• Korean Journal of Acupuncture
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• v.38 no.4
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• pp.235-249
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• 2021

Objectives : Acupoint LU6 (Gongchoe) is known as an acupoint for the treatment of pain and bleeding caused by hemorrhoids. The purpose of this study was to critically review acupoint LU6 for treating hemorrhoids. Methods : We searched both ancient and modern literature of acupuncture and moxibustion using keywords "Gongchoe" and "hemorrhoids". We further performed an online ancient literature search for crosscheck. The searched literature was stratified by country (Korea, China, and Japan), and data were organized chronologically. Concerning literature related to hemorrhoids, data based on acupuncture treatment were compiled. Results : The bone proportional measurement of the forearm had been 12.5 cun until the Qing Dynasty but was recorded as 10 cun in "Shinkyushinzui," and the majority of modern Japanese and Korean literature indicated it as 10 cun. Gongchoe for treating hemorrhoids has been reported in the literature, including "Shinkyushinzui" (Japan, 1941), "Shiyoungzongguozhenjiujingxuexue" (Taiwan, 1963), "Gyeonghyeolhak" (Korea, 1971), and "Jinzhenmeihuashichao" (China, late Qing dynasty), but except "Jinzhenmeihuashichao", the location is different from the World Health Organization (WHO) standard acupoint location as it is 7 cun from the wrist out of 10 cun of the forearm bone proportional measurement. In addition, classical guides published until the Qing Dynasty did not report acupoint LU6 for the treatment of hemorrhoids. Conclusions : It is necessary to distinguish between Gongchoe in "Shinkyushinzui" and LU6 in WHO standard acupuncture point locations. Gongchoe (LU6)'s primary treatment for hemorrhoids has not been described in the classical literature, and further clinical evidence is needed to support it. When using Gongchoe for hemorrhoids, we should consider that the location of Gongchoe is closer to the LU5 than the standard acupuncture point locations and it is meaningful not only for treatment but also for diagnosis.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.201-225
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• 2020

In the late Joseon Dynasty, ideas in folk religions were closely related to Daoist themes. There were, for instance, folk ideas centered on Prophecies of Jeong Gam (鄭鑑錄 jeonggamrok) that developed into 'raising island-armies (海島起兵說 hado gibyeongseol),' the future utopian movement known as the 'South Joseon Faith (南朝鮮信仰 namjoseon sinang),' and faith around 'Maitreya's Descensionist-Birth (彌勒下生 mireuk hasaeng).' People aimed to transform their country based on these ideas. Associated folklore tended to come from fengshui (風水) and books on prophecies and divination (圖讖 docham), and both of these drew heavily upon Daoist concepts. On the other hand, Daoist texts began being translated as national projects under King Cheoljong (哲宗), and many more were translated and published later under King Gojong (高宗). The nature of these Daoist texts mostly consisted of either morality books (善書 seonseo) or precious scrolls (寶卷 bogeon). The problem was that these ordinances and the Daoist texts of regents were among the main causes of civil war during the Qing Dynasty. In this regard, the translation of the Daoist texts conducted as a national project provided a theoretical basis for the people wishing to foment civil war or transformation. This raises the question of why King Gojong implemented a Daoist translation project in his nation. In an effort to answer this question, this article summarizes the popular ideas of the late Joseon Dynasty and explains how they were closely related to Daoism. In addition, this article summarizes the facts about how Daoism has emerged from a national crisis but developed a function of protecting the state (鎭護) in Korean history. Further described is the situation under which Daoism was summoned during the Japanese Invasion of Joseon (壬辰倭亂). Analysis is provided to show that King Gojong's intention was to translate Daoism due to Daoism's role in protecting the state. In addition, the relationship between current Daoist rites and customs in Korea and King Gojong's dissemination of Daoist oaths and vouchers is confirmed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.83-92
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• 2014

This study has researched the uses and plant materials of bamboo screen from the gardening books in Ming Dynasty: Yuanye (園冶), Zhang wu ji (長物志) and Xian Qing Ou Ji (閑情偶寄). The results were as follows; first, though these books nearly were written nearly at the same period, the bamboo screen was seen in a negative viewpoint or positively endorsed by authors. These show the extinctive process which had used bamboo screen creating for urban seclusion in early Ming Dynasty and that the meaning was changed by the social economic changes in Late Ming Dynasty. Second, the bamboo screen was devised as a support which was trained the branches of the creepers. This was an equipment to maximize ornamental effectiveness with some rose families which produced nearly all year round, and it was involved cultural enjoyment of Chinese indigenous custom. Finally, the bamboo screen was used rose families for the beautiful flowers. And this was constructed as a multipurpose facility which was used as the flower screen in blossoming season as well as the role as wall.

