• The Journal of Korean Medical History
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• v.19 no.2
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• pp.3-18
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• 2006

Bodongbiyo is an old medical book, which can be traced by its texts quoted in the pediatric part of Euibangryuchui. A notable fact is that its record does not remain in China, and relevant records are found only in Korea. The book is believed to have been widely used until the early Chosun Dynasty. The present study purposed to examine how records on Bodongbiyo have been handed down until today and to answer questions on the author of the book through investigating the quoted texts. In addition, we tried to get a glimpse of early pediatrics remaining in the book. From this study were drawn conclusions as follows. A. The oldest record about Bodongbiyo is found in the history of King Taejong in Joseonwangjosilrok, and its contents remain in the form of quotations in Hyangyakjipseongbang and Euibangryuchui. The fact that there are several records on Bodongbiyo, which cannot be traced in Chinese literature, means that the categories of medicine were so extensive in those days. Moreover, this proves the existence of pediatrics as a special medical area in the early Chosun Dynasty. B. Bodongbiyo is known to have been written by Yoo Wan-so, but there are some questions and, in fact, its contents including the theory of fever are contradictory to Yoo Wan-so's medical theory. A number of books that have been published recently in China under the title Bodongbiyo contain the original commentaries of Euibangryuchui and the contents of Yoo Wan-so's other books. They are likely to throw confusion into future researches. C. Bodongbiyo is believed to have been read widely in the Koryo Dynasty and the early Chosun Dynasty. Through examining its texts, we found that the book takes a different course from Soayakjeungjikgyeol. This provides a lead to the understanding of pediatrics in the early Chosun as well as to further research on pediatrics in the mid Chosun Dynasty represented by Dongeuibogam.

• Journal of Korean Medicine Rehabilitation
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• v.25 no.2
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• pp.111-118
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• 2015

Objectives Through the clinical records of Seungjeongwon Ilgi, we reviewed the usage of Bi-Jeung to know the concept of the word and studied therapeutic strategies for managing Bi-Jeung. Methods We investigated the clinical records of the mid-Chosun dynasty containing the key word "Bi" from electronic database (Seungjeongwon Ilgi). Results Of 4,039 records, 249 articles thought to have medicinal value were lastly selected. We subdivided the cases into 13 categories according to time, the connection of contents and the change of associated symptoms. "Bi" was not used alone but used in combination with body parts or other symptoms. Etiological causes of "Bi" involved dampness, phlegm, fire, heat and qi disorders. We suggested that "Bi" of the mid-Chosun dynasty meant a symptom group mainly of sensory impairment and additionally pain or motor disturbance. Among the 22 herbal medicine formulas used, 15 were based on internal medical pattern identifications and 7 were symptomatic treatments. Acupuncture and moxibustion therapy were primarily applied to adjacent acupoints. In addition, External therapies were used together, such as washing therapy, plaster therapy, cupping therapy and thermotherapy. Conclusions "Bi" principally indicated sensory impairment on limbs and the main etiological cause was considered to be dampness. Herbal medicine, acupuncture, moxibustion and external therapies were used to cure Bi-Jeung.

• The Journal of Korean Medical History
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• v.21 no.2
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• pp.79-93
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• 2008

Through researching 鄕藥救急方, the oldest medical text published in Korea in existence known to date, a study from a Traditional Korean Medicine perspective was conducted. This study aims to observe the treatment of oral, glottal, labial, and dental diseases starting from 統一新羅時代 to the Koryo dynasty from a historical perspective and also find out what clinical significance it withholds. "鄕藥救急方" proposes methods of nurturing the teeth and in doing so displays the tendency of Traditional Korean Medicine of putting much weight on preventing diseases and nurturing the body. "鄕藥救急方" considers the oral, glottal, labial, and dental diseases as not only fundamental problems in itself but also treats them from a perspective that they are results of disharmony among the five viscera and the six bowels. The treatment methods mentioned in "鄕藥救急方" are directly cited in "鄕藥集成方" of early Chosun dynasty. In "東醫寶鑑" of mid-Chosun dynasty, however, changes and modificatios are made to the prescriptions.

