• Journal of the Korean Society of Costume
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• v.37
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• pp.47-69
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• 1998

The purpose of this study is to inquire the hair, head-dress and clothing(upper clothing: Veil, Samkaksika, Sash) of Bodhisattvas in Dunhuang Mogaoku of the period from Northern Liang Dynasty(421∼439) to Tang Dynasty(618∼907). The method of this figure and the change of clothing form : 'Dunhuang Mogaoku'1st Volume-4th Volume. The Bodhisattvas' hair style are somehat various ; A part in her hair, Suibal, Gae, Sakbal. A part in Bodhisattvas's hair is observed from Northern Liang Dynasty to Sui Dynasty. But Suibal had been continuous succeeded. Meanwhile, in the periods of Sui and Tand Dynasty, there were the hair styles whose ends were curled up. It is called Eulle Meor-ee. Especially, in Tang Dynasty various styles of Gae were appeared. Doogun was observed from Northern Wei to Tang Dynasty. There were three kinds of head-dress; Samsikkwan(having 3 decoration), Bokwan and Jungmeunkwan(appeared in Tang Dynasty). Meanwhile, Sash let was become more and more decorative. The Upper clothing can be classify into Veil, Samkaksika, Sash, etc. Veil were observed in every period but X shaped one was form Northern Wei and U shaped one was from Northern Zhou Dynasty. After the period of Sui Dynasty U shaped Veil become prevalent. Samkaksika was observed for the first time in Northern Zhou Dynasty. Cutted sam-kaksika was appeared in Sui Dynasty and succeeded to Tang Dynasty. Poncho tyed Samkaksika was also observed in Tang Dynasty. In Westhern Wei Dynasty. daesupo was used into outter garment, which us that chinese influence was deep tell. Sash showed up in Tang Dynasty and it is used for Veil for the whole period of the Dynasty. But using sash for veil was formally hanged on going the lated period of Tang Dynasty. We can observe the sun-moon decoration and the wings of a bird decoration at the Bokwan, Veil, Samkaksika and Sash, etc. It is was the influendce of Sasan Per-sia and India. I will fill up the insufficency of this study wity continous research of ornament(Muktahara) and skirt of Bodhisattva and deeper inquiry of the relationship around the many countries.

• Industry Promotion Research
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• v.5 no.1
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• pp.157-164
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• 2020

After the Qing Dynasty overthrow of the Ming dynasty, this is far-reaching influenced on the Ming Dynasty's Sovereign state of the Joseon dynasty. Not only did regulations prohibit the entry into various books published by the Qing Dynasty, In addition, the "Northern Expedition" of Song Siyeo put forward the mainstream political proposal of the Northern Expedition and Qing Dynasty.Even in this context, Representatives of scholars such as Hong Daeyong, Bak Jega, Kim Jeonghui on the Joseon dynasty peninsula at the time, put forward the idea of "Learning from Central Plains" through several visits to Shuntian Prefecture (now Beijing), And gradually formed the well-known Silhak (Practical Learning) ideological of "Bukhak, (Northern Learning)" in the Joseon dynasty history. the Joseon dynasty Silhak ideological scholar of Kim Jeonghui also was under the influence of the Weng Fanggang and Ruan yuan other famous Qing Dynasty Textual scholar, Fruitful achievements in Chinese Classical Studies Epigraphy, Calligraphy.He founded the "Chusa-che" style of calligraphy Chusa, the "Chusa-che" styled is although born out of the clerical script, but more composition and See also asymmetrical in harmony, Strong and vigorous brush strokes, Every word vibrant, Make it a master of gold stone calligraphy in the Joseon Dynasty.This study based on some records of Kim Jeonghui's visited to Shuntian Prefecture(now Beijing), this article examines the academic activities of seeking truth to facts in Korea and the Qing Dynasty at the time, and the impact on these activities on calligraphy and painting in the Joseon Dynasty.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.192-201
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• 2022

