• Journal of Conservation Science
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• v.32 no.4
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• pp.571-578
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• 2016

This study analyzed the pigments used in two portraits of Sim Hui-su using scanning electron microscopy/energy dispersive spectroscopy(SEM/EDS), X-ray diffraction(XRD) analysis, and microscopic observation, and then compared the results to those from nondestructive analysis. It was estimated that cinnabar/vermilion and minium were used for the red pigment, azurite for the blue pigment, atacamite for the green pigment, and lead white for the white pigment. These results were compared to the pigments of six portraits with a similar format, full-length official-attire portraits from the $17-18^{th}$ century Joseon period. It was revealed that the composition of the pigments used in the portraits varied depending on the date of production. Iron oxide, another red pigment, was used in the $18^{th}$ century. As for the blue colorant, smalt was used in the late $18^{th}$ century, whereas it was absent until the early $18^{th}$ century.

• The Journal of Korean Medical History
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• v.15 no.1
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• pp.63-146
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• 2002

Huh-Im(許任, 1570~1647) was an acupuncture doctor of Chosun(朝鮮) era through the late 16th century and early 17th century. Even though he was a person of low birth, he participated in the loyal medication through three loyal generations, Sunjo(宣祖), Kwanghaegun(光海君) and Injo(仁祖). He was recognized of his services and became an official, 'Dangsanggwan'(堂上官) and Kyunggi(京畿) district official several times. In the early Chosun era, acupuncture medicine was focused. During the late 16th century, Imjin(壬辰) war aroused more needs about acupuncture medicine, and acupuncture doctors showed remarkable work. Under these circumstances, Huh-Im(許任)'s fame spread throughout the country. Huh-Im(許任) wrote ChimGuKyungHumBang("鍼灸經驗方") in 1644 based on his lifetime clinical acupuncture & moxibustion experience. It was the first specialized book of acupuncture in Chosun era. This event took place 30 years after DongEuiBoGam - Acupuncture Chapter("東醫寶鑑-鍼灸篇") was published. But it was not influenced much by DongEuiBoGam - Acupuncture Chapter("東醫寶 鑑-鍼灸篇") in the form or contents. ChimGuKyungHumBang("鍼灸經驗方") and Huh-Jun(許浚)'s DongEuiBo- Gam - Acupuncture Chapter("東醫寶鑑-鍼灸篇") were the fruits of the middle Chosun, and they are complementary to each other in theory and practice. The chief distinctions of ChimGuKyungHumBang("鍼灸經驗方") are in it's compact and practical edition and a lot of his clinical acupuncture prescriptions mentioned in the book. Huh-Im(許任) not only accepted the existing books such as NaeKyung("內經"), DongInSuHyulChimGuDoKyung and Shin- Eung Kyung("神應經") with his point of view and clinical experience, but also showed creative operation of studies. Indicating incorrect acupuncture points(訛穴), acupuncture remedy based on the visceral pathogenesis(臟腑病機) and the channel pathogenesis, research on new acupuncture points, sorting out plenty of outer meridian acupuncture points(經外奇穴), creating supplementary and purging acupuncture method(鍼補瀉法) which is a change of hand treatment of KiHyoYangBang("奇效良方"), operating variety of acupuncture and moxibustion treatments, and application of acupuncture treatments on surgery field such as intumescences and emergency cases are the examples. Huh-Im(許任)'s ChimGuKyungHumBang("鍼灸經驗方") influenced on the folk remedy books(民間經驗方書) in the late Chosun era. Compact and practical characteristics of the book let acupuncture treatment be freindly to the people. It can be confirmed in JeungBoSanRimKyungJe-Emergency Chapter("增補山林經濟-救急篇") or the formation of SaAmChimBob(舍巖鍼法). ChimGuKyungHumBang("鍼灸經驗方") was introduced to Japan in 18th century and published twice. ChimGuJibSung("鍼灸集成"), known as an acupuncture medical book of late Qing dynasty(淸末, 1874), is confirmed to be an plagiarization of DongEuiBoGam-Acupuncture Chapter("東醫寶鑑-鍼灸篇") and ChimGuKyungHum- Bang("鍼灸經驗方") of 17th century Chosun. Confusions and errors arouse from mistaken editional trend of ChimGuJIbSung("鍼灸集成") which had not disclosed it's original author and the title of the book must be reformed. In this way, fruits of acupuncture of the middle Chosun era including Huh-Im(許任)'s ChimGuKyungHumBang("鍼灸經驗方") will take a right place in acupuncture medicine history.

