• Journal of architectural history
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• v.26 no.6
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• pp.67-76
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• 2017

Royal banquets under the reign of King Sunjo saw developments in the playacting stage, which exhibited characteristics unique to the transitionary period between Jeongjo and Gojong this period established the framework of the Joseon Dynasty's playacting stage construction. Starting with the Jagyeongjeon-Hall banquet and continuing into the Year of the Golden Rat banquet, the next-day banquet by the Crown Prince demonstrates a renewed format, with the stage also changing accordingly. This change was substantiated by more assertive use of the Red Blind and gabjang. Previously, the Red Blind has been installed in the palace hall and around the royal courtyard, to form three sides, but as next-day banquets became more frequent under Sunjo, the Red Blind developed and came to be installed in accordance with the hierarchy within the royal family. In the Year of the Golden Rat banquet, the Red Blind was lifted and the throne of the crown prince was situated in the palace hall. In the banquet of the following year, however, the Red Blind was let down and the crown prince's throne was placed outside, in palace court yard. This seems to have been a gesture to reorient the crown prince's political standing and restore Sunjo's sovereignty the following year. Hence, the installation of the Red Blind developed in accordance with the royal hierarchy and ranks under Sunjo's reign. The gabjang provided the second layer of protection for the playacting stage. The hongjeongju gabjang surrounded the stage in multiple layers and served as a partition. The gabjang from the Year of the Golden Bull banquet, in particular, boasted a unique installation, where it dangled from both sides of the royal palace's facade. Hongjeongju gabjang, lapis lazuli gabjang, red gabjang, and yellow curtains were installed in the stated order to reflect Sunjo's 40th birthday as well as the 30-year anniversary of his coronation. The Red Blind and gabjang from Sunjo's years were positioned in creative ways to reinstate the royal authority, and demonstrated many improvements from those of Jeongjo's reign.

• Journal of Korean Medical classics
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• v.7
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• pp.161-197
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• 1994

I hereby have gained the following results by investigation and classification according to the contents of Masterial theses of 1015 volumes and Doctorial theses of 288 volumes, which have collected at their central libriaries, of theses which have published, until 1991, at Oriental Medical College of Kyunghee Univ., Kyungsan Univ., Dongguk Univ. and Taejon Univ. 1. The laboratory theses are more plentiful in number than those of literatural or clinical ones, especially more outstanding trends in the case of doctors. 2. In clinical theses, clinical obserbation was high frequnt in master and accupunture in doctor. 3. In laboratory theses, the usage of pharmacy was more frequnt than that of accupuntures or moxibutions. 4. In laboratory theses, it was more plentiful the case of being taken ill before experiment. 5. In experimental method, the drugs were more used complexed or complexed extract, in the case of accupunture, the methods were more adopted by general accup. and aqureaccupunture. 6. In laboritory theses, theses was abundant of no description of normal, control and laboratory groop. 7. It was the great number wi thin a day in the laboratory terms, the rats were most adopted as the objects of lab., in the number of lab method, doctor's was more plentiful than master's. 8. In literatural theses, there was expressed high frequnt trends of study of china, in era, Chosun dynasty in korea and Jin-Han in china. 9. The theory and books were mainly adopted as objects of theses study in the field of literature. 10. In another theses, there was many investigation of contents and drug and sign of illness were main object of study. 11. Laboratory theses had totally more reference and quotation than those of other theses. According to the above results, the number of laboratory theses are superior than clincal and literature theses, other study or statistical theses. But unfortunately they were not enough the transmission of meaning of theses and contribution of learning, beacuse how to do theses was not uni form and description was not evident. So afterward I think it is needed more careful attention and study in the method of theses works.

