• Cross-Cultural Studies
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• v.51
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• pp.235-256
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• 2018

The purpose of this study is to compare the academic achievements of these two eras with the content and performance of the bronze ware decorative patterns in the Song dynasty and age of the Minguo. We investigated the origins and developmental process of the bronze ware decorative pattern research in Chinese bronze research history and examined their academic value. Studying bronze ware is a scholarly study. In the past, research focused on classifying letters on bronze ware. However, research on bronze ware decorative patterns was neglected. Bronze ware decorative patterns are associated with archeology and mythology studies and provide important clues as to the imagination of ancient people. The study of bronze ware in China began with the Song dynasty. Since then, research on bronze ware has been revived in the Qing dynasty, although there has been no academic achievement regarding bronze ware decorative patterns. However, at the age of the Minguo, the achievements of bronze ware decorative patterns continued to follow the Song dynasty.

• The Journal of Korean Philosophical History
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• no.43
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• pp.295-317
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• 2014

This is the issue of this paper: What was the reason for Daoxuejia(道學家) in Song Dynasty to interpret 'ke-ji(克己)' as 'removing private desire'? 'ke-ji-fu-li'(克 己復禮)' is a phrase presented by Confucius as a way of practicing Ren(仁). The interpretations of Ren(仁) concept by Daoxuejia(道學家) have been reviewed. They interpreted Ren(仁) as Tian-li(天理) and thought its contents as 'Tian-di-shengwu-zhi-xin(天地生物之心)'. Zhu xi(朱熹) associated the concepts of sheng-sheng (生生), Xu(虛), Rou(柔), etc. and provided philosophic explanations on the interpretation of Ren(仁) raised newly by Ercheng(二程) and the interpretation of 'ke-ji-fu-li' (克己復禮). It is fact that Zhu xi criticized ardently Daoism but did not think nothing was worth taking from it. The stands of Daoxuejia(道學家) scholars in Song Dynasty on "removing private desire(去私欲)" presented in this paper could be the grounds supported such opinion.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.24-48
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• 2022

Bronze mirrors found in pagodas were regarded as simple offerings and thus have received little attention in studies. Furthermore, the few studies on bronze mirrors enshrined in pagodas have focused on the line-engraved mirrors found in the pagodas of the Kingdom of Wuyue; therefore, it is difficult to understand the general characteristics of the bronze mirrors enshrined in the pagodas. This study assumes that the bronze mirrors found in many pagodas in the Kingdom of Wuyue and the Song dynasty were enshrined for a specific purpose. To explore this assumption and accurately understand the artifacts, this study focuses on the location and method of enshrinement. The number of bronze mirrors enshrined in pagodas increased during the Kingdom of Wuyue, with the mirrors expressing statues and inscriptions related to Buddhism rather than being simple offerings. This shows that the purpose of the bronze mirror changed. The influence of the Kingdom of Wuyue continued during the Song dynasty; however, the pattern of bronze mirror enshrinement changed due to the culture and social atmosphere of the time. The most common types of enshrined bronze mirrors were plain, and bronze mirrors from the Dang dynasty were also used consistently. Plain bronze mirrors were used more frequently in this period despite the lingering influence of the Kingdom of Wuyue because it was less laborious to engrave images and inscriptions such as the inscription of Buddha. Additionally, bronze mirrors were valued during this period because of the attention toward the imitation of the archaic bronze(仿古銅器) of the Song dynasty and the influence of the emperor. Moreover, it is believed that bronze mirrors were enshrined in pagodas as offerings as they were deemed valuable at the time. There was a change in the method of enshrining bronze mirrors in pagodas during the Kingdom of Wuyue and the Song dynasty. During this time, bronze mirrors that were positioned on the floor or in iron boxes were intentionally attached to walls or hung from the ceiling. This method was largely divided into two types: attaching to walls or the ceiling(嵌入鏡) and hanging from the ceiling(懸鏡). A typical example of hanging a bronze mirror from the ceiling can be seen in the Jingzhisa Temple Pagoda, and Teng County's Fushengsa Temple Pagoda contains an example of attaching a bronze mirror to the ceiling. The methods of hanging or attaching bronze mirrors to the ceiling were closely related to the methods employed in Chinese tombs. Song dynasty burial chambers had a high and wide structure, so to defend against evil spirits(辟邪用), bronze mirrors were used to protect the burial rooms. Bronze mirrors were, therefore, placed high to illuminate the burial room. This was achieved in the ways mentioned above. As underground chambers became wider and higher, mirrors also protected the important areas of the chambers and illuminated the interiors. Thus, it is believed that the methods of enshrining bronze mirrors in the pagodas during the Kingdom of Wuyue and the Song dynasty arose from the method of enshrining bronze mirrors in tombs at the time. Thereafter, pagodas, such as the Miaojuesa Temple Pagoda, in which the placement of a bronze mirror was actively considered from the design stage were constructed.

