• Journal of the Korean Society of Costume
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• v.26
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• pp.221-232
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• 1995

It was aimed to study the costume of Koryo dynasty based upon the one hundred and thirty four pictures of the engraved painting on the wood. The costume to study were made about 400 years during the King Mok-jong(1006) to the forth year of the king Wu based upon the Avatamaka Sutra and Pulsul-Yaesu 가) Men's wear 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots. 2. Clothes : 1) King wore an uniform of Mien-lu Kuan system. 2) The Crown Prince and high rank officials wore Yuan-yu-Kuan Won-jung-po-ju-Kuan, Sa-bang-Kuan, Yun-wha-Kuan and montain shape Po-ju-Kuan as a court dress. 3) Officials put on the Pok-du as an official dress and Won-jung-ip-mo, Kun and Mo as an everyday dress, the monk put on the diamond shape Do-kuan and Du-kun and the soldier put on the Helmet. Costume system of man was as follows ; They wore exchanged shape collar, big sleeve jacket, long skirt, apron, hanging precious stone big belt as a Mien-pok. 4) The soldiers wore helmet, Keun-Kap, Scarf, Pee-Bak, Hung-Kap, Pok-Kap, Yang-Dang-Kap, We-Yo-Kap, Kum-Kap, and caries arms. Lower-level officials wore Pe-Bal, Kun-Mo, gae, won-leung, very small sleve jacket, a long coat reaching up to the knee length, slacks, belt, loin cloth and apron. 5) Children's bind their hair up angle shape and wore a half long jacket raching up to the hip and slacks. 나) Women's wear; 1. hair style and hair dress; 1) High rank women's hair style was very extravaganceful. They made their hair top knot (one, two, or more knots) and decoraed precious stone, pan shape head dress, wheel shape head dress, and flower shape precious stone decorated head dress. 2. Clothes ; 1) High rank ladi's wore Kun-Kyun attached jacket, and jacket sleeves decorated pleats, and pleats decorated long skirt, apron, back apron, knot belt, scarf, this type is the same with Dang Dynasty, five dynasty of china, Song, Kum, Won, Myung Dynasty, and our costume of Poe-hae, and Shilla Dyansty. 2) Official ladies wore exchange shape collor, big sleeve jacket, long pleats skirt, apron, and back apron, scarf. 3) Women wore top knot hair style and decorated by ribbons. Shoulder scarf attached small sleeve jacket and wore reaching up to the knee length. Side seam is open and under wear was long skirt. 4) High knot hair style and exchanged shape collor jacket, under wear wore long skirt. They wore under skirts and the jackets. 5) High knot hair style, exchange shape collor jacket reaching up to the knee length small sleeve under wear wore long skirt, belt. 6) High knot hair style, big sleeve jacket and long skirt. 7) Foot wear wore boots, mokasin type shoes, sandal.

• Journal of Society of Preventive Korean Medicine
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• v.1 no.1
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• pp.59-75
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• 1997

After examining the viewpoints of the mental cultivation of The yellow Emperor's Internal Bible(內徑), from the viewpoints of The yellow Emperor's Internal Bible, I studied the principles and methods of the mental cultivation(精神養生) which the Taoism School, the Confusian School and the past physicians proposed. And I studied the methods of mental cultivation of the child, the woman and the old by the differences of ages and sex. At the subject of health preservation(養生學) on the basis of concept of relevant adaptation of man to nature(天人相應思想), the mental cultivation(精神養生) was regard more important than the body cultivation(肉體養生) and it was considered that the success of health preservation depended on the state of mind. the basic principles of the mental cultivation is achivement of the mental internal keeping(精神內守) through the state of peace and tranquility without avarice and wild fancy(恬憺虛無). The ways of mental cultivation of the Taoism School, the Confusian School and the past physicians were in the category of The yellow Emperor's Internal Bible. 4. In the previous Jin dynasty(先秦時代), the important theoretical bases and practices to mental cultivation were made. In the Han dynasty(漢時代), the physicians attached importance to mental treaments. During the time from Sui dynasty to Tang Dynasty(隋唐時代), the mental cultivation was made perfect theoretically. During the Period from Song dynasty to Yuan Dynasty(宋元時代), Many methods of mental cultivation were newly created. During the Ming and the Qing Dynasties(明淸時代), the theory of health preservation and the methods of mental treaments were embodied. 5. Studying the mental cultivation by the differences of ages, the childhood(小兒期) is the spring of life. So the mental cultivation of this period put importance to the cultivation of Sh ng(養生). And the youth(靑年期) is the summer of life. So the mental cultivation of this period pill importance to the cultivation of Ch'ang(養長). And the middle age(中年期) is the autumn of life. So the mental cultivation of this period put imporance to the cultivation of Shou(養收). And the old age(老年期) is the winter of life. So the mental cultivation of this period put importance to the cultivation of Tsang(養藏). Studying the mental cultivation by the differences of sex, the man must do the mental cultivation through the dynamic nature(性情) of Yang(陽) and the woman must do the mental cultivation through the static nature of Yin(陰).

