• Journal of Sasang Constitutional Medicine
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• v.22 no.4
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• pp.1-9
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• 2010

1. Objectives This paper investigates the origin, the progressive changes and the constructive principles of Palmulgunja-tang (八物君子湯). 2. Methods Palmulgunja-tang and other related prescriptions were analyzed in terms of their pathological indications, based on previous literature including "Donguisusebowon Chobongwon (東醫壽世保元 草本卷)", "Donguisusebowon Gabobon (東醫壽世保元 甲午本)", "Donguisusebowon Sinchukbon (東醫壽世保元 辛丑本)" and "Dongmuyugo (東武遺稿)". 3. Results and Conclusions 1) The Palmulgunja-tang most likely originates from Paljin-tang introduced in "Donguisusebowon Chobongwon (東醫壽世保元 草本卷)". Paljin-tang progressively transformed into Seungyangpalmul-tang ("Donguisusebowon Gabobon (東醫壽世保元 甲午本)") and ultimately into Palmulgunja-tang ("Donguisusebowon Sinchukbon (東醫壽世保元 辛丑本)"), a prescription appropriate for usage in the Ulgwang symptomatology (鬱狂證). Also, Seungyangikgi-tang in "Donguisusebowon Sinchukbon (東醫壽世保元 辛丑本)" can be presumed to have been affected by Seungyangpalmul-tang. 2) The variational prescriptions (變方) of Palmulgunja-tang shows increasing Seungyang (升陽) effect in order of Baekhaogunja-tang, Sipjeondaebo-tang, Palmulgunja-tang, and Doksampalmul-tang. 3) Palmulgunja-tang is composed of 8 herbs. Of these, Paeoniae Radix Alba (白芍藥), Glycyrrhizae Radix(甘草), Angelicae gigantis Radix (當歸), and Cnidii Rhizoma (川芎) fortify the Soeumin Spleen Element (脾元). Ginseng Radix (人蔘) and Astragali Radix (黃芪) support the ascension of Yang, whereas Atractlodis Rhizoma White (白朮) and Citrus unshiu (陳皮) encourage the descension of Yin.

• Journal of the Korean earth science society
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• v.28 no.4
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• pp.431-444
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• 2007

An automatic system of 36 cm telescope for the Web Based astronomy education was developed. The tracking accuracy of this system was about 1"/min. The pointing accuracy was ${\pm}10"$ in the right ascension direction, ${\pm}20"$ in the declination direction. These results will be improved continuously. The results of IRAF image analysis for the pilot observation data were stable, which means that this remote astronomical observation system is suitable f3r the education of astronomical observation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.43-57
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• 2013

The purpose of this study is to identify potential semantic landscape makeup of "the Forty Eight Poems of Soswaewon" according to Yin-Yang and Five Elements Principle(陰陽五行論). that speculation system between human's nature and cosmical universal order. Existing academic discussions made so far concerning this topic can be summed up as follows: 1. Among Yin-Yang-based landscape makeups of the Forty Eight Poems of Soswaewon, poetic writings for embodiment of interactions between nature and human behaviors focused on depicting dynamic aspects of a poetic narrator when he appreciates or explores hills and streams as of to live free from worldly cares. Primarily, many of those writings were created on the east and south primarily through assignment of yang. On the other hand, poetic writings for embodiment of nature and seasonal scenery - as static landscape makeup of yin - were often created on or near the north and west for many times. Those writings focusing on embodiment of nature and artificial scenery as a work are divided into two categories: One category refers to author Kim In-hu's expression of semantic landscape from seasonal scenery in nature. The other refers to his depiction of realistic garden images as they are. In the Forty Eight Poems of Soswaewon, the poetic writings show that author Kim focused on embodying seasonal scenery rather than expressing human behaviors. In addition, both Poem No. 1 and Poem No. 48(last poem; titled 'Jangwon Jeyeong') were created in a same place, which author Kim sought to understand the place as a space of beginning and end where yin and yang - i.e. the principle of natural cycle - are inherent. 2. According to construction about landscape in the Forty Eight Poems of Soswaewon on the basis of Ohaeng-ron (five natural element principle), it was found that tree(木) and fire(火) are typical examples of a world combined by emanation. First, many of poetic writings depicting the sentiments of tree focused on embodying seasonal scenery and were located in the place of Ogogmun(五曲門) area in the east, from overall perspective of Soswaewon. The content of these poems shows generation and curve / straightness in flexibility and simplicity. Many of poems depicting the sentiments of fire(火) focused on embodying human behaviors, and they were created in Aeyangdan area on the south of Soswaewon over which sun rises at noon. These poems are all on a status of side movement that is characterized by emanation and ascension which belong to attributes of yang. 3. With regard to Ohaeng-ron's interpretation about landscape in the Forty Eight Poems of Soswaewon, it was found that metal(金) and water(水) are typical examples of world combined by convergence. First, it was found that all of poems depicting sentiments of metal focused on embodying seasonal scenery, and were created in a bamboo grove area on the west from overall perspective of Soswaewon. They represent scenery of autumn among 4 seasons to symbolize faithfulness vested in a man of virtue(seonbi) with integrity and righteousness. Poems depicting sentiments of water were created in vicinity of Jewoldang on the north, possibly topmost of Soswaewon. They were divided into two categories: One category refers to poems embodying actions of welcoming the first full moon deep in the night after sunset, and the other refers to poems embodying natural scenery of snowscape. All of those poems focused on expressing any atmosphere of turning into yin via convergence. 4. With regard to Ohaeng-ron's interpretation of landscape in the Forty Eight Poems of Soswaewon, it was found that poems depicting sentiments of earth(土), a complex body of convergence and emanation, were created in vicinity of mountain stream around Gwangpunggak which is located in the center of Soswaewon. These poems focused on carrying actions of author Kim by way of natural phenomena and artificial scenery.