• Journal of the Mineralogical Society of Korea
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• v.31 no.1
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• pp.23-32
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• 2018

Noerok ia a green pigment used in Joseon dynasty, and its main usage was for forming foundation layers of Dancheong, the ornamental paintings on the surface of traditional buildings in Korea, such as the Daeung-jeon(main hall) of Bulguk-sa temple. In this research, we investigated the mineralogical characteristic changes of Noerok, a traditional Korean pigment, depending on its firing temperature. The Noerok that we experimented on was mined from Noeseong Mountain, Pohang where it is locally reserved. The major composition mineral is Celadonite, and the main constituent elements are Fe, Si, K and Mg, that refers to the existence of Fe-rich mica. As a result of phased firing experiment from $105^{\circ}C$ to $1000^{\circ}C$, the color was changed from green to pale green, then to brown, and finally to red in order. In the thermal analysis, endothermic reaction induced by the dehydration of crystalline water was confirmed at around $616^{\circ}C$. In the mineralogical change, the crystal surface [($11{\bar{1}}$) and ($02{\bar{1}}$)] of the mineral collapsed at temperatures above $600^{\circ}C$, and iron oxide was formed at $1000^{\circ}C$ or higher. Therefore, it is estimated that the crystallization temperature of Noerok is below $600^{\circ}C$, and it is also considered that it has undergone the alteration phase up to stage I, based on the presence of only a celadonite.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.49-62
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• 1993

This study intends to find out the correspondence of the costumes of the terracotta warriors at the tomb of Qin Shi Huang to the dress of nomadic people. The Chinese took the dress of nomadic people into their costumes so that they might practise shooting arrows from horse back in the Age Of Wars. The terracotta warriors at the tomb of Qin Sin Huang provide us with substantial evidence that Qin Dynasty inherited the system of wearing the dress of nomadic people from Zhao. Figures of calvarys wear the jackets of nomadic people, but figures of other warriors wear Han jackets. This means that the aim of taking the dress of nomadic people is to be convenient in practising shooting arrows from horse back. Nomadic people adjusted their jackets to left, because they road on a horse from left for being the tunga only on the left. But calvarys adjusted their jackets to right. In those days, China didn't have a tunga. So there was no necessity for riding from left. And Chinese were accustomed to adjusted their jackets to right. This is the reason why calvarys adjusted their jackets to right, though they wear the dress of nomadic people. Soldiers wear trousers. Some have puttee, some have their leg bounds. All the soldiers tightened their coats or jackets with belts which were inhereted from nomadic people. They wear either shoes or short boots. The figures are classified according to rank, espicially in their hats and armours. General wears a cap adorned with pheasant' feathers, officer wears an unadorned cap, and men are hatless or in turbans. Calvary's headgear looks like a p'ing-chin-tse which was correspondence to the headgear of nomadic people. Soldiers wear armours according to duty, and armours are differentiated by rank. From the state of terracotta warriors, I think that the warriors were made from BC 246 to BC 210 which is equal to the date of making the tomb of Qin Shi Huang. Then the date of making the terracotta warriors was between 60 and 100 years since the king Wu Ling of the state of Zhao took the dress of nomadic people.

• Journal of Conservation Science
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• v.25 no.3
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• pp.323-333
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• 2009

The Jincheonsagongnimaaeyeoraeipsang is a great stone relief Buddha in Goryeo Dynasty, transmitting sculptural styles of the Silla Kingdom. The Buddha was carved on the biotite granite basement, and was undergone cleaning treatment in 2007. The basement rock was opened in plenty cracks bringing out structural instability. And the top of the basement rock was colonized by trees obstructing sunshine and raising humidity. As a result of failure analysis, the basement rock of the Buddha had a major possibility of wedge failure in the parts of the face, hands and cloths. Therefore, the cracks were filled up with epoxy resin L-50, and titanium bars and wire ropes were applied to bind cracked rock blocks. The surface of the crack filler was colored by granite and talc powder with inorganic pigment and L-30. The crack meters were installed on the stone relief Buddha to monitor further behavior, lastly.

• Journal of Conservation Science
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• v.29 no.4
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• pp.345-354
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• 2013

This study analyses geochemistrical, microscopic, mineralogical characteristics of coals which have been collected from in and out of the shipwreck No 1 of Mado island during underwater excavation in Taean. The result from mineralogical and geochemical analysis reveals that the specific gravity of the coals is $1.28g/cm^3$. Considering that coals contains 10% mineral of it and the specific gravity of the pure is $1.15g/cm^3$, it is believed that the collected coals would be lignite or biturminous coal. The X-ray diffraction analysis which displays the peak of $2{\theta}$ is 20~25C degree, proves that the collected coals would be categorised as low rank coal. The collected coals is composed of: 93%-94%(93.5%) of vitrinite maceral group, 5%-6%(5.5%) of exinite maceral group, and 1% of inertinite maceral group. In addition, the average of reflection rate is $R_{mean}$: 0.627 showing that it would be either high volatile bituminous C coal or sub-bituminous C coal. Such result confirms that the coal is sub-bituminous C or high volatile bituminous C coal in accordance with the U.S Bureau of Mine(USBM) classification system. The element analysis reveals that the coal is the coking coal which is grouped as the bituminous coal. Comparative analysis between the coals of Mado Shipwreck No 1 and domestic coals shows that the coals of Mado Shipwreck is similar to the bituminous coal used in the area of Janggi in Pohang city.