• Cross-Cultural Studies
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• v.29
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• pp.85-111
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• 2012

Zhong-lie-xiao-wu-yi(忠烈小五義), whose author was Shiyukun(石玉昆), is a Xia-Yi-Gong-An(俠義公案) novel in the late Qing Dynasty. This work published in 1890 when Emperor Guangxu(光緖) governed China. This work's author is Shiyukun, distribution books has an amender. The amender will be a shuoshuyiren (說書藝人). Zhong-lie-xiao-wu-yi is Zhong-lie-xia-yi-zhuan(忠烈俠義傳)'s a sequel, the story leads from Zhong-lie-xia-yi-zhuan. It is just the beginning of Zhong-lie-xiao-wu-yi is redundant. Zhong-lie-xiao-wu-yi was introduced to the late Chosun(朝鮮) Dynasty. This work was translated in Hangeul, Chosun's readers read Zhong-lie-xiao-wu-yi. This work's circulation is not clear, But this work's exciting story is interested in the readers. This work is characterized as follows: First of all, Zhong-lie-xia-yi-zhuan's charaters appear equally, the readers feels familiar. The readers like the familiar characters, because the readers read the book. The familiar characters can have a sense of speed in reading. Second, the story is continuous. Zhong-lie-xiao-wu-yi is narrated by connecting Zhong-lie-xia-yi-zhuan's story. Third, Zhong-lie-xiao-wu-yi was seeking an open ending. Classical novels prefer happy ending, this work is open ending, the expectations for the sequel became more doubled. The fourth, this work took advantage of the colloquial expressions. Zhong-lie-xiao-wu-yi is Huabenti(話本體) novel, took advantage of the spoken language. Suyu(俗語) and xiehouyu(歇後語) was represented in this work. Fifth, this work is formed a universal consensus. Ordinary people must empathize about xia-yi(俠義) and retribution, this work was well represented. Because the readers would have liked to this story.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.137-148
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• 2018

Li Yu's Xian Qing Ou Ji was written during the late Ming and early Qing Dynasty when material culture flourished due to the development of the commercial economy. Xian Qing Ou Ji is considered a retrospective work that reflects the rich material society at that time. This study focuses on his gardening theories through the interpretation and analysis of these two texts of 'Jushibu(居室部)' and 'Zhongzhibu(種植部)' in Xian Qing Ou Ji. The results are summarized as follows. First, he explained the method of garden configuration and orientation according to the topography utilizing the theory of 'suiting one's measures to local conditions(因地制宜)'. He emphasized the detailed understanding of topography as the starting point for all the gardening theories. It stated that he tried to adjust the height of the terrain artificially to create an ideal form of 'anterior high and posterior low(前低後高)'. The successful arrangement of houses, pavilions, rockery and waterways et al. was able to be achieved because of his accurate understanding of topography. Second, 'borrowing scenery(取景在借)' means 'borrowing the outside scenery to the inside'. He applied this theory by 'viewing in motion(動觀)' and 'viewing in repose(靜觀)'. 'Viewing in motion' is seen as a positive methodology for landscape enjoyment. For example, the view through a window changes with movements of the boat, and it can portray thousands of landscape paintings which can be seen through the windows. In the case of 'viewing in repose', the window is regarded as a means of attracting outside garden views to the inside. Third, he emphasized 'the firmness of objects(制體宜堅)', where the design of windows and railings must be considered ahead of others. Fourth, he interpreted the contents of 'the pursuit of novelty(創異標新)'. This generalizes the characteristics of his gardening theory. The contents included 'hall wall(廳壁)', 'variable sun visor(活?)', 'hanging boards and couplets(聯?)' and 'method of supporting vines with bamboo screen(竹屛扶植法)'.

