• The Journal of Korean Medical History
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• v.15 no.1
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• pp.63-146
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• 2002

Huh-Im(許任, 1570~1647) was an acupuncture doctor of Chosun(朝鮮) era through the late 16th century and early 17th century. Even though he was a person of low birth, he participated in the loyal medication through three loyal generations, Sunjo(宣祖), Kwanghaegun(光海君) and Injo(仁祖). He was recognized of his services and became an official, 'Dangsanggwan'(堂上官) and Kyunggi(京畿) district official several times. In the early Chosun era, acupuncture medicine was focused. During the late 16th century, Imjin(壬辰) war aroused more needs about acupuncture medicine, and acupuncture doctors showed remarkable work. Under these circumstances, Huh-Im(許任)'s fame spread throughout the country. Huh-Im(許任) wrote ChimGuKyungHumBang("鍼灸經驗方") in 1644 based on his lifetime clinical acupuncture & moxibustion experience. It was the first specialized book of acupuncture in Chosun era. This event took place 30 years after DongEuiBoGam - Acupuncture Chapter("東醫寶鑑-鍼灸篇") was published. But it was not influenced much by DongEuiBoGam - Acupuncture Chapter("東醫寶 鑑-鍼灸篇") in the form or contents. ChimGuKyungHumBang("鍼灸經驗方") and Huh-Jun(許浚)'s DongEuiBo- Gam - Acupuncture Chapter("東醫寶鑑-鍼灸篇") were the fruits of the middle Chosun, and they are complementary to each other in theory and practice. The chief distinctions of ChimGuKyungHumBang("鍼灸經驗方") are in it's compact and practical edition and a lot of his clinical acupuncture prescriptions mentioned in the book. Huh-Im(許任) not only accepted the existing books such as NaeKyung("內經"), DongInSuHyulChimGuDoKyung and Shin- Eung Kyung("神應經") with his point of view and clinical experience, but also showed creative operation of studies. Indicating incorrect acupuncture points(訛穴), acupuncture remedy based on the visceral pathogenesis(臟腑病機) and the channel pathogenesis, research on new acupuncture points, sorting out plenty of outer meridian acupuncture points(經外奇穴), creating supplementary and purging acupuncture method(鍼補瀉法) which is a change of hand treatment of KiHyoYangBang("奇效良方"), operating variety of acupuncture and moxibustion treatments, and application of acupuncture treatments on surgery field such as intumescences and emergency cases are the examples. Huh-Im(許任)'s ChimGuKyungHumBang("鍼灸經驗方") influenced on the folk remedy books(民間經驗方書) in the late Chosun era. Compact and practical characteristics of the book let acupuncture treatment be freindly to the people. It can be confirmed in JeungBoSanRimKyungJe-Emergency Chapter("增補山林經濟-救急篇") or the formation of SaAmChimBob(舍巖鍼法). ChimGuKyungHumBang("鍼灸經驗方") was introduced to Japan in 18th century and published twice. ChimGuJibSung("鍼灸集成"), known as an acupuncture medical book of late Qing dynasty(淸末, 1874), is confirmed to be an plagiarization of DongEuiBoGam-Acupuncture Chapter("東醫寶鑑-鍼灸篇") and ChimGuKyungHum- Bang("鍼灸經驗方") of 17th century Chosun. Confusions and errors arouse from mistaken editional trend of ChimGuJIbSung("鍼灸集成") which had not disclosed it's original author and the title of the book must be reformed. In this way, fruits of acupuncture of the middle Chosun era including Huh-Im(許任)'s ChimGuKyungHumBang("鍼灸經驗方") will take a right place in acupuncture medicine history.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.18-31
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• 2021

