• Proceedings of the Korea Society of Design Studies Conference
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• 2001.10a
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• pp.82-82
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• 2001

• Journal of the Korean Society of Food Culture
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• v.30 no.3
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• pp.249-266
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• 2015

The sauce and paste, which is collectively called as 'jang' in Korean is the staple seasoning of Korean cuisine. Although China shares some aspects of the Jang (醬), the exact types and forms are different. In this study, we explore the current Korean jang through the six culinary books- "Seongwonlog (醒園錄)", "Yangsolog (養小錄)", "Jojeongjip (調鼎集)", "Susiggeeumsigbo (隨息居飮食譜)", "Junggwerok (中饋錄)", and "Sosigseolyag (素食說略)" from the Qing Dynasty of China. The Jang of Qing Dynasty are further classified into the Chumjang (甛醬), Dusi (豆豆支), Chungjang (淸醬), and jangyou (醬油). To make these four types, the huangzi (黃子) has to be first made from the flour or beans, after which salt is added and sun-dried. Chumjang is the type of Chunjang used to make Zhajiangmian and is widely used in the Northern part of China. Like Chumjang, Dusi is made from flour and beans. Salt as well as various spices like Star anise, Chinese pepper and sesame are added. This type of paste is widely used in the Southern part of China. Chungjang is made when salt and water are added and sun-dried, after which it is filtered through an apparatus called Jangyou. The final product is sauce similar to today's soybean sauce.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.3
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• pp.407-419
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• 2017

Based on clothing prohibition modelling characteristics, this paper studies historical costumes through the traditional Chinese historical dramas of the 'Kang-Qian' heyday during the 'Qing Dynasty'; represents the research object as a representative Chinese historical drama. This paper systematically analyzed the utilization and reflection of royal women clothing prohibition. The results of the study are as follows. The royal women clothing prohibition of this drama shows three aspects of characteristics found in traditional Chinese costume modeling. First, some special colors that integrated ancient and modern styles were mainly used in this drama such as champagne color, wine color, and macaron color. Second, it mainly utilized the modelling of modern artificial pigments and floral patterns that are different from Chinese traditional female costumes of the 'Qing Dynasty'. Third, stage costumes for this drama are focused more on using a personality method to reflect the beauty of each actress by the application of individual elements. This study analyzed and studied the clothing prohibition of female costume from to show the traditional Chinese costume prohibition in a Chinese historical drama as well as reveal a few aspects of traditional female costume characteristics in the 'Kang-Qian' heyday during the 'Qing Dynasty'. This study examined traditional female costumes characteristics in modern historical dramas based on different figures and dynasties as well as discussed the factors at a deeper level and from varied aspects.

• Journal of Korean Medical classics
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• v.19 no.3
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• pp.427-431
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• 2006

From 51 monographs of case record in Qing Dynasty, we chose 29 monographs in which tongue diagnosis applied to Warm disease. Then extracted all the case records and got 488 cases from them. In according to the classification of tongue diagnosis in teaching material of TCM diagnosis of higher TCM schools education, we had a statistic analysis on the 488 cases. Results show that the recording rate of tongue coating was highest, 65.16%. From high to low sequentially, the frequency of different fur was yellow fur, white fur and black fur. During $1850{\sim}1911$ of Qing Dynasty, the description of tongue coating changed that the proportion of white fur, yellow fur and compound fur was increased. On the contrary, the proportion of black fur was decreased. The recording rate of the color of tongue was 23.16%, in which the rate of red tongue and crimson tongue were higher. The recording rate of fur character was 37.7%. During $1850{\sim}1911$ of Qing Dynasty, the recording rate of greasy fur was increased to the first. The application of tongue diagnosis involves the warm-heat species of Warm Disease, damp-heat species of Warm Disease and pestilence.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.3_4
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• pp.454-463
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• 2002

The purpose of this thesis is to understand the role and meaning of costumes in feudal dynasties through Ideology, Content, and Consequence of Costume Policy of Qing. And this is to investigate the Ideology of Costume Policy as the first strep. The ideology of the costume policy of Qing dynasty stemmed from the ethnic identity. Huang-tai-ji(황태극) was not only the emperor, but the Qing's principle costume policymaker. He thought that the Man people's horse-riding and archery was the basis of their nation and their costume was vital to these abilities. Therefore if thar changed to the large sleeve costume of the Han people, they would lose their ethnicity. Hurting-tai-ju succeeding emperors continued the ideolo효 of retaining ethnicity.

