• 복식
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• 제56권5호
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• pp.132-149
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• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.

• 동국한의학연구소논문집
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• 제9권
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• pp.165-178
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• 2000

"금궤요략"은 한의학(韓醫學) 최고(最古)의 잡병전문서(雜病專門書)로서 그 중요성이 널리 인정되고 있지만, 우리나라에서는 그에 대한 주해(註解)나 연구가 미흡한 실정이다. 따라서 저자(著者)는 앞으로의 연구(硏究)와 교육(敎育)의 기본자료(基本資料)로 삼기 위하여 본서(本書)의 중요(重要) 주석서(注釋書)에 대하여 정리하였다. "금궤요략"에 대한 최초의 주석(注釋)은 원명간(元明間) 조량인(趙良仁)의 "금궤요략연의"이며, 그 이후 청대(淸代)에는 "금궤옥함경이주", "금궤요략론주", "금궤요략직해", "금궤요략방논본의", "금궤요략심전", "정정금궤요약주" 등(等)이 유명하다. 일본(日本)에서는 "금궤요략주해"을 효시로 "금궤요약방론친주", "장사정경증회", "금궤요략집성", "금궤요략집의", "금궤옥함요약술의" 등의 주본(注本)이 있다.

• 한국가구학회지
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• 제22권2호
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• pp.101-111
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• 2011

The intention is to explore the differentiation or evolution of the chest of drawers in traditional Korean, Western, and Japanese furniture in order to know how the drawers currently becoming popular in Korea were developed historically. The Korean furniture centered in $Jang$, $Nong$, and $Bandazi$ used in the tradition generally, the Western furniture involved in drawers, and the Japanese furniture called $Tansu$ in Japanese called the chest of drawers were focused on the study because the Western and Japanese drawers affected the development of the chest of drawers in Korean furniture during the late 19th century and the Japanese Ruling Era, respectively. As a result, the Korean furniture was not shown the chest of drawers but only small drawers that store small items located in the upper part of $Jang$, $Nong$, and $Bandazi$ mostly used as wardrobe, while the traditional Japanese furniture developed from Edo period (1607-1868) had showed a wide variety of chest of drawers like $Isho-dansu$, $Mizuya-dansu$, $Kusuri-dansu$, $Cho-dansu$, $Funa-dansu$, $Kaidan-dansu$, $Nagamochi-dansu$, $Kuruma-dansu$, and so on, for specialized storage. And in the traditional Western furniture were presented the chest like a large-box form, mule chest, chest of drawers, cabinet, commode, highboy, tallboy, wardrobe, secretary drawer and bureau with document drawer invented and evolved throughout the 15th-18th century. Therefore, the chest of drawers in contemporary Korean furniture is supposed to adopt the Japanese and Western drawer form and to ensure the continual production from the obvious utility of the design with decoration for our current everyday lives.

• 한국지역지리학회지
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• 제11권3호
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• pp.323-335
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• 2005

본 연구의 목적은 지역주민과 행정당국의 노력을 통한 전통 건축물 경관의 보존과 활용 특성에 대하여 고찰하는데 있다. 도쿄 도심으로부터 30km 떨어져 있는 카와고에는 에도시대의 역사와 문화를 간직하고 있다. 전통적 창고구조 경관을 중심으로 한 이치반가이의 관광 특성은 가까운 지역에서 온 노년층의 비중이 높고, 당일관광이 주를 이루고 있다. 대부분의 관광객은 방문회수는 많지만, 소비금액은 비교적 적은 편이다. 이치반가이의 관광 활성화는 행정기관, 주민조직, 시민의 노력과 헙력의 결과이다. 행정기관에서는 문화재 지정, 조례제정, 면세혜택, 수리비지원, 공청회, 관광네트워크 구축 등 제도적 지원제계를 구축하교 있다. 이치반가이 주민들은 오래 전부터 자체적인 조합이나 모임을 조직하여 전통경관의 보존과 관광 활성화에 기여해 왔다. 그리고 시민조직과 행정당국의 긴밀한 헙력관계를 주도해온 각종 위원회의 역할이 활성화 되어 있다.