• Journal of architectural history
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• v.22 no.1
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• pp.15-27
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• 2013

The purpose of this study is to analyze the changing process in the Ddeulzip of Jinsung Lee clan family. The subject of this study is clan family of Jinsung Lee in Andong Cultural Area. The period of Chosun Dynasty is divided into largely three parts. The establishment process for Jinsung Lee's family is analyzed during early (15~16C) and mid(17~18C) periods, and changing process is analyzed during mid(19~20C) and late periods. The characteristics of early Chosun Ddeulzip is that it made a foundation to construct a Ddeulzip form. Those of mid Chosun period is in their strong will to preserve their ancestral house which is well manifested through the restoration of Taegye's ancestral house. During the late Chosun period, many of the different styles of Ddeulzip were constructed due to the stable environment of both political and economical status. The residential house of Jinsung Lee family that were centered in Yean area include diverse forms for both high and middle class social status. Jinsung Lee family's Ddeulzip is thus considered to bring about the firm foundation as a clan family representing the Andong cultural area through the development of Ddeulzip.

• Journal of architectural history
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• v.15 no.4
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• pp.87-105
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• 2006

Dok-Rak-Dang and Hyang-Dan, upper class houses of Chosun Dynasty on the early and mid 16th century, are generally known as specific style houses among traditional residences in Korea. Architectural singularities of these two residences are summarized as double facades, uncertain circulation, self-secluding construction, dilemmatic structure, and rotative circulation that are far from architectonic principle of that time. Characters of Deconstructionist Art, deconstruction of binary oppositions, double session, displacement without reversal, and paradox, are very similar to those of two residences both as a material phenomenon and as a metaphysical idea. Thus, this paper attempt to analyze architectural singularities of Dok-Rak-Dang and Hyang-Dan with the perspective of Deconstructionist Art Theory.

• Journal of architectural history
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• v.3 no.2 s.6
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• pp.47-66
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• 1994

Chosun dynasty had accepted the Confucianism as a means of governing whole society and in its practical aspect ${\ulcorner}$Garye${\lrcorner}$ and the ceremonies of family ritual regarded as important. As a result, after mid-Chosun dynasty family ritual was begun to popularized on a national scale, and the socio-culture system which was interrelated with it changed into confucian ones. These fill-scaled change, on the other hand, resulted into the change of spatial use and plan type of yangban houses. In this aspect, this study intends to clarify the influence of family ritual on spatial use of yangban houses through the comparison between ideal pattern and behavioral one of family ritual. And this study made Gwanhonrye except Sangjerye an object because these two ceremonies were peformed in sucession in those day's behavior. The research setting is the Korean traditional society prior to modernization. The collected materials are based on ethnographic information as well as personal documents, public records, field works and the books on family ritual. The methodology for the present study is primarily based on the comparison study between available documents and field work. Especially, as the books on family ritual include some explanatory diagrams of the ideal pattern, these diagrams are compared with another ones made by the author of the behavioral pattern. The major findings are as follows. Firstly, in the aspect of Gwanhonrye's process, the ideal pattern is similar to the behavioral one. But even the essential course of the ideal pattern of Honrye is 'chinyoung', it has never been accepcted in Chosun dynasty on account of 'seoryubuga'. Secondly, even though the names of the performing space of family ritual are different each pattern, the methods of spatial use in processing these two ceremonies are similar. In other words, according to the books on family ritual the major performing spaces of Gwanhonrye are 'chungsa' and 'jungchim', but in practical process of both ceremonies 'sarangchae' and 'anche' are used. Lastly, as family ritual like Gwanrye and Honrye had been practiced at yangban houses after mid-Chosun dynasty as mentioned above, the spatial arrangement had to be changed to a certain extent.