• Proceedings of the Korean Environmental Sciences Society Conference
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• 2005.05a
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• pp.183-185
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• 2005

영산강 유역 생활하수처리장의 방류수의 분석 결과, 일일 처리량이 타지점들에 비해 다량이며 인구수가 많고 산업이 발달되어 있는 광주지역에 위치해 있는 광주 하수처리장과 송대 하수처리장에서 다종의 유기화합물이 검출되었다. 특히 polycyclic compounds, phenols, phthalates, pesticides는 여름철에 다종 고농도로 검출되어 여름철 영산강 유역 방류수의 주 오염물질로 판단된다. 이들 광주 하수처리장 방류수와 송대 하수처리장 방류수에서는 내분비계 장애물질인 diethylph thalate와 bis(2-ethyhexyl)phthalate가 4회 이상 검출되었다. 또한 송대, 장성 하수처리장에서 고농도로 검출된 물질이 대부분 산업용 화학물질이나 반응에 의해 2차로 생성되는 화학물질들이 다종으로 검출되었다. 따라서 이들 지점의 영향은 산업폐수에 의한 것으로 판단된다. 현재 각 하수처리장에서 실시하는 표준활성오니법, 회전원판접촉식 처리공정으로는 본 연구에서 검출된 물질과 같이 생태계나 인간의 건강에 유해한 유기화합물을 처리하기에는 역부족이라고 판단된다. 따라서 영산강 유역 수질 안정성을 확보하기 위해서는 polycycli compounds, phenols, phthalates, pesticides와 같은 난분해성 유기 화합물질을 처리할 수 있는 고도산화처리 시스템 도입이 필요하다.

• (The)Study of the Eastern Classic
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• no.59
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• pp.405-428
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• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.

• 발명특허
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• v.8 no.3 s.85
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• pp.28-31
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• 1983

• (The)Study of the Eastern Classic
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• no.35
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• pp.471-498
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• 2009

The aim of this study is to see how bamboo paintings developed and what is the iconographical meaning of them through bamboo Ti-hua-shi(poems on paintings) found in Sheng-Hua-Ji, a leading compilation of Ti-hua-shi(poems on paintings) of Song Dynasty. Bamboo paintings give shapes in a simpler and more direct way in drawing, which means bamboo paintings reveal concretely more characteristics of Ti-hua-shi (poems on paintings). Bamboo paintings, which flourished during Northern Song Dynasty, often had the image of the dragon, specially a lying dragon or a winding dragon, which suggests a great man in obscurity. Snow-laden bamboos were also a symbol of a great man, very wise man in Confucian tradition. This shows Confucian ideal examples were embodied through bamboo paintings. Another aspect of bamboo paintings is that bamboo paintings were regarded as a means of self-expression, which identified Confucian sadaebu (scholar-officials) who advocated simplicity and austerity in their life. Contrary to professional painters, who added color and decoration to their paintings, Confucian scholars of Song Dynasty reduced color and embellishment in their bamboo paintings in black-and-white to reveal their own identity, focusing on spirituality rather than the image itself. Therefore, drawing and appreciating bamboo paintings were highly respectable pastime among the literati of Song Dynasty. In short, Bamboo paintings in Song Dynasty were not only a Confucian symbol of a wise and virtuous man but also reflected the taste of Song sadaebu class who thought of bamboo as a symbol for moral and cultural responsibility of Confucian society.

• Korean Journal of Oriental Medicine
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• v.11 no.1
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• pp.61-82
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• 2005

통과술내용적연구득출이하결논(通過上述內容的硏究得出以下結論) 1. 송대의학적특점시유료흔다일계열신적지식, 갱가중시료대리논적정리(更加重視了對理論的整理), 대당시모종병적각종병인병기적인식진행통일귀납(對當時某種病的各種病因病機的認識進行統一歸納), 병통과분석총결병인병기게시료전형증상급주요치법(幷通過分析總結病因病機揭示了典型症狀及主要治法). 2. 송대의가재연구부여생리기적기혈병기적특수성방면다중시혈(宋代醫家在硏究婦女生理期的氣血病機的特殊性方面多重視血), 재임신병중중시기기옹새(在姙娠病中重視氣機壅塞), 재산후병중중시악혈부진(在産後病中重視惡血不盡). 3. 도료송대(到了宋代), 재연구부과병병인방면(在硏究婦科病病因方面), 종이전적중시외인전위중시내인(從以前的重視外因轉爲重視內因), 이차폐기료종전적귀신적병인(而且廢棄了從前的鬼神的病因), 재방실병인상강조료요적당(在房室病因上强調了要適當). 재진단상(在診斷上), 수봉건예교적영향(受封建禮敎的影響), 이결합병기적전형적증상위표준(以結合病機的典型的症狀爲標準).

• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.128-129
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• 2005

• Journal of the Korean Society of Marine Environment & Safety
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• v.13 no.1 s.28
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• pp.75-92
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• 2007

This article is to investigate the development of seamanship and the art of ship building, marine environment, Silk Road through the sea, and spice exchange at the trade growth of Song Dynasty. For better understanding marine environments, I exemplified what goes before such essential factors as experience and skills in maritime activities. I also demonstrated that South Song Dynasty's abundant economic strength and foreign opening strategy had been supervised systematically through the trade management organization and noted that the nation's overseas exchange had made great effects on its society. The import of the perfume provided the cause where the western influence occupies the orient in the same time when it is a keychains of the orient and the western interchange. For this reason, perfume, which once contributed 1/20 of the revenue, enlarged its portion to 1/10 of the revenue. This indicates the influence of perfume on the national finance in the Song period.