• 보존과학연구
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• s.33
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• pp.109-124
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• 2012

Jangan-eup, located in Busan, South Korea,is a famous pottery-producing area in the Joseon Dynasty period. The aim of this paper was to determine the correlation of the pottery from each kiln site of Jangan-eup by analyzing the ingredients of clay as well as its production technique and firing condition. The materials that were used for the study were fragments of inlaid celadon, white porcelain, and white porcelain painted with underglazed iron excavated from six kiln sites of Jangan-eup:Sil-li, Daeryong-li, Hajangan-li, Sangjangan-li, Yongso-li, and Dumyeong-li. In each of the samples from the six kilns, cristobalite, mullite, and quats were found. The firing temperature distinguished from the crystal structure was higher in the following order: Dumyeongli>Sangjangan-li>Daeryong-li>Hajangan-li>Yongso-li>Sil-li. The samples were divided into four groups based on the ingredients of the clayfound therein: the Sil-li andDaeryong-li group, the Hajangan-li and Sangjangan-li group, the Yongso-li group, and the Dumyeong-li group. It was also found that the sample of Dumyeong-li was made using the most homogeneous clay compared with the other samples. The pottery of Jangan-eup had $40-400{\mu}m$ glaze, had bubbles in their bodies, and had $10-150{\mu}m$ sizes.

• Journal of architectural history
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• v.18 no.5
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• pp.59-80
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• 2009

The purpose of this study is to investigate the history, space structures, blueprint, and techniques of the construction of Nam-hea city walls. Nam-hea city walls were relocated in 1439 from Whagumhun-Sansung(火金峴山城) to the present site, nearby Nam-hea Um.(南海邑) The city walls were rebuilt after they were demolished during Japanese invasion on Korea in 1592 and their reconstruction was also done in 1757. At present, the city walls only partially remained due to the urbanization of the areas around them. A plane form of the City wall is a square, and the circumference os approximately 1.3km. According to the literature, the circumference of the castle walls is 2,876尺, the height is 13尺, and the width is 13尺 4寸. Hang-Kyo(鄕校). SaGikDan(社稷壇), YoeDan(厲壇), SunSo(船所) which is a harbor, as well as government and public offices such as Kaek-Sa(客舍) and Dong-Hun(東軒) existed inside the castle walls. Inside the castle walls were one well, five springs, one ditch, and one pond, and in the castle walls, four castle gates, three curved castle walls, and 590 battlements existed. The main government offices inside castle walls were composed of Kaek-Sa, Dong-Hun, and Han-Chung(鄕廳) their arrangements were as follows. Kaek-Sa was situated toward North. Dong-Hun was situated in the center of the west castle walls. The main roads were constructed to connect the North and South castle gate, and subsidiary roads were constructed to connect the East and West castle gate. The measurement used in the blueprint for castle wall was Pobaek-scale(布帛尺:1尺=46.66cm), and one side of it was 700尺. South and North gate were constructed in the center of South and North castle wall, and curved castle walls was situated there. One bastion was in the west of curved castle walls and two bastions were in the east of curved castle walls. The east gate was located in the five eighths of in the east castle wall. Two bastions were situated in the north, on bastion in the south, one bastion in the south, and four bastions in the west castle wall. The castle walls were constructed in the following order: construction of castle field, construction of castle foundation, construction of castle wall, and cover the castle foundation. The techniques used in the construction of the castle walls include timber pile(friction pile), replacement method by excavation.