• (The)Study of the Eastern Classic
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• no.37
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• pp.189-216
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• 2009

The poem Song of Eight Drunken Celestials by Du Fu(杜甫) of the Tang Dynasty was one of the most favored theme by many painters through the Song, the Yuan, the Ming and the Qing Dynasty, as well as in Korea Chosun Dynasty and in Japan. This paper focuses on the paintings depicting Song of Eight Drunken Celestials by Wu Qiu(尤求) of the Ming Dynasty, Kim Hongdo (金弘道) of the Chosun Dynasty and Kaiho Yusho(海北友松) of Japan Momoyama Period, makes a comparative study of them. And also focuses on two preface and a postscript to the painting Eight Drunken Celestials by Yi Dukmu(李德懋), Park Jega(朴齊家) and Yi Bongwhuan(李鳳煥) of the Chosun Dynasty, makes a comparative study of them. This study helps us understand the repetition and the differences between the poem as an Ur-text and the paintings and the prose about the painting as the parody texts.

• Journal of Astronomy and Space Sciences
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• v.34 no.1
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• pp.45-54
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• 2017

This study examines the scale unique instruments used for astronomical observation during the Joseon dynasty. The Small Simplified Armillary Sphere (小簡儀, So-ganui) and the Sun-and-Stars Time-Determining Instrument (日星定時儀, Ilseong-jeongsi-ui) are minimized astronomical instruments, which can be characterized, respectively, as an observational instrument and a clock, and were influenced by the Simplified Armilla (簡儀, Jianyi) of the Yuan dynasty. These two instruments were equipped with several rings, and the rings of one were similar both in size and in scale to those of the other. Using the classic method of drawing the scale on the circumference of a ring, we analyze the scales of the Small Simplified Armillary Sphere and the Sun-and-Stars Time-Determining Instrument. Like the scale feature of the Simplified Armilla, we find that these two instruments selected the specific circumference which can be drawn by two kinds of scales. If Joseon's astronomical instruments is applied by the dual scale drawing on one circumference, we suggest that 3.14 was used as the ratio of the circumference of circle, not 3 like China, when the ring's size was calculated in that time. From the size of Hundred-interval disk of the extant Simplified Sundial in Korea, we make a conclusion that the three rings' diameter of the Sun-and-Stars Time-Determining Instrument described in the Sejiong Sillok (世宗實錄, Veritable Records of the King Sejong) refers to that of the middle circle of every ring, not the outer circle. As analyzing the degree of 28 lunar lodges (lunar mansions) in the equator written by Chiljeongsan-naepyeon (七政算內篇, the Inner Volume of Calculation of the Motions of the Seven Celestial Determinants), we also obtain the result that the scale of the Celestial-circumference-degree in the Small Simplified Armillary Sphere was made with a scale error about 0.1 du in root mean square (RMS).