• (The)Study of the Eastern Classic
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• no.37
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• pp.411-439
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• 2009

Fu-Shan(傅山, 1607~1684) was a progressive actualist between the late Ming(明) dynasty and the early Qing(淸) dynasty. He regards the intellectuals at that time as scarecrows leaned on the empty and exaggerative moral philosophy which the neo-confucian of Song(宋) dynasty established. He thinks that the neo-confucian discussion cause harmful side effects, disregarding the utility side and the variety of the actual world. His thought becomes known all in political thought and literature. He asserts that the neo-confucian ideas provides the logical frame which regulates the actual world and creates a kind of absolute moral ideology. Therefore he insists that the Saint in the true sense of the word consequently is the social reformer and revolutionist who exposes the irrational elements of society. He insists that literature also must be able to express vividness of the actual world. He thinks that genuine literature must have creative contents and find one's own free wild way. He asserts that old literary style from the mimicry is the act which goes against human natural. He thinks that the writing must be able to express the actual world.

• Cross-Cultural Studies
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• v.23
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• pp.215-242
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• 2011

Yingchuang yicao(${\ll}$螢窗異草${\gg}$) is a collection of short stories in Classical Chinese, whose style was much affected by Liaozhai zhiyi(${\ll}$聊齋志異${\gg}$). It consists of 3 chapters, 12 juan, and 138 stories. This work was written by a scholar with the pen name of Hao gezi(浩歌子) in the reign period of Qianlong in the Qing dynasty, and has drawn relatively little attention among the scholars thus far; it was not until 1980's that scholars figured out that the author Hao gezi was Yin Qinglan, the sixth son of the renowned Qing scholar Yin Jishan. Yingchaung yicao had circulated as a manuscript for more than one hundred years until it was printed by Shenbao guan(申報館) in Shanghai in the reign period of Guangxu 2-3 (1876-1877). This edition is currently collected at The Kyujanggan(奎章閣) Institute of National Seoul University. At present, no known study of its introduction to and circulation in premodern Korea is available. However, given that the late $Chos{\ddot{o}}n$ period saw high interest in Chinese narratives, it is speculated that this work was imported to Korea soon after its first publication in China. Later, two publishing houses in Shanghai also published illustrated editions of the work. Given that the Shenbao guan version is the first printed edition of Yingchuang yicao, the copy collected at Kyujanggak Institute should be regarded highly for its academic values.

• Journal of architectural history
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• v.21 no.1
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• pp.7-26
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• 2012

Nakseonjae in Changdeokgung Palace was established at The King Hunjong's 13rd year (1847), the mid-19th century. It was constructed for own rests of King Hunjong and the residence of Kyungbin (king's concubines), and is showing features of upper-class houses from several points such as rustic architectural types by getting out of authoritative aspects as king's shelter space within the palace, block and floor distribution that separated spaces for men and women, simplicity in structures and styles, and non-colorful painting etc. This study aims at tracing on which architectural types did the upper-class houses within Hanyang (modern Seoul) at late Joseon Dynasty have and what was characteristics of Nakseonjae. The resemblance between Nakseonjae and the upper-class houses was very little differences from scale aspects, and floor plan shapes of Anchae (women's quarters) and Sarangchae (men's quarters) were followed basic common styles. Also, resemblance could be confirmed in the structural styles too. Characteristics of Nakseonjae are showing apparent differences from clearance compositions such as hall configuration etc. Nakseonjae was king's dwelling place, and spaces for house's collateral functions such as kitchen, stable, and warehouse etc together with shrine were unnecessary, and such places were substituted into servants' quarters for assisting the Royal family. In detailed structural styles, column's size was larger 3cm or more than the upper-class houses, and its height was higher to the degree of 30~60cm. Besides, formality as king's shelter space was raised more in decorating aspects, and Nakseonjae was implemented by getting architectural influences from Qing Dynasty of China. This study induced features of Hanyang's upper-class houses at the 19th century by supplementing distribution and space configurations at existing cases of Seoul and Gyeonggi area together with house diagrams having been collected by Gaokdohyung (site and floor plan) of Jangseogak Library, and confirmed resemblances and differences with Nakseonjae, that is, features of Nakseonjae. Through the result, this study judges a fact that architecture of Nakseonjae seemed to be affected from conveniences of upper-class houses within Hanseong, and also architectural styles and distribution types of Nakseonje would give influences to the upper-class houses.