• Korean Journal of Oriental Medicine
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• v.17 no.3
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• pp.17-24
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• 2011

Bonchoyuham Nyoryeong(本草類函要領) shows how Donguibogam(東醫寶鑑) -Mirror of Eastern Medicine- is understood, digested into Korean medicine, and at the same time how it participated in the historical shaping of Korean medicine since the publishing in the early 17th century. The author, Hyeon Jae-deok, internalized the structure, content, and significance of Donguibogam and drew out a novel, concise, but comprehensive type of medical manual, while many other medical books since the 17century in Korea are estimated to have been an abridged edition of the Donguibogam. It may well be estimated as exemplar of the extent to which Donguibogam informed Korean medicine since the 17 century. The book shows as well how Bencao Gangmu(本草綱目) -Compendium of Materia Medica- and Donguibogam are merged and set a new medical stream in the 19th century Korea. Hyeon Jae-deok looked at the Bencao Gangmu from the lens of clinical treatment and prescription such that he focused on sections, elements, or parts of procedures, treatments, and prescriptions, not on the herbal taxonomic knowledge of the book. This perspective was embodied in Bonchoyuham(本草類函), which cited simple remedies, prescriptions, or treatments from Bencao Gangmu.

• Journal of architectural history
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• v.17 no.5
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• pp.39-53
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• 2008

This study aims to investigate and analyze the plan and structural system of 4 kan(間) by 4 kan(間) square church built in early 20th century. At that time, three kinds of traditional wooden structure church had been built under the circumstances of transitional era : Basilica style such as Ganghwa Anglican Church, 'ㄱ' shaped style such as Keumsan Church and $4{\times}4$ Square style such as Bukok Church and Jacheon Church that are concerned in this study. Traditional plans and structural system were mixed with new religious function and transformed into korean peculiar style. $4{\times}4$ Square style is a residual product in that process. Despite of it, little concerns on it till now. The results of this study are described as follows. 1. The plan of these $4{\times}4$ square churches is divided into three areas : cathedra($1{\times}1$), attendance($4{\times}2$), and intermediation($4{\times}2$). The location of cathedra is commonly the opposition part of main gate and projected out of the building. Attendance area was also divided into two, man and woman, because of keeping a distance with each other. 2. The structural system of these $4{\times}4$ square churches are somewhat different because of their size and roof style. In the case of Bukok church, $4{\times}4$ square fall off $3{\times}3$ and $2{\times}2$ gradually and turn into paljak(八作) roof, which enable us to get in traditional entering methods. On the contrary, Jacheon church use hipped roof but almost alike pyramidal roof, which could make us not to recognize entering in the aspect of gable part.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.38-50
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• 2005

A chronological classification of Sangbok(상복) and Sibok(시복) for officers in Joseon Dynasty is proposed in this paper. The classification results in four distinct periods according to the usage of Sangbok and Sibok as well as their colers and naming: 1) the mixed usage period, 2) the usage-differentiation period, 3) the name-differentiation period, and 4) name-reversal period. During the mixed usage period which lasted until the early 15th century, Sangbok and Sibok were used with no distinction. In the usage-differentiation period, the King Sejong first made a regulation on the use of colors of Dal-lyung according to the occasion and black colored uniforms were used only for daily cabinet meetings. In the 16th century, the names of Sangbok and Sibok began to be used distinctively: Sangbok for formal clothing in black color and Sibok for ordinary clothing in pink color This period is defined as the name-differentiation period in this paper. In the name-reversal period f·hick begun around the 17th century, the usages as well as the colors of Sangbok and Sibok are totally reversed because of some confusions of the understanding on the previous government publications. However, the distinction of formal clothing and ordinary clothing remained.

• The Journal of Korean Medical History
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• v.32 no.2
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• pp.79-90
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• 2019

In many periods of Korean history, state-sponsored medical books played a crucial role in terms of distributing medical knowledge as well as systemizing medical information. This study uses comparative analysis to examine the tables on contents of state-sponsored medical publications in Korea. These tables of contents reveal the placement and categorization of medical knowledge, which implicates the ways in which diseases were classified. Historically, Korean medicine has been influenced by Chinese medicine, and at the same time, it has made steady efforts to localize Chinese medicine. This paper argues that Korean medicine adopted the Chinese styles of categorizing medical knowledge in the middle of 15th century for the first time and shows the tendency to Koreanize medical knowledge through the early 17th century. In the 18th century the Complete Records of Medicine (醫部全錄) shows the trace of referring the style of Korean medical book, the Treasured Mirror of Eastern Medicine (東醫寶鑑) in terms of categorizing medical knowledge.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.51-67
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• 2009

The study is about 'Dap-ho', a kind of men's coat in the early, and mid period of Joseon Dynasty. The study examined the kinds, color, and fabric of Dap-ho from "The Annals of the Joseon Dynasty". It also examined the characteristic, and the change of shape through excavated costume, and the period is limited until early 17th century. In "The Annals of the Joseon Dynasty", there is record of Dap-ho from King Sejong period to Gwang-hae-gun period. After 160 years, it appears again in King Young-jo period, and remains until King Soon-jong period. It was mentioned 168 times, from over 100 cases. There are 26 colors of Dap-ho from "The Annals of the Joseon Dynasty", and among them, green appears the most. Thin fabric, like Joo [紬], Sa[紗], and Cho[綃] was used often, and there are records of double layered, and cotton padded Dap-ho. The period when Dap-ho appears as excavated costume is almost the same as, "The Annals of the Joseon Dynasty" and disappears after the decease of Dae-ho Kang(1541-1624), and Sun-un Yun(1580~1628). After in this period, Dan-ryung, and Jik-ryung changes into double layered clothes, and Jik-ryung functioned as the underclothes of Dan-ryung, instead of Dap-ho. The excavated costumes of Hwak Kim(1572~1633), and Eung-hae Lee(1547~1626) proofs this. But Dap-ho was called 'Jun-bok', 'Dugree', Que-ja', and 'Dap-ho' until the later period of Joseon Dynasty.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.915-929
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• 2000

