• The Science & Technology
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• v.20 no.12 s.223
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• pp.60-62
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• 1987

• The Science & Technology
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• v.27 no.8 s.303
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• pp.88-89
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• 1994

• Journal of architectural history
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• v.21 no.6
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• pp.45-52
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• 2012

"Ohju Yeonmun Jangjeon Sango" written by Lee, Gyu-gyeng is one of the most important encyclopedias in the period of Chosun-Dynasty. There are two chapters related to architecture in this book, one is "ancestral rite governance·human"chapter, and the other is "architecture·human" chapter. Both of them are hard to understand because they are written in ancient Chinese and consist of various quotations in ambiguous way. This paper as a partial study is deal with the former. It makes difference between writter's original texts and quotations through textual research, and translates to modern Korean, and analyze information about ancient architecture in texts. The texts can divide to three sections. The first introduces three Chinese architectural theory books as "Gogonggi(考工記)", "Yeongjo Beopsik(營造法式)" and "Mokgyeng(木經)", and mentions about the prototype of the royal ancestral ritual building in "Gogonggi Toju(考工記圖注)". The second quotes "Seoyeong(書影)" to introduce "Yeongjo Beopsik". The third quotes "PaePyeon(稗編)" to introduce "Yeongjo Beopsik" and "Mokgyeng", and mentions about the counting unit of columns of the royal ancestral ritual building. Although the purpose for these quotations is not directly mentioned, but we can find it is intended to explain the architectural prototype and lay-out of the royal ancestral ritual building.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.58-66
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• 2015

This study is to review the historical documents about Cinnamomum camphora SIEB. in Goryeo and Joseon Dynasty. First of all, we defined it's feature and used case by the most appropriate word 'Jang(樟)' meaning Cinnamomum camphora SIEB. We also discovered some illusions and should suggest a new possibility. First, we analyzed the definition and examples of Cinnamomum camphora SIEB. and come to the conclusion that 'Jang(樟)' seems to be the most appropriate word. Second, we confirmed that Cinnamomum camphora SIEB. grew in extralimital area. It is believed that it's because of making a mistake. Third, we confirmed that it is confused Cinnamomum camphora SIEB. with Koelreuteria paniculata in Yi, Gyu-Gyeong's records. However, it's required to verify the other cases of the Cinnamomum camphora SIEB.'s records. We expect a follow-up study about it by classifying modern feature and comparing literature matching.

• The Journal of Korean Medical History
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• v.35 no.1
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• pp.135-147
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• 2022

Sin Dae-woo was a scholar representing the Ganghwa School in the late Joseon Dynasty. He was Jeong Je-du's grandson-in-law and also in charge of organizing Jeong Je-du's collection of writings. His three sons had a particularly close relationship with their father, so even when they published a collection of writings after his father's death, the names of the three were combined and marked as Jin-jak-shin. The records they left include Seokcheon Il-seung, who described the history of the family along with the collection of writings, Seongdo Il-rok, a diary of the time of Seongcheon Busa, and many letters exchanged over time. These records draw attention as they contain records of medical life, such as eye diseases that the family suffered, infectious diseases that caused many casualties, and Yakro (distilled herbal essence) that showed records of being used for treatment at the time. In this paper: 1) We examine the medicines, prescriptions, acupuncture, and medication used to treat eye diseases. 2) We carefully examine the epidemic, the responses of the parties to it, and the attitudes of those who stood at the boundary between death and life. 3) We look for clues to the use of Western-origin drugs called Yakro. Intellectuals of the time looked deeper into Lee Kyugyung's book and Seo Yu-gu's book on how they were reflected in Joseon's medical life. In conclusion, in the 18th and 9th centuries, we see that the influential families of the Ganghwa school freely brought in famous acupuncturists, used prescriptions that were included in medical books or not, and used Yakro from western origin that were not traditional methods of Joseon. Thus, we reveal that doctors of the Joseon had the capacity to pursue their medical life more actively and had open-minded exchanges than our existing perceptions.

• Journal of Korean Historical Folklife
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• no.33
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• pp.31-72
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• 2010

At first, I extract materials on folk religion from four encyclopedic literatures of late Chosun dynasty-Lee, Ji-Bong-Ryu-Seol(『芝峯類說』) by Soo-Kwang(李晬光), San-Lim-Kyung-Jae(『山林經濟』) by Hong, Man-Sun(洪萬選), Sung-Ho-Sa-Seol(『星湖僿說』) by Lee-Ik(李瀷), O-Ju-Yeon-Moon-Jang-Jun-San-Go(『五洲衍文長箋散稿』) by Lee, Kyu-Kyung(李圭景), and present these materials by tables. Second, I examined the contents and characters of these materials on folk religion. The conclusions from this research are as follows. ① There are common features and points of difference between these four encyclopedic literatures. One of common features are that all these four are encyclopedic works, but San-Lim-Kyung-Jae is more practical than another three. ② These encyclopedic literatures regard folk religion as a negative culture, because these literatures based on Confucianism. But they did not deny miraculous virtues of folk religion. ③ These encyclopedic literatures give us many informations on gods and spirits of Korean folk religion, i.e. city gods(城隍神)·Yup-Sin(업신)·spirits of disease, god Kim-Bu(金傅大王神)·god Jung-Duk-Yang(鄭得揚)·god of King Kuan-u(關王神)·god Bu-keun(付根神) etc. So I review these gods and spirits referenced in encyclopedic literatures. ④ These encyclopedic literatures show much interest in ghost in common. The reason of interest is that authors of these encyclopedic literatures are all scholars of Sung Confucianism and Sung Confucian was concern about ghost. The Sung Confucianism denied the ghost as personal being whom Korean folk religion regards to a kind of spirits. Instead of beliefs in ghost of folk religion, they insist on the ghost as Ki(氣), a kind of cosmic principle. But these encyclopedic literatures acknowledge some parts of folk religion's beliefs in ghost, because they admit the miraculous virtues of these parts. ⑤ There are many items on divination in these encyclopedic literatures. But they show dual attitude on divinations. The one is negative attitude to divinations on individual destiny and the other one is positive attitude to divinations on agriculture. ⑥ There are also many items on witchcrafts in these encyclopedic literatures. Through these items, I assumed pervasiveness of beliefs on witchcraft at that time. ⑦ Shamans, as religious specialist, are stand on a central position of Korean folk religion. So it is a matter of course that these encyclopedic literatures concerned on Korean shaman. As Confucians, authors of these encyclopedic literatures did not regards shamans as positive one. But they did not deny miraculous virtues of shamans. In spite of these encyclopedic literatures have negative view points to, and include false informations Korean folk religion, I would like to emphasis on importance of these encyclopedic literatures to understand Korean folk religions, especially Korean folk religions of late Yi Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.