Linoleum is a resilient, hygienic, and eco-friendly floor covering. It was developed in England by Frederick Walton in 1863. Made of cork flour, linseed oil, and burlap as its main materials, the flexible and waterproof linoleum became globally popular in the early 20th century. Unlike the vinyl coverings, the burlap-backed linoleum was used not only in commercial spaces but also in household areas like kitchens, bathrooms, and even living rooms. As a global product, linoleum was imported and used in Korean palaces like Deoksugung and Changdeokgung in the early modern period. According to the record Deoksugung Won-Ahn, linoleum was applied to the major buildings, including Hamnyeongjeon, Deokhongjeon, and Jeonggwanheon, and various other venues. The linoleum used in these places are mainly monochrome blue and brown color, which probably means that they are from England. The trade records in the early 20th century show that linoleum was imported mainly from England and America. The Ewangjik building floor plan in the Changdeokgung Palace shows that linoleum was used extensively. There are even some originals, which were laid in 1920 and left in the Changdeokgung Palace. When Daejojeon and Huijeongdang were rebuilt in 1920, the interior was outfitted with western features and linoleum was used in areas such as bathrooms, the tonsorial parlor, and one of the rooms on the west side of Huijeongdang. In situ in the Daejojeon and Huijeongdang areas in the Changdeokgung Palace are monochrome, patterned black, and stylized floral tile patterned, which are closely similar to American products made by ALC and Armstrong company. This study will help us better understand linoleum's characteristics, its uses and the material itself. It will also form the basis for the restoration of Changdeokgung Palace as well as other modern interiors with linoleum flooring in the future.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• Acta Via Serica
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• v.3 no.2
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• pp.73-90
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• 2018

The Silk Road tied the globe together for the first time by producing an early globalization phenomenon. Some consider that the ancient Silk Road disintegrated around the $18^{th}$ century CE due to the fall of the Muslim empires and the kingdoms between Asia and Europe. However, the maritime trade among East Asia and the Spanish dominion on the American continent reactivated the ancient Silk Road on some levels, and maintained trade dynamics until the $19^{th}$ century. This was possible because of Mexican silver and trade spots. Notwithstanding its historical background, Mexico seems so far away from the new Silk Road, or the Belt and Road Initiative in the $21^{st}$ century. Thus, this paper analyzes Mexico's historic and current role concerning the Silk Road. First, I conceptualize and compare the ancient Silk Road and Belt and Road Initiative through the lens of complex interdependence theory. I propose that, unlike the ancient Silk Road, the Belt and Road Initiative is a case of an induced complex interdependence. Second, I study the Manila Galleons' dynamics in order to trace the ancient ties with the Silk Road. I emphasize Mexican silver's contribution to East Asian economies and the importance of Mexico's role in the East Asia-Spanish trade. Consequently, I analyze Mexico's position in the Belt and Road Initiative. Finally, I present some concluding remarks about Mexico's role in the Silk Road.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.10-20
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• 2020