• Parasites, Hosts and Diseases
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• v.54 no.5
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• pp.565-572
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• 2016

Whilst archaeological evidence for many aspects of life in ancient China is well studied, there has been much less interest in ancient infectious diseases, such as intestinal parasites in past Chinese populations. Here, we bring together evidence from mummies, ancient latrines, and pelvic soil from burials, dating from the Neolithic Period to the Qing Dynasty, in order to better understand the health of the past inhabitants of China and the diseases endemic in the region. Seven species of intestinal parasite have been identified, namely roundworm, whipworm, Chinese liver fluke, oriental schistosome, pinworm, Taenia sp. tapeworm, and the intestinal fluke Fasciolopsis buski. It was found that in the past, roundworm, whipworm, and Chinese liver fluke appear to have been much more common than the other species. While roundworm and whipworm remained common into the late 20th century, Chinese liver fluke seems to have undergone a marked decline in its prevalence over time. The iconic transport route known as the Silk Road has been shown to have acted as a vector for the transmission of ancient diseases, highlighted by the discovery of Chinese liver fluke in a 2,000 year-old relay station in northwest China, 1,500 km outside its endemic range.

• Journal of Ginseng Culture
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• v.4
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• pp.13-37
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• 2022

Even before recorded history, the Korean people took ginseng. Later, poetry passed down from China developed into a literary style in which intellectuals from the Silla, Goryeo, and Joseon Dynasties expressed their thoughts concisely. The aim of this paper is to find Korean poems related to ginseng and to look for their semantic network. To this end, "Korea Classical DB ", produced by the Institute for the Translation of Korean Classics, was searched to find ginseng poems. As the result of a search in November 2021, two poems from the Three Kingdoms Period, two poems from the Goryeo Dynasty, and 23 poems from the Joseon Dynasty were searched. An examination of these poems found that the first ginseng poem was "Goryeoinsamchan," which was sung by people in Goguryeo around the 6th century. Ginseng poetry during the Goryeo Dynasty is represented by Anchuk's poem. Anchuk sang about the harmful effects of ginseng tributes from a realistic point of view. Ginseng poetry in the Joseon Dynasty is represented by Seo Geo-jeong in the early period and Jeong Yakyong in the late period. Seo Geo-jeong's ginseng poem is a romantic poem that praises the mysterious pharmacological effects of ginseng. A poem called "Ginseng" by Yongjae Seonghyeon is also a romantic poem that praises the mysterious medicinal benefits of ginseng. As a scholar of Realist Confucianism, Dasan Jeong Yak-yong wrote very practical ginseng poems. Dasan left five ginseng poems, the largest number written by one poet. Dasan tried ginseng farming himself and emerged from the experience as a poet. The story of the failure and success of his ginseng farming was described in his poems. At that time, ginseng farming was widespread throughout the country due to the depletion of natural ginseng and the development of ginseng farming techniques after the reign of King Jeongjo. Since the early 19th century, ginseng farming had been prevalent on a large scale in the Gaeseong region, and small-scale farming had also been carried out in other regions. What is unusual is Kim Jin-soo's poem. At that time, in Tong Ren Tang, Beijing (the capital of the Qing Dynasty), ginseng from Joseon sold well under the "Songak Sansam" brand. Kim Jin-Soo wrote about this brand of ginseng in his poem. In 1900, Maecheon Hwanghyeon also created a ginseng poem, written in Chinese characters. Thus, the semantic network of Korean ginseng poems is identified as follows: 1) Ginseng poetry in the spirit of the people - Emerging gentry in the Goryeo Dynasty (Anchuk). 2) Romantic ginseng poetry - Government School in the early Joseon Dynasty (Seo Geo-jeong, Seonghyeon, etc.). 3) Practical ginseng poetry - Realist School in the late Joseon Dynasty (Jeong Yak-yong, Kim Jin-soo, Hwang Hyun, etc.). This semantic network was extracted while examining the development of Korean ginseng poems.