• Journal of Physiology & Pathology in Korean Medicine
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• v.16 no.6
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• pp.1085-1091
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• 2002

Chang Chung-ching(張仲景) in the Later Han(Eastern Han) Dynasty of Chinese history wrote the treatise on Diseases Caused by Cold Factors(傷寒論; Shang Han Lun) on the basis of the fundamental theory of Emperor's Classic of Internal Medicine(黃帝內經; ECIM) after collecting medical treatment experiences until the Han Dynasty. It had great significance that Shang Han Lun was the origin of treating six-channels(六經) and there showed the peculiar guidelines on the diagnosis and treatment of oriental medicine to divide diseases into six-channels. The oriental medical doctors who had studied Shang Han Run thought highly of meridians and until now it was generally known that the chapter of heat in the Plain Questions of ECIM(黃帝內經, 素問ㆍ熱論) was the basis of Shang Han Run. The chapter of heat in the Plain Questions of ECIM was the first text in which the basic theory on six-channels according to the types of illness was introduced. In my point of view, the theory of treating six-channels had close relation to the Chapter of Channels in Miraculous Pivot of ECIM(黃帝內經, 靈樞ㆍ經脈篇) as well as the chapter of heat in the Plain Questions of ECIM. Therefore I took a look at the origin of treating six-channels in Shang Han Lun and illuminated again the meaning to compare the parts of in Shang Han Lun with the Chapter of Channels in Miraculous Pivot of ECIM. Conclusion: The, symptoms divided into six-channels in the chapter of channels in ECIM gave the fundamental basis of diagnosis and treatment basesd on overall analysis of signs and symptoms(辨證論治) an illness in the Zangfu(臟腑) in respect of meridians. Viewed in the light of diagnosis and treatment basesd on overall analysis of signs and symptoms(辨證論治), the symptoms of YangMing-channel(陽明經) in the Chapter of Channels in Miraculous Pivot of ECIM were, for the most part, accord with those of YangMing-disease in Shang Han Lun. Furthermore, the symptoms in Shang Han Lun were explained definitely and in detail. Therefore the theory of Shang Han Lun has been developed on the basis of ECIM with the changes of the times. YangMing-disease in Shang Han Lun implied medical cases in stomach meridian(胃經) and large intestine meridian(大腸經). Therefore Shang Han Lun was the foundation of treatment basesd on overall analysis of signs and symptoms(辨證論治) in respect of meridian as well as the text in which the steps of infectious diseases(外感病) of human bodies were explained.

• (The)Study of the Eastern Classic
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• no.57
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• pp.103-136
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• 2014

This is the paper on the descriptive perspective and writing method in Yeheon(旅軒)'s Piranrok(避亂錄). Piranrok was Yeheon's diary which was written during Japanese invasions of Korea. Many intellectual recorded their diaries during the war. Yeheon's Piranrok was a typical example among war journals. I tried to take view of the descriptive perspective and writing method in Yeheon's Piranrok. First, sourceful introspection was distinct characteristic in the descriptive perspective. Yeheon penetrated into a chaotic state of affairs during Japanese invasions of Korea. And Yeheon had reflective consciousness about self-existence. He contemplated his existence through diary writing. I had a task to study the writing methods in Yeheon's diary. One of the distinct characteristic in writing methods was to increase specific gravity of discussion. Yeheon advocated strongly his opinion and position about cause of war, war responsibility, morality, fortification and righteous army. Yeheon made the best use of communication method and catechetic method. He answered his own questions about the enter and retirement of public office. He expressed his worry and conflict through various techniques of expression. I have a task to study the diary in Chosun dynasty. I believe that analyzing characteristics of Yeheon's diary can contribute to understanding the literature history of diaries in Chosun dynasty.