• 대한한의학원전학회지
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• 제28권4호
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• pp.193-212
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• 2015

Objectives : The purpose of this study is to find the differences of the viewpoints about medicine between Korean and Japanese doctors through analysing the contents of the medical conversation records from the visits of Joseontongshinsa. Methods : The conversations were classified according to the topics and analysed with emphasis on the subject of medical classics. Results : Japanese doctors were skeptical about the application of Huangdineijing(黃帝內經) and the theory of Five Circulation and Six Qi(五運六氣) to clinical treatment while they respected Shanghanlun(傷寒論). They were interested in the bibliography of medical classics, and considered it was important to study the original texts rather than the new editions. The doctors of Joseon valued Huangdineijing highly and accepted the theory of Five Circulation and Six Qi. They mainly used the treatments in Yixuezhengzhuan(醫學正傳), Yixuerumen(醫學入門), Shoushibaoyuan(壽世保元) as therapeutic methods. Conclusions : The conversation records reflect the trend of Korean Medicine in the Joseon Dynasty that Huangdineijing had been mainly studied and the Jin-Yuan(金元) Medicine had been accepted, and the trend of Japanese Medicine in the mid-Edo period that Koho school(古方派) had predominated.

• 대한약침학회지
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• 제23권3호
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• pp.142-157
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• 2020

Cannabis is a historical plant which has been used as a medicine in East Asia. These days, there are active debates about using cannabis in clinical field. Collecting and comparing cannabis research articles which had been published in the Opening of Japan to spot the interactions between the traditional medicine of Japan, Rangaku which was established in Edo Period and the European medicine which is transferred after Perry Expedition is academically meaningful. This study searched publications, which were listed on Open-Access databases by Dec. 11^th, 2019. We collected research articles which had been published from January 3^rd, 1867 to July 30^th, 1912 also known as Meiji era and uploaded on OpenAccess databases. Our searching databases were J-stage, CiNii (Scholarly and Academic Information Navigator), Tokyo Metropolitan Library, The National Diet Library, IRDB (Institutional Repositories DataBase) and KAKEN (Grant-in-Aid for Scientific Research Database). Searching keywords were cannabis, hemp and all their Japanese synonyms and available combinations. We selected final 15 studies which met every selection criteria in the 346,393 collected studies. Cannabis was prescribed in Meiji era of Japan to alleviate pain and cure the digestive, respiratory, urinary, and nervous system diseases such as indigestion, asthma, tuberculosis, gonorrhea and its complications, insomnia, and nervous prostration. Cannabis was medically used in Meiji era of Japan and the reporting and sharing of its clinical effect was published on the medical journals like present days. There were already Cannabis regulations in that era, but its medicinal use was more liberated than nowadays. It may be a chance to reconsider the current legal system, which strictly controls the use of Cannabis.

• Human Ecology Research
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• 제57권3호
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• pp.395-406
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• 2019

This study examined what meaning East Asian women showed in their costume history through a discourse of hair adornments such as wigs and that Gache was not just a luxury decoration. In addition, we examined Gache hair trends with Eonjeun-meori (braid wraps around the entire head) in the Joseon dynasty (Korea), Gigye(旗?) hair in the Quing dynasty (China) and Mage(?) hair in the Edo period (Japan) during the $18^{th}$ and $19^{th}$ centuries. The significance of the phenomenon of East Asian Gache culture in the $18^{th}$ and $19^{th}$ centuries was analyzed from the internal desires of women. The details are as follows. First, the magnification by the hair decoration was identified with self-authority and used as a sign to express self-respect or a desire for self-esteem. The extended Gache was an external body extension to raise self-authority and increase activeness. Second, self-satisfaction through showing off was associated with a women's search for identity. There was excessive consumption to boast status, wealth and femininity, but the mania continued because women obtained psychological satisfaction by feeling that their sacrifices for the Confucian order were compensated. Third, the frenzy of Gache was accepted as a way for women to resist social regulations and find themselves as main participants in social activities. Showing their appearance in East Asian Gache culture was a way of inner self-searching and a process for women to find themselves as a social entity.

• 비교문화연구
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• 제31권
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• pp.35-64
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• 2013

This thesis seeks to compare China's Jing-ju and Japan's Kabuki for their common aspects and differences and examine how they are performed on the stage. Jing-ju is often called as Beijing Opera to refer to a musical play completed during the mid-Ching era and developed around Beijing. Jing-ju is composite arts of music, dance and play which are remarkable in its strict patterns in move along with luxurious costume and heavy make-up. Kabuki which was developed during the Edo-period, is expressional arts also structured with music, dance and play coupled with extravagant costume as well as even more strictly controlled move and emphasis on the beauty of form. The two plays seem very similar to each other in their time setting to gain popularity or features of play. It may look obvious that Jing-ju which had developed earlier than Kabuki, affected the latter's formation. However, general social practices or cultural trends in China and Japan at the time of their development also influenced literature and arts thus affecting play contents and performance expressions. Although the two plays have similar stage structure, they developed in different ways with detailed differences and actors' performance on the stage, way of using a stage and other ways of directing play are largely distinctive from each other. If a play's primary goal is to gain recognition of audience and draw their positive response, the relationship between play and stage becomes essential. With this understanding, this thesis aims to identify where such similarities and differences between the two plays are from by comparing historical background, stage structural development and directing manner development at a basic level.