The Han Dynasty was the great unification dynasty in history after the Qin Dynasty. Since the Han Dynasty inherited the Qin system, the seal script of the Han Dynasty developed continuously based on inheriting the Qin Small Seal Script. With the progress of social productivity, the Official Script gradually replaced the Seal Script in the Han Dynasty, but the Seal Script did not disappear completely; instead, a special line of development arose under the influence of the Official Script. Through the study of seal script of Han Dynasty inscriptions, this paper understands that the practical function of seal script of inscriptions has been weakening under the influence of clerical script, but the aesthetic value has been increasing day by day. Moreover, there were new artistic innovations in the context of the development of the diversification of inscriptional forms, and its emphasis on social role, cultural status, and the presentation of an aesthetic style that had a profound impact on later generations are worth studying.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.452-466
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• 2013

The Silla Dynasty was an open society and was an independent, creative, brilliant culture built on diverse cultures and values. Transforming from the Silla Dynasty to the Unified Silla, it unified the culture of the Three Kingdoms into one. It also displayed unique clothes that adapted new foreign elements into rich clothes forms unlike previous styles. This study first classifies the aesthetic consciousness of the Silla Dynasty by exploring the beauty of the Silla Dynasty realized through artifacts, books, and records in the Silla Dynasty and defines the each characteristic of the aesthetic consciousness. Second, it highlights the independency of Korean beauty through an investigation of how the aesthetic consciousness form appeared through these new appearances in the aesthetic consciousness of Silla Dynasty clothes. The results of the study show that the aesthetic consciousness of the Silla Dynasty can be inferred through Silla Dynasty artifacts, literature, sensuous beauty, and records that were classified into random natural beauty, humorous beauty, and decorative technical beauty. The Silla Dynasty aesthetic consciousness and aesthetic consciousness appeared in Silla Dynasty clothes based on the aesthetics of authenticity that created the honest and simple aesthetic moving of the early natural aesthetic sense of the Silla Dynasty. Silla Dynasty clothes are found to have transformed into an ornamental aesthetic consciousness of a sensual and decorative aesthetic consciousness in a Unified Silla.

• Journal of the East Asian Society of Dietary Life
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• v.1 no.3
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• pp.311-333
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• 1991

This dissertation is a study on the dietary culture of Yuan Dynasty in China and that of Koryo Dynasty in Korea. Yuan Dynasty had some professional books about its dietary culture, and gives us comparetively comprehensive knowledge of the culinary art and foods used in those days. But Koryo Dynasty had few books about its dietary culture. Therefore, we had to collect information found here and there in miscellaneous books belonging to other categories, such as history, literature, medicine, etc. and arrange them in systematic orders. Here are some conclusions of the study.

• Korean Institute of Interior Design Journal
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• no.36
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• pp.22-29
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• 2003

Most of the studies on traditional houses dealt with the exiting houses which were constructed Chosun Dynasty. But It is to be classified into many items which were point of view period, regional group and social condition. The purpose of this study Is compare early-Chosun Dynasty with late-Chosun Dynasty that the Visual Structure of traditional houses in Yang-Dong village. Early-Chosun Dynasty and late-Chosun Dynasty of traditional houses were well preservation in Yang-Dong village. Therefore traditional houses in Chosun Dynasty are able to classified according to period type of Early-Chosun Dynasty and late-Chosun Dynasty, which a study on the compare spatial composition of traditional houses in Yang-Dong village.

• Journal of the East Asian Society of Dietary Life
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• v.3 no.1
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• pp.1-9
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• 1993

To study the Koryo dynasty (14th Century) diet culture, $\ulcorner$Bak Tong Sa$\lrcorner$&$\ulcorner$No Kul Dae$\lrcorner$were analyzed. $\ulcorner$Bak Tong Sa$\lrcorner$and$\ulcorner$No Kul Dae$\lrcorner$are the book of Chinese dialogue book which were published 14C Koryo dynasty. The results obtained from the study were as follows: 1. Vegtables were 40 varieties involving the representative vegetables in Koryo dynasty. 2. Lamb and pork were the most popular meat I Won dynasty (Chinese) and the meat were popular in 14C Koryo dynasty. 3. Cook menu introduced I these books were 40 varieties and the full course menu were used in Han dynasty Banquet. 4. Cooking tools were various to survey Koryo dynasty cooking tools culture.