• Korean Security Journal
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• no.34
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• pp.233-258
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• 2013

In the early days of the Goryeo Dynasty, the royal guard was comprised of the central regular army in the 2-gun-6-wi system, and Nasungeomgun was in charge of the security inside the palace. However, the military system became disorganized during the period of military rule and the royal guard had to rely on military subjects. The military officials suppressed the civil ministers centering on Jungbang, the guarding organization close to the King to incapacitate the royal authority and control the state affairs. When the rule of the three leaders of the military rule became short-lived and Dae-seung Gyeong is raised to the ruler, he organized a do-or-die squad comprised of a hundred and more people for his personal safety, and this became the first dobang. Dobang was disassembled after Dae-seung Gyeong died of disease, but under the rule of Chung-heon Choe, Dae-seung Gyeong's dobang was revived and reinforced into 'Yukbeon Dobang' to provide the ruler with personal protection and intensify the ruling system, and it was quite a large organization with more refined system. Yukbeon Dobang was expanded and reinforced into Naeoedobang under the rule of Woo Choe, the son of Chung-heon Choe, and it was enhanced even more into Dobang Samsipyukbeon System under the rule of the grandson, Hang Choe. Dobang can be considered as the guard organization in modern sense, and it collected information and surveyed the area where guarding is required and house troops that belonged to Naedobang eliminated the risks that may follow afterwards to make assurance doubly sure for guarding. The Choe's regime established Mabyeolcho as a private guard organization in addition to dobang, and this formed the cavalry and infantry units with dobang. Yabyeolcho organized by Woo Choe in the reign of King Gojong was divided into Joabyeolcho and Ubyeolcho, and later Sineuigun was integrated with them to form Sambyeolcho. Originally, Yabyeolcho was established under the rule of Woo Choe to prevent crime in the evening, but after Sineuigun was organized with the ones who were captured by Mongolian army but escaped, in other words when Sambyeolcho was organized, the organization displayed much broader influence by covering military and police affairs as well as punishment and imprisonment. The guarding organization during the Period of Military Rule in the Goryeo Dynasty did not have strict distinction between official guard and personal guard. The private guard in modern days which is the equivalent of personal guard is characterized by its commerciality, however, house troops and the members of dobang did not seem to pursued profit. The guard organization during the period of military rule started from dobang which was organized for personal safety but gradually developed publicness through the participation of civil ministers and expansion, and later it played the pivotal role for social security serving official purpose up to the level where the distinction between official and private activities was blurred during the period of Sambyeolcho.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.160-173
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• 2012

Roofing tile research conducted in Korea so far is mostly related to studies on roofing tile patterns excavation report on the roof tile klin site in the aspects of archeology architecture and history of art. There have been continuous studies on kiln ground and manufacture techniques of roofing tiles. However it is difficult to find roofing tiles research based on scientific experiments. The research on this paper performs physical and chemical experimental study to understand order, manufacturing techniques and other characteristics of Chosun Dynasty roofing tiles excavated in Dongdaemun stadium. As for physical experimental study water absorption, specific gravity, whole-rock Magnetic susceptibility rate and Differential Thermal Analysis are conducted. As for chemical experimental study, neutron activation analysis(NAA), microstructure observation, X-ray diffractometry(XRD) analysis are conducted. Result of neutron activation analysis and statistical analysis on piece of roof tile 22 samples clearly show that the roofing tile samples are from different time line and places. It also shows different composition when compare average value of rare earth resources per findspots. It means roofing tiles were manufactured from clay mineral from several places. Close inspection using XRD and polarization microscope reveals that main components of roofing tiles are quartz and felspar. Mica and Illite are found partially. XRD analysis shows mullite mineral composition which occurs when roofing tile is calcined around $1000^{\circ}C$. Differential thermal analysis shows gradual exothermic peak near $900^{\circ}C$. Based on these results, it is assumed that roofing tile is made at $900{\sim}1000^{\circ}C$. result of XRD analysis shows mullite were made near $1000^{\circ}C$. in Differential Thermal Analysis shows gradual exothermic peak near $900^{\circ}C$. this results shows that roof tiles were made near 900~1000 near $1000^{\circ}C$ mean value of whole-rock Magnetic susceptibility rate. When performed comparative analysis using whole-rock Magnetic susceptibility rate average value, findspots provided no certain classification to arrange. Nonetheless low whole-rock Magnetic susceptibility rate 0.2~0.78(${\times}103$ SI unit) is found when roofing tile patterns are Pasangmun, Taesangmun, Eosangmun, Kyukjamun, Heongsunmun. Overall absorptivity is 14~21%. It is similar to 14~18% of roofing tile from Chosun Dynasty. There is only 1.4~2.5g/cm3 of roof tile sample specific gravity. The analysis finds no difference in specific gravity by findspots.