This study aims to analyze the developed characteristics of the knowledge and information of gardens through garden or flowering plant books compiled in the 15th and 19th centuries of Joseon Dynasty. Diachronically analysis of the garden or flowering plant books classified the characteristics in which knowledge and information about gardens are developed by the period, and looked at the factors. The results are as follows; First, the relationship between the authors who compiled the garden or flowering plant books had similar characteristics to the genealogy of Realist School of Confucianism(實學) in the Joseon Dynasty. Kang, Hee-An's practical features influenced later realist school of confucianism scholars. Lee, Su-Gwang has accumulated knowledge of the garden through his experience of traveling the diplomatic envoy to China. Since then, Hong Man-sun's ideology has been related to Charles, a member of the Southerners. Seo Yu-gu was also able to accept Realist School of Confucianism in an integrated way through the Jungnong school's theory and interaction with the Jungsang school. Ryu, Jung-Lim's relationship with the Jungnong school emerged as he added to the 『Jeungbosanrimgyeongje(增補山林經濟)』. Second, the 『Yanghwasorok(養花小錄)』, 『Jibongyuseol(芝峯類說)』 「Hwuimok(卉木)」, 『Hangjeongrok(閑情錄)』, 『Sanrimgyeongje(山林經濟)』 「Yanghwa(養花)」, 『Jeungbosanrimgyeongje(增補山林經濟)』 「Yanghwa(養花)」, 『Hwaamsurok(花庵隨錄)』 and 『Imwongyeongjeji(林園經濟志)』 「Yewonji(藝畹志)」 contain garden plant characteristics, cultivation methods, and management methods. The 『Imwongyeongjeji(林園經濟志)』 「Seomyongji(贍用志)」, 「Iunji(怡雲志)」, 「Sangtaekji(相宅志)」 contain details on the location selection of gardens, the layout of facilities, how to create them and materials. The description of these garden or flowering plant books was found to be the most common introduction with 55 percent, followed by methodologies(42.8%), the Lichi Theory(理氣論, 15.5%), the classification(12.4%), and the convention(1.9%). Third, based on the importance of knowledge and information on gardens, the garden or flowering plant books related to the period were classified as early period, including 『Yanghwasorok(養花小錄)』, 『Jibongyuseol(芝峯類說)』 which were compiled before the 17th century. The 18th-century compiled 『Sanrimgyeongje(山林經濟)』 and 『Jeungbosanrimgyeongje(增補山林經濟)』 were classified as middle period, and the 19th-century compilation of 『Imwongyeongjeji(林園經濟志)』 was classified as late period. The garden or flowering plant books were cited the contents of ancient Chinese books, the author's experiences and opinions contained in the preceding period in later garden books. And the reinforcement of garden knowledge was made to reflect the agricultural technology and expertise developed at the time of writing. Fourth, based on analysis of the development and acceptance of knowledge information in garden by period, In the early period was dealing with floriculture as a way to explore the logic of things. Later, in the 18th century, a vast influx of garden knowledge information came from China. Among scholars, they secured justification for garden creation as part of various knowledge-seeking activities, which expanded their expertise in gardens. In response to the trend of gardening in the 19th century, professional books were written based on knowledge and information on gardens that were collected in the past, and systems were established such as the collection and management of garden plants, construction methods, enjoying methods, and self-realization.

• The Korean Journal of Quaternary Research
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• v.14 no.2
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• pp.87-99
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• 2000

May-June precipitation (253 years : A.D. 1746∼1998) of Yungdong region (coastal area of East-central Korea) was reconstructed using two tree-ring chronologies of Pinus densiflora sampled from Daeseung Fall area in Sorak Mountains. Dry periods were 1765∼1800 (longest dry period), 1835∼1845, 1890∼1910, 1920∼1940 and 1980∼1995, and wet ones 1810∼1830, 1850∼1890 and 1950∼1970. In long-term variation, late 18th century was dry. The 19th century May-June (250㎜) was wetter than the 20th century (231㎜) and the former indicated higher variability than the latter. Major wet/dry periodicities in May-June precipitation series reconstructed were 3 years in short term and 60∼80 years in long term. The present reconstructed data agreed to the ancient rain gauge 'Chukwooki' data (1777∼1907) of Seoul (central-west Korea) in low frequency variations except early 1800s.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.120-129
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• 2022

The purpose of this study is to analyze the chemical composition of smalt pigments used in 10 large Buddhist paintings in the Joseon Dynasty using energy dispersive X-ray spectroscopy, and to clarify the material and characteristics by observing morphological characteristics using polarized light microscopy and a scanning electron microscope. Through chemical composition analysis, the smalt of all 10 large Buddhist paintings is judged to be potash glass using SiO₂ as a former and K₂O as a flux. In addition to the components related to cobalt ore used as a colorant, the paintings were found to contain high levels of As₂O₃, BaO, and PbO. The smalt particles did not have specific forms, and were blue in color, with various chromaticity. In some particles, conchoidal fracture, spherical bubbles, and impurities were observed. Through backscattered electron images, it was found that the smalt from paintings produced in the early 18th century AD had a high level of As, but the smalt from paintings produced from the mid-18th century AD onwards exhibited various contrast differences from particle to particle, and there was smalt with high levels of As, Ba, and Pb. Through the above results, the large Buddhist paintings in the Joseon Dynasty are divided into three smalt types. Type A is a type with high As₂O₃, type B is a type with high BaO, and type C is a type with high PbO. Looking at the three types of smalt pigments by the period of production, although some in-between periods were not detected, type A was confirmed to have been used from 1705 to 1808, while type B and type C were shown to have appeared in 1750 and used until 1808. This reveals that only one type of smalt was used until the early 18th century AD, and from the middle of the 18th century AD, several types of smalt were mixed and used in one large Buddhist painting. Studies such as this research are expected to provide insights into the characteristics of the smalt pigments used to produce large Buddhist paintings at the time.

