• The Journal of Korean Medical History
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• v.27 no.1
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• pp.119-133
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• 2014

"Hyegukji (惠局志)" was written in 1719 by Gwanguibing (姜渭聘), who was Hyeminseo (惠民署) medical bureaucrat. This book contains rare data such "sigrye (式例)" which shows Hyeminseo medical bureaucrat living during the 18th century. This is unique data related to Hyeminseo in detail and affluence. The purpose of this study is to introduce and analyze the formation and contents of "Hyegukji". Also content comparison between "Hyegukji" and law books as "Daejeon tongpyen (大典通編)" shows changes in medical bureaucracy of the Joseon Dynasty.

• Journal of Oriental Neuropsychiatry
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• v.25 no.1
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• pp.29-38
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• 2014

Objectives: The objective of this study is to examine the effects of Emotion Freedom Techniques (EFT) group treatment program for Hwa-byung patients. Methods: Thirteen Hwa-byung patients have participated in the four weeks program of EFT group treatment and the program was executed once a week, for about one hour. After every session, the participants performed EFT by themselves in order to control their symptoms. Four weeks after the program ended, we interviewed the participants by using the semi-structured interview method to observe changes of Hwa-byung. All the data collected was summarized through the qualitative analysis method. Results: Results showed effects of the EFT group treatment program, with regards to the physical, cognitive and emotional aspects. Most of the participants experienced reliefs of Hwa-byung symptoms like chest tightness, hot flashes, insomnia and so on. Their ability to cope with stress improved and their re-experiences of past memories decreased. And their distorted self-images were also restored. Lastly, there was a decrease in negative emotions and an increase in positive emotions experienced by the participants. The participants could control their symptoms by performing self-enforcement. In addition, regarding the form of group therapy, the treatment was effective as it helped the participants to feel solidarity and social support. Conclusions: The EFT group treatment program can relieve the physical, cognitive and emotional symptoms of Hwa-byung. This program can be applied to the psychotherapy of Hwa-byung.

• The Journal of Korean Medical History
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• v.36 no.1
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• pp.1-9
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• 2023

To be an adjunct professor(gyeomgyosu) literally means to act as an instructor while also holding a different position. Adjunct professors were initially introduced under Confucianism. Gradually, technical offices also appointed adjunct professors using Confucian-educated bureaucrats for the purpose of educating lower-level technical officials and cadets. This paper examines the history of the civil service system related to adjunct professors through the Code of Laws, and examines those who have been appointed to the public office described in various documents. This paper argues that changes in the medical office's adjunct professor system reflect changes in the national medical talent training policy. The main basis of specific recognizing medical personnel is to decouple the appointment of Confucian scholars from that of full-time doctors. The replacement of the role of medical educators from Confucian scholars to full-time doctors was largely accomplished during the reign of King Jungjong(中宗) and was completed during the period of King Injo(仁祖). The time when Euiyakdongcham was created and the Office of Euiyakdongcham was established coincided with the period when the adjunct professor was disrupted in the medical office. However, this change in the adjunct professor system of medical authorities is in contrast to interpretation, which is a representative technical field. In the case of interpretation, Moonshin's sayeogwon position as adjunct professor was maintained even in the late Joseon Dynasty, and apart from this, there was a hanhagmunsin in Seungmunwon. Interpreter families had institutional arrangements that prevented them from making interpretation their own monopoly. Therefore, families of medical bureaucrats had more room for institutional growth than those of bureaucratic interpreters. Of course, these institutional devices did not prevent the growth of interpreting bureaucratic families in the late Joseon Dynasty. However, the situation in which medicine was accepted only as a kind of knowledge, not as an object of full-time work for sadaebue, would have been an opportunity to rise for those in technical jobs who were full-time medicine. As medicine became more differentiated and developed in the late Joseon Dynasty, medical knowledge and the knowledge about the medical profession became more important. The politicians could not avoid the use of a philosophically oriented system in which a confucian-educated bureaucrat equipped with only Confucian knowledge might replace a full-time doctor. Thus, the contradiction between the reality and the ideal of ignoring or denying reality was reproduced like other Confucian-centered societies. These contradictions have implications for us living in the modern age. Establishing the relationship between philosophy (or belief) and technology should not end with the superiority of one side or the other.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.60-70
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• 2017

This study traces the development of physic gardens in Korea and explores their significance in the history of landscape architecture. For this purpose, records related to physic gardens from medical sources from the period of the Three States to the Joseon dynasty, when herbal medicine was systematized as a field, were searched. Physic gardens had been developed by the time of the late Goryeo and early Joseon dynasties, in the 13th and the 15th centuries. Yakpo(kitchen gardens for medicinal herbs) were cultivated by a group of new high-level officials in the late Goryeo dynasty, when an increasing interest in hyangyak(native herbs) emerged under the influence of the Neo-Confucian perspective on nature, which emphasized locality. The sources analyzed in this study confirm that physic gardens called jong-yakjeon(royal medicinal herb gardens) were in operation in the early Joseon dynasty when policies to investigate, discover, cultivate, and research native herbs were put into place. It is likely that the jong-yakjeon were established at the beginning of the Joseon dynasty as subsidiary facilities under its central medical institutions, the Naeuiwon and Hyeminseo, and then declined in the late Joseon dynasty. Jong-yakjeon can be confirmed to have existed in the mid-15th century. Physic gardens were located in several places outside the Fortress Wall of Hanyang, such as Yakhyeon, Yuldo, Yeoudo, and Saari. The total area encompassed by physic gardens was about 160,000 square meters in the early 18th century. In jong-yakjeon, dozens of medicinal herbs were cultivated, including Schizonepeta tenuifolia var. japonica, Rehmannia glutinosa, and Glycyrrhiza uralensis Fischer, and these gardens were operated by physicians dispatched from the Naeuiwon and dozens of provincial slaves. In conclusion, the jong-yakjeon were similar to the physic gardens of Renaissance medical universities in that they reflected the interest in and development of theories about new herbs, and were similar to the physic gardens of medieval castles and monasteries in terms of species types, location, and function. This paper has limitations in that it does not present the specific spatial forms of the yakpo or the jong-yakjeon. Nevertheless, this paper is significant for the field of garden history because it shows that physic gardens in Korea appeared in the late Goryeo and early Joseon dynasties concomitantly with the development of medicine towards native herbs and functioned as utilitarian gardens to cultivate community remedies.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.