• (The)Study of the Eastern Classic
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• no.33
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• pp.437-470
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• 2008

Woo-Suk Hwang Jong-Ha(友石, 黃宗河 1887-1952), Woo-Chung Hwang Sung-Ha (又淸, 黃成河, 1891-1965), Gook-In Hwang Kyung-Ha (菊人, 黃敬河, 1895-?) and Mi-San Hwang Yong-Ha(美山 黃庸河, 1899-?) were not only renowned writers and painters but also brothers spaced four years apart The Hwang brothers were not specially trained by educational institutions, but studied on their own, relying on picture books from China and the artpieces of masters. Even though brothers each born only four years from the next, they preferred different techniques, and the subjects they were proficient at drawing were all different to some extent: Tiger Painting by Hwang Jong-Ha, Finger Painting by Hwang Sung-Ha, Ginseng Painting by Hwang Kyung-Ha and Painting of Four Gracious Plants (plum, orchid, chrysanthemum, bamboo) by Hwang Yong-Ha are an example of this. They also showed differences in their manner of holding various exhibitions. They did, however, forge strong familial ties by holding the Exhibition by Four Brothers or by producing joint paintings. In particular, they established an art school called the Song-Do Society for the Research of Writings and Paintings in Gaesung, North Korea as a means to nurture young artists and to offer opportunities to introduce their own artwork. They were both friends and artists, as they spent their childhood together and share their thoughts and hobbies as well as their own individual and unique works of art. Moreover, they went the through ups and downs of Korean history from the end of the Joseon Dynasty through the Japanese occupation however, they strove to keep the tradition of Korean paintings alive, and even persevered in writing and drawing countless artwork with paper, brush and Chinese ink until the day they each died.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• The Journal of Korean Philosophical History
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• no.23
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• pp.155-180
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• 2008

Suam(遂庵) Kwon Sang-Ha(權尙夏) was a very important character in the late Chosoen Dynasty. He was a representative of the academic circles(school of Uam) and political circles(Nolon; 老論) after Uam(尤庵) Song Si-Yeol(宋時烈, 1607-1689). He represented learning and thought and undertaking of his academic circles and political circles, and handed down to his pupils. He thought his mission was "lighting the laws of heaven and aligning the human mind," "stopping the heretical study and repulsing uncivilization", to reform good virtues of humanity and justice. Kwon Sang-Ha was a successor of Song Si-Yeol, He succeeded learning and thought of his teacher and practiced "Upright"(直) and the Thought of ChunChu(春秋). He emphasized "Upright" as a fundamental principle, like his teacher. He thought ChuHsi(朱熹, 1130-1200) was the master who had inherited the spirit of Confucianism and Chosoen was the only country to successfully inherit this spirit of Confucianism. He declared any study counter to the study of ChuHsi as a rebellious pursuit. Therefore he rejected all other studies. He tried to "stop the heretical 'ism' and repulse uncivilization" and present this ideology as 'the Right way of Human Society(世道)'. He made efforts to reorganize books of ChuHsi to make perfect Book of righteousness with Song Si-Yeol. And he established Hwayang shrine, MandongMyo(萬東廟), Deabodan(大報壇) etc, in memory of fidelity and large rightness. Kwon Sang-Ha did these undertaking to establish 'Public morals and the Right way of Human Society(世道)' with self-confidence. In Dispute on the nature of man and animal(人物性同異論), he gives his approval to Han Won-Jin's opinion. Han Won-Jin's opinion was "the nature of man and animal is Different"(人物性異論). Whenever serious political accidents occurred, he took the lead to protect his teacher, Song Si-Yeol. The reason he did this was not because of his personal feelings for his teacher, but because of promoting 'Public morals(世道)' and 'Confucianism.' Kwon Sang-Ha regarded Mind control Law of "Upright" and the thought of ChunChu as his moralities, and was concerned about real politics and opposed social irregularities. Kwon Sang-Ha succeeded Song Si-Yeol's thought of "Upright" and volition of making an inroad on the Chung(淸), and gave to his political circles(Nolon; 老論) as a law of mind and mission.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.149-191
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• 2017