• Journal of architectural history
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• v.22 no.6
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• pp.35-46
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• 2013

This study aims to examine the early use of Da-bo tap and their transformation by analyzing the various meanings of the term pagoda in Chinese translations, the Sanskrit version of the Lotus Sutra, as well as Dabotap in the Mogao Caves of Dunhuang. In addition, we aim to highlight changes in Dabotap usage, which started out as residential spaces, but transformed into burial spaces over time. The details can be summarized as follows. First, early Buddhist monuments were usually either pagodas serving as burial places for the dead or shrines that were not. A Dabotap is a type of pagoda enshrining the body of Prabhutaratna, and was initially used as a residential space, rather than a burial place for the dead. Second, the terms stupa and caitya are clearly distinguished from each other in the Sanskrit scriptures, and stupa is also further classified into dhatu, sarisa, and atmabhava based on the object being enshrined. In Gyeon-bo-tab-pum, the preconditions for caitya to transform into stupa is presented by explaining that worshipping the space enshrining the body of Prabhutaratna is worthy of the same status as the space enshrining sarira. Third, the Mogao Caves of Dunhuang had been depicted from the Western Wei of the Northern Dynasties until the time of the Yuan Dynasty. It was used as a residential space until the early Sui Dynasty, but was used as both residence and burial places until the Tang Dynasty when pagodas were first being constructed with wheel or circles forms on top, which then gradually changed into stupa (grave towers).

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.96-119
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• 2015

This research has studied the changes of Gwi-po(轉角包) by taking the cases of China's medieval wooden buildings as objects. The purpose of the study is to examine the time-periodic transition process of Gwi-po through the cases of 71 wooden buildings which were built from Tang(唐) dynasty(AD 618~690 & 705~907) until Jin(金) dynasty(AD 1115~1234) and also designated as 'Major Historical and Cultural Sites Protected at the National Level'. This research has taken note of various frame types of Jwau-dae(左右隊), which are architectural components of Gwi-po, to study the changes and development process of Gwi-po. The results are as follows. An important factor in the transformations of Gwi-po format is the changes in perception of the craftsmen about Jwau-dae, who took charge in the building process. In the early periods, the principles of Yidou sanshen dougong(一斗三升) in constructing ancons of Gwi-po had been well-maintained, while there appeared many different types of Gwi-po in later periods, due to the usage of Jwau-dae and $Shu{\check{a}}$ $t{\acute{o}}u$(?頭) in each Chulmok of Gwi-po. Transitional types of Gwi-po, which were evolved from the earlier ones, are divided into 3 categories by different forms of Jwau-dae, placed on odd number stages. The first one is 'none-$f{\bar{a}}ng$ $t{\acute{o}}u$(無枋頭) type' of Song(AD 960~1127, 1127~1279) and Liao dynasty(AD 907~1125) buildings, which doesn't have $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s, for the reason that Jwau-dae(左右隊) is in direct contact with Gwihan-dae(耳限大). The second one is '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' of Song(AD 960~1127, 1127~1279) and Jin dynasty(AD 1115~1234), that has $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s of Jwau-dae(左右隊) identical to $Shu{\check{a}}$ $t{\acute{o}}u$(?頭) in form. The last one is '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' of Jin(AD 1115~1234) and Yuan dynasty(AD 1271~1368), which has $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s of Jwau-dae identical to $Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) in form. The earlier forms of Gwi-po, which appeared between Tang dynasty(AD 618~690 & 705~907) and Five Dynasties periods(907~960) went through transitional forms of 'non-$f{\bar{a}}ng$ $t{\acute{o}}u$(無枋頭) type', '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' and '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' and finally had its form settled between Yuan(元, AD 1271~1368) and Ming(明. AD 1368~1644) dynasty periods. In Liao(遼) dynasty period(AD 907~1125), as the buildings got bigger and the tendency of longer eave-exposure was implemented, there grew a certain need to structurally reinforce Gwi-po, on which load of the whole roof is concentrated. Especially, the transition from Tōuxīn $z{\grave{a}}o$(偸心造) style to Jì xīn $z{\grave{a}}o$(計心造) style in this period had a great influence on standardization of Gwi-po, along with None-${\acute{A}}ng$(無仰) style. Furthermore, Wing-type Gong(翼型?), which developed in Liao dynasty(AD 907~1125), is also thought to have had a great influence on the transition from Tōuxīn $z{\grave{a}}o$(偸心造) style to Jì xīn $z{\grave{a}}o$(計心造) style by changing the forms of Gongs(?), such as Gwi-po. However, unlike None-${\acute{A}}ng$(無仰) style, there occurred a gradual change from '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' to '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' of Gwi-po in $Xi{\grave{a}}$ ${\acute{a}}ng$ style.