• The Bulletin of The Korean Astronomical Society
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• v.39 no.1
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• pp.85.2-85.2
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• 2014

The origin of the Korean Screen Planisphere with both Traditional and New Star-Charts, made by Korean Astronomers in the Royal Astronomical Bureau of the Joseon Dynasty by adopting the knowledge of the European astronomy, is investigated by analyzing its inscriptions and star charts. The considerations on both the changes in notations or representations of names of asterisms and the naming taboos used in the Old-style planisphere imply that the star-chart is originated from either the Sukjong-Stele-Replica of Cheonsang-Yeolcha-Punyajido(天象列次分野之圖). The New style planisphere is just the reproduction of Huangdao-congxingtu (黃道總星圖), with the exception of the non-Chinese-traditional stars. The Huangdao-congxingtu was made in 1723 CE by Ignatius K$\ddot{o}$gler who was a Jesuit missionary and worked for the Bureau of Astronomy (欽天監) in the Qing Dyansty. I find that the star chart was imported in 1742 CE from the Qing by An Gukrin (安國麟) who was an astronomer in the Royal Astronomical Bureau of Joseon. The chart became model for the screen star-chart made in 1743 CE and now housed in Bopju temple. I found that the inscriptions are extracted from the sentences in both Xinzhi Lingtai Yixiangzhi (新製靈臺儀象志) and Qinding Yixiangkaocheng (欽定儀象考成). Korean historical records in either Daily Records of the Royal Secretariat of the Joseon Dynasty (承政院日記) or Annals of the Joseonn Dynasty (朝鮮王朝實錄) show that Xinzhi Lingtai-Yixiangzhi was imported from the Qing Dynasty in 1708 CE, and the Qinding Yixiangkaocheng was imported in 1766 CE. Thus, the Korean Screen Planisphere with both Old and New Star-charts was certainly made after 1766 CE.

• The Journal of the Society of Korean Medicine Diagnostics
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• v.18 no.1
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• pp.33-43
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• 2014

Objective I would like to identify when 'If the wind damage people, they feel aversion to wind. If the cold damage people, they feel aversion to cold.(傷風則惡風 傷寒則惡寒)' has appeared and what does this hypothesis have affected. I also researched future scholars' opinions and their criticism on this hypothesis. Methods: 1. Among the books which are related to Cold damage according to the age, books which have original text that has a relationship with this hypothesis were elected. Total of 30 books were elected, and their original text was extracted and analyzed. Results 1. This hypothesis appeared first on Hwalinseo(活人書) in the Song Dynasty, and had lots of impact on future generations. 2. After passing Song, Yuan, and Ming Dynasty, there were some opinions appeared which criticized part of this hypothesis. Dongeuibogam(東醫寶鑑) also tried to correct this hypothesis. 3. Bang Yu-Jip(方有執) of Ming Dynasty straightly opposed this hypothesis on Sanghanronjobyeon(傷寒論條辨)for the first time. It had huge influence in the Qing Dynasty and lots of scholars suggested that this hypothesis lacks persuasion. 4. Just like Qing Dynasty, this hypothesis is not accepted in the books of modern ages. Conclusion This hypothesis appeared in the Song Dynasty for the first time and had lots of influence, but some counter arguments had appeared as time passed, and during Qing Dynasty, this hypothesis lost its creditibility with lots of criticism.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.493-503
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• 2022