This study examines Korean language translations of traditional Chinese hansi in the 1910s and 1920s. In the $20^{th}$ century, many poets translated Chinese and Korean traditional hansi into Korean. In the early $20^{th}$ century, Korean language began to be used as a national public language. At that time, not only hansi but also poetry from several other languages had been translated into Korean. Choi Nam-sun in the 1910s and Kim So-woel, Kim Eok, and Lee Kwang-su in the 1920s translated Chinese traditional hansi, focusing on famous Dang dynasty poetry from Tu Fu and Li Bai, etc. Choi Nam-sun's translation in the 1910s aimed to consider poetry as a written literature. On the contrary, Kim So-woel, Kim Eok, and Lee Kwang-su believed that Korean modern verse literature should be songs as well as poetry, and their translations in the 1920s aimed to create songs as spoken literature by focusing on orality and universality. Though Korean is now the language, the literary history of hansi continues in modern poetry.

• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.56-85
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• 2010

UNESCO World Heritage Programme was introduced following the adoption of Convention Concerning the Protection of the World Cultural and Natural Heritage by the General Conference of UNESCO in 1972 in order to protect cultural and natural heritage with superb value for all mankind. Despite its short history of less than 40 years, it has been evaluated as one of the most successful of the cultural area projects of UNESCO with 890 world heritage registered worldwide. For systematic protection management of World Heritage, UNESCO, through systemization of registration, emphasis on the importance of preservation management plan, institutionalization of monitoring, and operation of World Heritage Fund, has utilized World Heritage Programme not just as a means of listing excellent cultural properties, but as a preservation planning tool, and accordingly, such policies have had a significant influence on the cultural heritage protection legislations of numerous nations. Korea has ratified World Heritage Convention in 1988, and with the registration of the Royal Tombs of the Joseon Dynasty in 2009, it has 9 World Heritage Sites. Twenty years have passed since Korea joined the World Heritage Programme. While World Heritage registration contributed to publicity of the uniqueness and excellence of Korean cultural properties and improvement of Korea's national culture status, it is now time to devise various legislative/systematic improvement means to reconsider the World Heritage registration strategy and establish a systematic preservation management system. While up until now, the Cultural Properties Protection Law has been amended to arrange for basic rules regarding registration and protection of World Heritage Sites, and some local governments have founded bodies exclusive for World Heritage Site management, a more fundamental and macroscopic plan for World Heritage policy improvement must be sought. Projects and programs in each area for reinforcement of World Heritage policy capacity such as: 1) Enactment of a special law for World Heritage Site preservation management; 2) enactment of ordinances for protection of World Heritage Sites per each local government; 3) reinforcement of policies and management functionality of Cultural Heritage Administration and local governments; 4) dramatic increase in the finances of World Heritage Site protection; 5) requirement to establish plan for World Heritage Site preservation protection; 6) increased support for utilization of World Heritage Sites; 7) substantiation and diversification of World Heritage registration; 8) sharing of information and experiences of World Heritage Sites management among local governments; 9) installation of World Heritage Sites integral archive; 10) revitalization of citizen cooperation and resident participation; 11) training specialized resources for World Heritage Sites protection; 12) revitalization of sustainable World Heritage Sites tourism, must be selected and promoted systematically. Regarding how World Heritage Programme should be domestically accepted and developed, the methods for systemization, scientific approach, and specialization of World Heritage policies were suggested per type. In the future, in-depth and specialized researches and studies should follow.

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.