• The Journal of Korean Medical History
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• v.19 no.2
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• pp.29-47
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• 2006

Because the size of population was directly related to the power of the nation in the Chosun Dynasty, various efforts were exerted to maintain the size stable and the keys to the efforts were a high birth rate and a low death rate. However, in addition to wars, epidemic diseases had an enormous effect on the death rate. Particularly during the mid Chosun Dynasty, epidemic diseases were more prevalent than ever due to the abnormal climate called the little ice age. To cope with them, the government executed several medical relief policies and published medical books. In Chinese epidemiology, infectious diseases mean sicknesses caused by hot weather, but in Korean epidemiology, they indicate large-scale infectious sicknesses caused by both hot and cold weather. Therefore, as treatment methods for diseases from the cold were not applicable to the pathology of epidemic diseases, China developed separate epidemiology. In Korea, however, the main concern was how to prevent epidemic diseases, whether from hot or cold weather, that drove many lives into death. The characteristics of Korean epidemiology are as follows. First, whenever epidemic diseases were prevalent, in order to cope with them, translated medical books were promptly published including Ganibyeokonbang, Bunmunonyeokihaebang, Sinchanbyeokonbang, Byeokyeoksinbang and Byeokonsinbang. Second, those books were annotated in Korean so that people could read easily and accurately. Third, as an extension of the Hyangyak movement from the late Koryo Dynasty, Danbang was used a lot to treat and prevent epidemic diseases with less financial burden, and things obtainable easily according to individuals' situation were mentioned for anybody to overcome the emergent situation of epidemic diseases. Fourth, methods for praying to God were suggested for practitioners to work with sincere spirit and to keep themselves from epidemic diseases.

• Journal of the Korean Society for Library and Information Science
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• v.28
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• pp.71-81
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• 1995

There are no exact copies or carvings of India's original Buddhist Scripts published in Korea that had been flowed into Japan except those of WanSanJungUiMongSanPuPo(환산정의몽산법어). YaWoonJaKyung (야운자경). KyeChoShimHakInMoon(계초심학인문) PalSimSooHangChang(발심수행장) and MongsanWhaSangPupoRackLock published by a mid-Chosun Dynasty Buddhist monk, YaWoon TaesunSa. Others are the translations by Chinese people. All printings were of woodblock except ChonjimyungYangsoo- RhockChapMoon(천지명양수육잡문) of Inkyng wood printing type. This shows perhaps that the Buddhists were so devout that they spared no effort in their prayers to head for the Paradise. Even the woodblock carver himself took his hard work for granted in his belief and engraved the blocks with all his heart taking his work as God-given task. Or. perhaps they to use wood-block printing as the demand for the Scripts soared. By the way. as the Koryo Dynasty took Buddhism as the state religion, it was natural that the Buddhist Scripts were published at TaeJangToKam (the publishing office) and were much encouraged. It is noteworthy. however, that not a few Buddhist Scripts had been published during the Chosun Dynasty despite its crack-down on Buddhism as the Confucianism was declared as the state principle. The Scripts were even published by such temples as MoonJooSa(문수사), MyoHeeAm(묘희암). SsangbongSa(쌍봉사). PyoHoonSa(표훈사), YooJupSa(유점사), YongJangSa(용장사). and AnShimSa(안심사). The fact that the Scripts were even published by KanKyungToKam(간경부감) leads us to reconsider the traditional way of thinking of the Chosun Dynasty as anti-Buddhist or flunkeyist. The historical fact that a record number of Buddhist publications had been transmitted to Japan - is it accidental? - This issue could well be another subject matter for further research. However, it should be noted that very few of above­mentioned Buddhist Scripts are found in present-day Korea.