• Journal of architectural history
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• v.25 no.4
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• pp.45-56
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• 2016

The purpose of this study is to clarify the historical background of the setting of seungdang(僧堂) and gowon (庫院) in the Zen Buddhist temples of Song dynasty, in terms of as a Buddhist temple universality and as a Zen temple specificity, through the historical reference investigation on its relevance to the Buddhist temples of Tang dynasty. In the Zen Buddhist temples of Song dynasty, the Zen meditation space of seungdang was located on the west side of Buddha hall, and the kitchen and officiating priest's living space of gowon was located on the east side of Buddha hall. Through the analysis of historical reference it was confirmed that, in the Buddhist temples of Tang dynasty, the Zen meditation section of seonwon(禪院) was on the west side, and the gowon was on the east side too. Therefore, it can be said that, the setting method of seungdang and gowon of the Zen Buddhist temples of Song dynasty was established above tradition of the Tang dynasty Buddhist temples.

• The Research Journal of the Costume Culture
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• v.3 no.1
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• pp.125-155
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• 1995

This research has been studied the influence of Song Dynasty mode upon clothes and ornaments of Korea Dynasty by Seo Gung's (徐競) 『SunWhaBongSa KoryoDoKyung』(宣和奉使高麗圖經) and in Korea Dynasty period, by Buddhist picture. The clothing of the Song Dynasty was quite reserved and conservative, fewer variations and quiter colours thus conveying a feeling of simplicity and naturalness. Their clothings were no more luxurious than the clothing of Dang Dynasty. We had read that when Seo Gung visited Korea for month, and then it is in Emperor Injong's reign(A.D. 1123). Korea women's clothes and ornaments were followed by Song dynasty's clothing pattern as much as the took notice of Korea women's clothing. Korea DoKyung showed Song women's clothing that whal clothing that whal clothing (華衣), Yuansam(圖經) were Korea women's a ceremonial dress and so, Koryo women's clothing were very influenced by Song's mode. The conclusion of the research are as follows found out that Korea women's a ceremonial dresses were similar to Song's.

• Journal of the Korean Society of Costume
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• v.23
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• pp.5-23
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• 1994

This research has been made through analyzing clothes of human dresses and ornaments appeared in the Buddhist pictures which were drawn at the times of the koryo Dynasty. Clothes of the Korea Dynasty could be analyzed as below : First, as for Turban (Doogun), common people used Ogun, Doogun, Byunsangmo and Chaek. For clothes, the style of the era of the ear of the Three-Dynasty. That is , they wore long shirts with narrow sleeves and narrow trousers and skirts. However, around the years of 1320, shirts had no more belt but became to show a kind of ribbon which is called as Gorum , and length of shirts was a bit shortened between hip and waist lines. Second, as for officials clothes, a kind of Rhangkan was used through the Dynasty but after the years of 1300, Wonryukwan was also used. In the clothes, Bangshimkikryung was used and the royals wore full-dress attire which looks like a long gown. Under the full-dress , we can see two different which seems to be a kind of present under-water. Third, in public clothes, same type of Danryung. Holl, belt and shoes were used throughout the Korea Dynasty. In addition Line (Yeon) was remarkably used skirt was dressed under Danryung by middle of the Dynasty the skirt was replaced with trousers. For Bokdoo, Jeonkak bokdoo was mostly used at the beginning of the Dynasty , but in the end of the Dynaty a lowr-flap bokdoo was in the main current. Meanwhile , we can see that the Korea Dynasty had its own in dependence in the clothes although the Dynasty was much affected by the Chines Song Dynasty System. We can hardly find a Mogrian cloethes style in the Korea-Dynasty clothes. Fourth, in Queen's clothes, banbi and pyo were used and sleeves were decorated with birds feather throughout the Dynasty. Lastly , famer's clothes are quite similar to those of the Chinese Song and won Dynasties and a decorative line was used in official clothes. These facts make us have a presumption of our Dongii culture might be conveyed to the Chinese in the ancient times but much more research is needed to clarify.