• Korean Journal of Oriental Medicine
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• v.15 no.2
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• pp.101-109
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• 2009

The Pulse diagnosis is in the boundary of the Four Examinations, and it is called 切診, or palpation. It has a great impact on people in reminding of the Traditional Medicine that it is probably the first thing that people think of when they hear about Traditional Medicine. Hu-Jun quoted in the Treasured Mirror of Eastern Medicine "東醫寶鑑" that the doctor finds out the deficiency and the excess of the meridian of the patiant through the pulse, and that it is of the utmost necessity to know the "deficiency and the excess" of the meridian to decide the formula (君臣佐使) of the herbal medicine and the acupuncture/moxibustion treatment. The research on the studies of pulse diagnosis have been concentrated on the origin, history, and the theory of the pulse diagnosis throughout the years; however, the number of research on the image from the classics on pulse diagnosis have been less. With this in mind, this paper was written to study more on the origin and the history of the pulse diagnosis as well as to study on the image of pulse diagnosis shown on the classics on Traditional Medicine in China and Korea. The history of the pulse diagnosis has its root on the attempt to find out what is happening inside the body through the indication of the small changes of the pulse that is shown on the outer boundaries of the body. There were various kinds of pulse diagnosis including "Three positions and nine indicators method" and "Carotid pulsation and wrist pulse method" in the ancient period, and wrist pulse-taking method became the most popular since the completion of studying on palpation by 初보. The image of the palpation helps the rudimentary practitioners of Traditional Medicine. They are divided into two large categories, which are the area of diagnosis and the shape of the pulse itself. The historical classics including the image of the pulse diagnosis can be found since the Song Dynasty of China. There are various kinds of image of pulse diagnosis in the classic such as "The picture of the hand meridian" from "脈訣指掌病式圖說", "The picture of the image of meridian" from "察病指南", "The picture of the Seven exterior and Eight interior" from "校正圖注脈訣", and "The picture of the six parts of meridian" from Treasured Mirror of Eastern Medicine "東醫寶鑑". The Treasured Mirror of Eastern Medicine "東醫寶鑑" have analyzed the basic theories and made up the standards of pulse diagnosis by establishing "The picture of the six parts of meridian" based on "The method of placing the viscera and bowels corresponding to cun-guan-qi, or the meridian".

• Journal of architectural history
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• v.29 no.2
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• pp.75-88
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• 2020

There are stone sculptures diversely shaped in several parts of Gyeongbokgung. Geunjeongjeon is a place where the stone sculptures are intensively placed among the various palace buildings of Gyeongbokgung, and it is more important because it contains the phases of the age of the dynasty and the symbolism of governing philosophy. What can be seen in the structure of auspicious animal sculptures is based on the form of instinctive thought that the heavenly and human order systems are in an organic correspondence with each other, especially with regard to astronomical events such as Samwon Sasin 12jisin 28su. The parts that have been interpreted only in Sasin and 12jisin in the interpretations such as wild dogs, Gyoryong, camels, wolves, and apes were able to clarify the contents by revealing the form of 28su. In particular, as Beopsu Ssangbeopsu at the corner may be related to the guardian deity who governs water, called Yimun, Chimi, and Chimun, it is one of Bibo's ways to protect the palace that was vulnerable to fire. In addition, the shape of the existing 28su placed Dambi, but Ha Woldae at the Geunjeongjeon was assumed to have a camel statue and a planned arrangement of double meaning with the Bibo form of Pungsu Sasinsa, and it is also a feature of the arrangement of Woldae at the Geunjeongjeon. The actual composition of auspicious animals at the Nambogye of Geunjeongjeon was in the order of Haechi, wild dogs, horses and Jujak, and the contents of "Gyeongbokgung Construction Daily Record" were in the order of Haechi, horses, wild dogs, and Jujak. As to different composition layouts, based on the contents of the "Gyeongbok palace Construction Daily Record", the composition of Samjae Cheonjiin (天地人) was interpreted differently from the conventional interpretation of the arrangement of Woldae. All of these forms are associated with defense systems in the four directions and have become animal representations of each direction. The auspicious animal statues placed on the railing of Geunjeongjeon Woldae can be seen as reflected in a single building with the three dimensional personality that includes Pungsu's Bibo personality with the symbolic meaning that reveals the centrality as Jeong Jeon, the nation's best politics let alone the ideological system of the ancient astronomical of the East called Men Heaven Unity.