• Publications of The Korean Astronomical Society
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• v.28 no.3
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• pp.55-63
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• 2013

Gyupyo (圭表, Gnomon) consists of Gyu (圭, Measuring Scale) and Pyo (表, Column), and was one of the traditional astronomical instruments in East Asia. Daegyupyo (Large Gnomon) was manufactured in the Joseon dynasty around 1434 ~ 1435. To increase the measurement accuracy, it was equipped with a Hoengyang (橫梁, Cross-bar) and used a Youngbu (影符, Shadow-Definer) which was invented during the Yuan dynasty (1271 ~ 1368). The cross-bar was installed on the top of the column and this structure was called Eol. In addition, three plumbs hanging from the cross-bar was employed to vertically built Eol on the measuring scale. This method was also used to not only check the vertical of Eol but also diagnose the horizontal of the cross-bar. Throughout this study, we found that a cross-bar in a gnomon has played three important roles; measurement of the shadow length made by the central part of the Sun, increase of the measurement precision using the shadow-definer, and diagnosis of the vertical of Eol and the horizontal of the cross-bar itself using the three plumbs. Hence, it can be evaluated that the employment of a cross-bar and a shadow-definer in a gnomon was a high technology in the contemporary times. In conclusion, we think that this study is helpful for understanding the Large Gnomon of the Joseon dynasty.

• (The) Research of the performance art and culture
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• no.20
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• pp.95-128
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• 2010

'The Orphan of Zhao family(Zhaoshi-Guer)'is one of the famous Chinese drama constantly transmitted for a long time from Yuan Dynasty to Qing Dynasty. The plot of the play in the transmitting process has not been changed much, but added new characters or episodes. The Kunqu, one of the Chinese drama styles was characterized by graceful music and refined literature, being very popular among the gentry of Ming and Qing Dynasty. The 'Zhaoshi-Guer' play in 'chuanqi' style of the 'The Sixty Plays' collection, is called 'Ba-yi-ji', which was sung in Kunqu崑曲 stage. Because 'The Sixty Plays' collection was widely read throughout the late Ming and Qing Dynasty, the 'The Sixty Plays' version became the model of Kunqu lineage example and so it was in the case of "Ba-yi-ji". In the end of the Ming, new performing type of drama that is called as Zhe-zi-xi(折子戱) was appeared. Zhe-zi-xi refers to make only some pieces, not the whole. With the new form of performance appeared many of the selected texts of plays have come out including 'Zui-bai-qiu'. Through the comparison between the pices of two Kunqu version, 'The Sixty Plays' and 'Zui-bai-qiu', I tried to observe the charisteristics of the Ba-Yi-ji performance of Qing dynasty. The latter succeded the former, but more performance oriented, such as using lively and easy word with the acting direction intensified and comic characters.

• Journal of Evidence-Based Herbal Medicine
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• v.2 no.1
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• pp.13-18
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• 2009

The aim of this study was to find out the time when the Araliae Continentalis Radix and Osterici Radix were classified into different divisions as the period were not known to oriental medical science in Korea. It could be said that the Araliae Continentalis Radix and Osterici Radix had been recognized the different shapes since Sui-Tang eras and they had been differently used in their shapes and effects as separated medical plants since Song-Yuan eras. This thesis also presented the effects and shapes of Araliae Continentalis Radix and Osterici Radix as well as showed prescriptions and the uses of them in each dynasty of China.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.105-115
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• 2008

A Go-go-kwan is a particular hat which has worn by married woman in Mongol and Yuan dynasty in China. It is also widely called as a Boktak in Mongol. The Go-go-kwan, recorded in jip-sa and in the miniature painting of 14th century is the early type of go-go-kwan. Later type can be seen from the relic collections of Gyeonggi Provincial Museum in Korea. The Go-go-kwan is composed with three parts ; feather part, tube part and hat part. Among the feathers, the largest one is as long as four times of the length of the tube and the shortest one is half the length of the tube. The tube is made of light weight wood such as white birch or bamboo, and covered with silk. Some of the hats were made exactly to fit on the head whereas others were designed to wear on the head as like jobawi.