With the rise of epigraphy and textology, and the emerge of many famous outstanding clerical script masters, Qing Dynasty becomes another important innovation period in the development of the clerical script. Jin Nong and Yi Bingshou are two important clerical script masters in the Qing Dynasty. Thus, researches on the courses of their careers as well as a comparative study between these two calligraphers, Jin Nong and Yi Bing, are specially important. The comparative study of Jinnong and Yibingshou's clerical script is a relatively new subject, which is entered from the angel of comparative perspective between their clerical scripts works. Through an in-depth research on different inheritance routes, which are origin from Han Dynasty clerical scripts, of Jin Nong and Yibingshou, it is found that these two calligraphers are different in innovation of clerical script style, theory of calligraphy and of clerical script practice. This paper focuses on a comparative study of the different clerical theories and clerical script works between Han Dynasty, Jinnong and Yi Bingshou. A comparative study of clerical script works of Jin Nong and Yibingshou in Qing Dynasty provides a more comprehensive and in-depth understanding on these two calligraphers; meanwhile, it provides valuable learning paths for later calligrapher in the field of clerical script, and can be regarded as references in the innovation of the official script style.

• Cross-Cultural Studies
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• v.25
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• pp.529-548
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• 2011

Zu Wen-Zao(朱文藻), Li Tiao-Yuan(李調元), Hong Liang-Ji(洪亮吉), Peng Yuan-Rui(彭元瑞), Qian Dong-Huan(錢東垣), Sun Xing-Yan(孫星衍), Ruan Yuan(阮元), Chen Zhan(陳?), Wu Shi-Fen(嗚式芬), Feng Gui-Fen(馮桂芬), He Shao-Ji(何紹基), Fan Zu-Yin(潘祖蔭) made the contributions to the theoretical construction to the science of Chinese characters in their books "Shuwenxizhuankao(說文繫傳考異)", "Liushufenhao(六書分毫)", "Liushuzhuanzhulu(六書轉注錄)", "Xiqinggujian(西淸古鑒)", "Xiaoeryajiaozheng(小爾雅校證)", "Jiujingzhengsuzikao(九經正俗字考)", "Jiguzhaizhongdingyiqikuanshi(積古齋鐘鼎?器款識)", "Shuwenshengxi(說文聲繫)", "Shuwenjiuzizhengyi(說文解字正義)", "Jungulu(?古錄)", "Shuwenjiuzizhukaozheng (說文解字段注考正)", "Shuowenduanzhubozheng(說文段注駁正)", "Haidongjinshilu(海東金石錄)". They analyzed the rules behind character construction, and tried to find out the nature of Chinese characters, the relationship between Chinese characters, the evolutionary laws of Chinese characters, the characteristic of ancient Chinese characters etc.

• Cross-Cultural Studies
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• v.23
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• pp.383-418
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• 2011

The purpose of this research is to find out how the Chinese Bronze Epigraphy has developed and how it has influenced the Chinese Academic field. The Chinese Bronze Epigraphy started from the Han dynasty, however it didn't reach the professional academic stage. After the Song Dynasty it started to be studied in full scale. Therefore, it is reasonable to see that the start of the study of bronze was from the Song dynasty. In the Qing Dynasty, the study in Epigraphy was extended on again. ShuoWenJieZi that was written by XuShen in the Han Dynasty. KaoGuTuShiWen that was written by $L{\check{u}}DaLin$ in the Song Dynasty. ShuoWenGuZhouBu that was written by WuDaCheng in the Qing Dynasty. JinWenBian that was written by RongGeng in the Republican era. This thesis examines the contents of ShuoWenGuZhouBu and JinWenBian and then synthetically compares and analyzes them. The conclusion of this study is as follows. It cannot be denied that ShuoWenJieZi and KaoGuTuShiWen significantly affected the birth of ShuoWenGuZhouBu and JinWenBian.