• Korean Journal of Acupuncture
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• 제35권4호
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• pp.210-225
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• 2018

Objective : This research is aimed to compare the three sets of Dongin(K-1, K-2, K-3) to Chosun and Chinese acupuncture bronze men, and through literature review of acupuncture points and meridians to see how acupuncture of Chosun affected the Japan's acupuncture bronze men. Methods : Using 3D scanning, we compared the location of acupoints by the proportional bone measurement method of the three sets of Dongin to those of Chosun and China. We also compared the meridians and acupuncture points of the three sets of Dongin to Doningyosodo. Results : Dongin K-1 and K-2 have all the unique characteristics of ChimGuemDongIn. Their heads were made about 30% larger than the location of points by the proportional bone measurement method and their necks were shortened to get the right proportion. Their gender was not specified. Their hands were sticking forward, and knees were slightly bent, and the arms and legs were carefully crafted to record acupuncture points. Dongin K-1 and K-2 marked the meridians and acupuncture points according to Doningyosodo. In particular, BL39 in Dongin K-1 and K-2 has been marked as in ChimGeumDongIn, which is considered to have come from DongUiBoGam. These characteristics do not exist in Chinese acupuncture bronze men. The location of points by the proportional bone measurement method was marked on the right side of the Dongin K-3, while the eight extra meridians were marked on the left side. Conclusions : In summary, Dongin K-1 and K-2 indicate the Japanese history of acupuncture which may have influenced from Chosun.

• 비교문화연구
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• 제48권
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• pp.193-222
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• 2017

동파체 및 파자와의 비교를 통해 본 일본근세의 문자유희방식, 특히 난지 및 이루이 이묘의 한자변형방식을 소개하자면 다음과 같다. 첫 번째로, 난지 및 이루이 이묘에 보이는 한자변형방식 중에서 글자의 장단이나 대소를 이용한 방식은 동파체의 그것과 유사함을 알 수 있었다. 하지만 글자의 농담이나 글자의 속을 하얗게 비우는 블록체(가고지)가 동파체에서는 흔히 보이는 반면, 난지 및 이루이 이묘에서는 거의 보이지 않는 점은 양국 문자유희의 상이점이라 하겠다. 두 번째로, 글자를 180도 뒤집거나, 90도 옆으로 뉘는 방식이 보인다는 점에서는 동파체와 유사하다는 사실을 확인할 수 있었다. 또, 난지 및 이루이 이묘에서는 45도 기울기가 좀처럼 보이지 않는다는 점과 더불어, 글자를 뉘거나 기울이는 방향이 동파체에서는 작자마다 제각각인 반면, 난지 및 이루이 이묘에서는 대개 누인 방향이 오른쪽이라는 점도 흥미로운 차이점이라 할 수 있겠다. 동파체와 난지 및 이루이 이묘의 모든 용례에서 문자의 방향성을 의식한 작자의 고려가 있었을 것이라고 단정 지을 수는 없지만, 동쪽과 서쪽, 혹은 오른쪽과 왼쪽이라는 방향성을 작자들이 나름 의식했을 가능성도 충분히 생각할 수 있지 않을까 생각된다. 왜냐하면, 소동파의 '장정'시에 보이는 목 '수(首)'자의 반전과 산바의 '남녀(男女)' 글자의 180도 좌우 반전은 그러한 방향성과 회전성을 작자가 충분히 의식했음을 보여주기 때문이다. 세 번째로, 파자 방식 중의 하나인 부분결여 방식이 난지 및 이루이 이묘, 그리고 동파체에서 공통적으로 나타남을 알 수 있었다. 또한 한자를 둘로 쪼개어 그 사이에 다른 한자를 집어넣는, 파자의 분리법과 증보법을 복합시킨 방식이 동파체에서 발달하였음을 확인할 수 있었다. 이 방식은 일본에서 주로 에도시대의 3단 수수께끼나 그림 수수께끼방식인 한지에(判じ絵)에서 이용되었는데, 이는 동파체와 파자의 한자변형방식이 일본근세의 문자유희뿐만 아니라 수수께끼에도 영향을 주었을 가능성을 의미한다 하겠다.