As a result of research, the character of the general dress-costumes from the late 17th century to the early 18th century in Genre Paintings of DuSeo Yun and YoungSeok Cho is as follows. Firstly young women wore braided hair at the back of head and married women wore hair in the style of Unjeun-mori with Gache. The length of Jeogori (Korean traditional jacket) covered waistor shortened to waist length. The width of Jeongori was suitable, because side-seam line was straight or oblique as it comes into inner line. The width of Git was enough and Mokpan-git (shape of board) and Kal-kit (shape of knife) appeared, and sometimes used other color fabric. Sleeve was narrow and ostly folded up. Chima (Korean traditional skirt) used darker color fabric than Jeogori and the width of Chima was narrow and its length was short. Sokbaji (Korean traditional underpants) shown below were narrow and its end narrower. They were barefoot or they wore Hye (Korean traditional shoes) after putting on Beoseon (Korean traditional socks). Secondly general man's hair tie a topknot (sangtu) and put on headdres, 'Bang-lip', 'Mang-geon', hairband, 'Tang-geon' on head. The length of Jeogori became shorter from the line which covered hip to the line which covered waist. The width of Jeogori was suitable and sometimes it had a slit of side-seam line. The width of Git (neckand) was wide and the length of Git was long. 'Kal-git'appeared and it used other color fabric. The shape of sleeve was straight and narrow. They folded up their sleeves. They folded up their sleeves. They folded up their slack that look like 'Jam-bang-i'and the width of slacks was not suitable, and it was narrow. Baji (Korean traditional pants) were with or without knot, worn 'Hangjeon'(ankle band). They were barefoot and wore 'Hye'or 'Jipsin'(Korean traditional straw shoes). Thirdly a person of high birth or a low-ranked official put 'Yu-geon', 'Mang-geon', 'Gat', 'Tang-geon', 'Bok-du', 'Bok-geon', 'Whi-hang'on their head on a topknot. They wore 'Po (Shim-ui, Jick-ryeong'Jung-chi-mak, Do-po, etc)'on Baji and Jeogori. 'Po'was long and wide, it knot with 'Se-jo-dae'(string belt) or 'Po-baek-dae'(band belt). It had a slit of sideline and 'Mu'which had or had not or which were hard to confirm. The shape of sleeve was straight or very wide and its length was long. The width of Baji was wide and knotted with 'Hangjeon'and wore'Beoseon'and 'Hye'. Fourthly child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line and its width was wide. It had a 'Jeogori'which had s slit of sideline. The shape of sleeve was 'Tong-su'(straight), and the length of sleeve was diverse. They put 'Baeja'on 'Jeogori'. The width of Baji was not wide. They wore them straight without or with knot, 'Hangjeon'. They were barefoot or put on 'Jipsin'.

• Journal of the Korean Society of Costume
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• v.57 no.10
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• pp.142-155
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• 2007

The purpose of this study is to develop a fashion show model as a local festival program by designing the costumes of Chosun dynasty from later 16th century to early 17th century and planning a fashion show. The designed costumes are based on the life of the representative poetess, Maechang Lee, from Buan-gun, Jeollabukdo. The planning of the fashion show consists of seven stages, that is, finding a theme, composing the story, designing costumes, choosing music, planning intermission events, producing visuals and booklet, and directing model performances. This paper focuses mainly on finding a theme, composing the story, and designing costumes.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.105-115
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• 2008

Men's outer wear, such as jackets and coats appeared since the 16th century. They have been changed from doublets, coats, justaucorps, tail-coats, frock coats and morning coats to contemporary men's suits. Since the early 17th century, sleeve patterns of men's outer jackets had been mostly two-pieces close fitted patterns. The purpose of this article is to compare sleeve patterns of various jackets, which appear in various historic costume books. Armhole measurements, sleeve head measurements, amounts of ease, armhole depths, armhole widths, crown heights, sleeve width and sleeve angle had been compared to find out the differences among patterns of different times and styles. Coming to the present, the difference between top sleeve and under sleeve became more obvious, and the sleeve angle became less curvy. Another interesting point is that there had been considerable amounts of ease, which is the difference between sleeve head measurements and corresponding armhole measurements. It is because the sleeve has been attached to the armhole not by seam but by string. It is believed that the present sleeves have more natural curve and shape compared to the past.