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.94-114
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• 2001

Men's Po of (he Chosun period became simple and stable in shape as the nation moved from its early to late period. Re lines of the external structure of the clothing shows the beauty of the garment. Re lines generally derive their beauty from curved lines, gradually replacing the straight lines of the earlier part of the Chosun period. The linear beauty of the external structure of men's Po is found in the outline and silhouette. Generally in the early Chosun period it could be seen that H-shaped silhouettes, narrowed strips and flexible drapes descending to the ankles were still in use from the period of the Koryo dynasty And in the 17th century, or the mid Chosun period, considerable numbers of H-shaped drapes with wide sleeves and side Moo were seen. At the beginning of the 18th century, voluminous A-shaped outlines appeared. From the late Chosun period through the mid and late Chosun period, or the 18th and 19th centuries, the from silhouette changed from voluminous A-shapes to narrower H-shapes. The beauty of the lines of the external structure of men's Po is due to its harmonising with the straight body lines of men. The straight Git of the early Chosun period harmonises beautifully with the straight Baerae and Doryun and the curved Git of the later Chosun period similarly harmonises with the curved Baerae and Doryun lines. The shape of men's Po has a balance betweon right and left, centering around the Sup lines. The sleeves have the balanced beauty of vertical lines. Git and Sup have beauty through the balance of oblique and straight lines while Baerae and Doryun have similar balances through curves. Jikrung, Chulik, Dapho's side Moo, coat strings, Doryun and sleeves drape, all of which are manufactured by means of plane cutting, Pow together beautifully. Re Git, Sup, and the silhouette and drape of men's Po, which are also manufactured through plane cutting, make the wearer look tall and at the same time express the beauty of mature manhood. The linear beauty shown in men's Po during the Chosun Period have beauty through harmonizing with straight and curved lines, beauty balance, beauty of flow, beutity of emphasis and beauty of optical illusion.

• Journal of the Korean Society of Costume
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• v.38
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• pp.305-321
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• 1998

The costume style of the Chosun dynasty changed greatly after Imjinwaeran (the Japanese Invasion of Chosun Korea, 1592∼1598). Most of the extant costumes come from the late Chosun, but some costumes produced be-fore Imjinwaeran have been excavated, and in addition, information on these older constumes is contained in contemporary literature. Of especial value in the study of pre-Imjinwaeran Chosun constumes is a mid-sixteenth century palace painting depicting the worship of Buddha, a painting in the collection of the Ho-Am Art Museum in Seoul. The present study of costume during the middle Chosun dynasty focuses on this painting, and compares it with other contemporary palace paintings, and with other contemporary palace paintings, and with Nectar Ritual Paintings. The following conclusion were drawn : * Concerning woman's hair styles of the time, married women wore a large wig. Un-married women braided their hair, and then either let it fall down their back or wore it coiled on top of their head. * The major characteristic of woman's costumes was a ample, tube-like silhouette, with the ratio of the Jeogori(Korean woman's jacket) and skirt being one-to-one. * The style of Jeogori in the painting was like that of excavated remains. Some Jeogoris were simple (without decoration), while some Jeogoris were worn with red sashes. Here we can confirm the continuity of ancient Korean costumes with those of the sixteenth century * Although the skirt covered the ankles, it did not touch the ground. Because the breadth of the skirt was not wide, it seems to have been for ordinary use. Colors of skirts were mainly white or light blue. * All men in the painting wore a headdress. Ordinary men, not Buddhist monks, wore Bok-du (headstring), Chorip (straw hat), or Heuk-rip (black hat). In this painting, men wore a Heukrip which had a round Mojeong (crown). * The men wore sashes fastened around their waist to close their coats, which was different from the late Chosun, in which men bound their sashes around their chest. That gave a ration of the bodice of the coat to the length of the skirt of one-to-one, which was consistent with that of woman's clothing. * In this painting, we cannot see the Buddhist monk's headdress that appeared later in the Chosun, such as Gokkal (peaked hat), Songnak (nun's hat), and Gamtu (horsehair cap). These kinds of headdresses, which appeared in paintings from the seventeenth century, were worn widely inside or outside the home. Buddhist monks wore a light blue long coat, called Jangsam (Buddhist monk's robe) and wore Gasa (Buddhist monk's cope), a kind of ceremonial wrap, round their body. We can see that the Gasa was very splendid in the early years of the Chosun dynasty, a continuing tradition of Buddhist monk's costumes from the Koryo dynasty.