the development of classical Chinese poetry left noticeable imprinting. He is not just as monk's high practice and by advocating for great Buddhist scholar, also through the daily meditation in poetry creation practice were obtained at that time of many men of literature and writing respected. This paper from the poem monk Ling-yi double identity - the first is a Buddhist monk, the second is addicted to poetry poet to proceed, step by step, in-depth study as the poem monk Ling-yi's poetry creation characteristic and the creative mentality characteristics. This thesis also explores the poem monk by the creation of poetry pursuit, exploration, finally realized "poem" and "Zen" together as one "Zen poetry" creation mechanism.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.13 no.2
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• pp.243-263
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• 2002

The Purpose of this study is to consider the characters of reading theory in the age of Yi dynasty. Accordingly It is analyzed to the reading theory in work materials of the intellects at the age of Yi dynasty that the purpose, process and methods of reading. We have to succeed traditional reading mind that reading(learning) is life namely. Moreover We have to enlighten as to proper reading theory today. Especially we have to develop a good book lists following a grade of development what grown up spiritual mature of life.

• Journal of the Korean Society of Costume
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• v.25
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• pp.5-20
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• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.60-75
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• 2008

A history of Chinese Costume is that of the accept and the struggle between the 'Shen- Yi' of Han(漢) race and 'Ho-Bok' of foreign races. There are the 'Shen-Yi Ko' and the 'Ho-Bok Ko' in their representative documentary. They are quite significant materials for the researchers of the Oriental costume. The purpose of this study about comparing and analyzing the 'Shen-Yi Ko' and the 'Ho-Bok Ko' give a guidance to Chinese costume's researchers. The results of study are as follows: The 'Shen-Yi', having made a dress joined an upper to the low clothing together(上衣下裳) and deeply covered the parts of all the bodies, was named, had appeared the Spring-Autumn & warring state period(春秋戰國時代) and later the former Han Dynasty(前漢). Not only everyone in spite of men and women, without distinction of rank, high and low alike but also even the court dress(朝服) and from latter Han Dynasty(後漢) only the housewives could have worn it. The 'Shen- Yi Ko' disappeared its records and remains and at present nothing leave behind. The 'Ho-Bok' is a costume of the nomadic horse-riding people among the foreign races, then influenced upon the Chinese costume. The style of the Chinese costume consists of 'Yi Sang'(衣裳) and the 'Ho-bok' of foreign races, 'Yi Ko'(衣袴). The 'Yi Ko'((衣袴), derived from the King Muryoung of Cho Dynasty, had greatly been changed the chinese men's clothing and After that 'Ko Sup'(袴褶). The Chinese have enjoyably and familiarly the accepted 'Ho Bok' for a long time.

• Journal of the Korean Society of Clothing and Textiles
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• v.13 no.2 s.30
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• pp.166-179
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• 1989

This study was undertaken to discuss the frameworks of the gorgeous and magnificent royal procession ceremonies in the Yi Dynasty, thereby exploring the classification systems of 'three stages and five segments' on the basis of cultural anthropology and Korean traditional shamanism of ancestral sacrifices. The ceremonies were classified into three phases of (1) cleanup stage, (2) primary objective attendance stage, and (3) completing stage. Among these phases, p. :mary objective attendance stage was further distributed into five segments of (1) road guide, (2) dressing, (3) royal procession, (4) attendants' procession, and (5) back row procession. The isolates and functions of the royal procession ceremonies in the Yi Dynasty were studied through the application of Levi Strauss's structural methodology.