• Journal of the Korean Society of Food Culture
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• v.10 no.4
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• pp.291-300
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• 1995

The purpose of this paper is to survey various recipes of the roasted beef with twenty three classical cookboods written before 1943. The roasted beefis found total 32 times in the literature which can be classified into seven groups such as the roasted rib, roasted foot, roasted tail, roasted heart, roasted gall, roasted kidney and roasted fresh meat. The most frequent one is the roasted rib appearing eight times and the next is the roasted sliced beef with seasoning appearing seven. This proves that the those recipes have been the most favorite ones to Korean people for a long time. The roasted rib has been found since the middle of the 17th century, but the process of roasting ribs again with seasoning after three successions of dipping shortly into cold water in the midst of roast wasz disappeared. The roasted sliced beef with seasoning originated since the late 18th century, and the roasted beef with salt since the early 19th century which has been inherited as the roasted raw upper part of roasted beef recipes have been continued until today in the similar manner. Generally the roasted meat with bones and the roasted internal organs started in 1766 earlier than the roasted fresh meat by a century. The main ingredients were rib, foot, tail, heart, gall, kidney, fresh meat and knee bone, and the seasonings were mixtures of scallion stalk, garlic, pepper, oil, soy sauce and sesame seed powder. And peculiarly salted shrimp, pear juice, ginger were added to seasonings and pine nut powder was used as decorating ingredient.

• Journal of architectural history
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• v.21 no.3
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• pp.73-92
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• 2012

This study mainly inquired characteristics and changes of 'Chang-aelgool' through 38 cases(with 161 Ssang-chang) of annex and pavillion buildings in Yeong-nam region which are built during the Chosun dynasty. The method of inquiry included actual survey of windows along with bibliographical research, and the results are as below. First, through the discovery of the term 'Chang-aelgool' as an indication of the window-forming frame in 'YeongGeonUiGwe'(1680 A.D), it is apparent that the term 'Chang-aelgool' was widely used in Korea from the late 17th century. Second, the 'Chang-aelgool' of study objects are classified into 4 categories. Type I and II are comprised of mitre-joints which cover the 4 corners of 'Chang-aelgool' and mainly used in building annex and pavillion buildings during the early period of the Chosun dynasty. Type III was widely used during the early and middle period of the Chosun dynasty and drastically dropped in number during the late period of the dynasty. Type IV is comprised of mitre-joint of the upper-half, tenon-jointing of the lower-half and widely used in annex and pavillion building during the late period of the Chosun dynasty. Third, the form of 'Chang-aelgool' has changed from rectangular form with longer width during the early period of Chosun dynasty to square form during the middle period and eventually ended up as a rectangular form with longer height during the late period of the dynasty. Fourth, it is considered that while mullion which is located in the center of 'Chang-aelgool' was mainly used around the main floored room during the early period of the Chosun dynasty, became commonly used in main floored room and 'ondol' rooms during the middle period and drastically dropped in number from then and ended up being not in use after the mid 18th century.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.79-90
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• 2020

This study traces the flow of modern museum architecture from the 18th to 19th century when the rationalist architectural spirit influenced the museum architecture to the 1930s, before the museums of the modern architectural masters appeared. With early modern museums until the 1930s as a target, which had long been enshrined in classicality, finally contributed to narrowing the gap with the times, but did not receive the right evaluation, this study examines their different architectural styles from previous museums and reveals that they have a significance to announce the departure of modern museums beyond classical ones. The three museums, built in the 1930s, will be identified as respectable early modern museums that will fill the remaining blank space of the history of museum architecture. In this study, modern museums are asymmetric, non-centre oriented, and non decorative. They have multi-directional circulation, and a neutral, open and flexible exhibition space. They also try to align themselves with the modern architectural tendency of the day.