• Cross-Cultural Studies
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• 제26권
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• pp.145-171
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• 2012

The background of historical Jing-Ju is a history, but the history Chinese wants to watch on the stage is the history dramatized by talented actors/actresses, not the history they want to learn. This thesis intends to examine traditional repertories whose background is historical people or accidents, among the lots of Jing-Ju repertories by each period, grasp periods, accidents, people, etc. preferred by Chinese and examine how they were dramatized. The general characteristics of historical Jing-Ju, grasped by each period, are as follows. The first, for the reason that there are lots of historical Jing-Ju in opera repertories, it can be mentioned by Chinese descriptive tradition and historical tradition. As lots of Chinese novels and drama works were written by history, basic models are suggested and clear development is shown, so there is an aspect which is advantageous for dramatization. Also, there are lots of works whose material is history for not only opera but also drama, TV drama because of the characteristics of China where historical books such as "史記", "戰國策", etc. The second, the period which is the background of historical Jing-Ju focuses on 漢 period, 三國 period, 隋唐 period, 宋 period and 明 period. It seems to be reflected by Chinese superiority to some degree if considering Jing-Ju was extremely popular during the 民國 period. The third, there are many characters who have patriotism loyalty among the historical Jing-Ju. It seems to be the result of discovering lots of materials for appealing patriotism in the situation they were dominated by Japan and the West during the 民國 period. The forth, the most single material is "三國志" among the historical Jing-Ju. This material has the factors of traditional idea, loyalty, fidelity, etc, but there are the most interesting characters and they were popularized by novels, etc. The fifth, in the historical Jing-Ju, the contents and character forms can be sometimes changed by character's skill because character's artistic achievement can play a great role for the completion of Jing-Ju.

• Cross-Cultural Studies
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• 제25권
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• pp.421-452
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• 2011

This writing is about an effort to try to preserve and transmit the materials related to Jing-Ju(京劇) who is the Chinese traditional theatrical art. The plan to preserve the materials of performing arts is very important because its collection and preservation about them are much more particular than other genres. China got the great results in this field because of China Jing-Ju Yinpeixiang (中國京劇音配像) project. Jing-Ju Yinpeixiang project is a kind of project to restore and preserve the materials which reproduced Jing-Ju repertoire by inserting the performance method of Yinpeixiang (音配像: put together images to sounds) by later actors and actresses of Jing-Ju in recordings of 1950s to 1960s by remained famous ones. Also, this is the large scale culture project that more than 170 institutions and more than 3000 persons participated in during the total 21 years that it first started in 1985 and was completed in the end of 2006. Thanks to this project, China got to have the almost perfect materials which reproduced live performances to add the images of junior actors and actresses who accurately imitated performances of 115 famous actors and actresses including each type of role, schools and great actors from 1907 to the end of 20th century in their voices. This is the only method to restore the materials in this world and very creative. It's been 15 years since TV broadcasting first showed its fruition to Chinese people. The Chinese government gave the positive judgement on this project and prepared to hold the big event which celebrated itself this year. But very little is known of this process and there is no any study in Korea. This writing tried to clarify what Jing-Ju Yinpeixiang project is, what it has meant to Chinese people and what results it has gotten after it's been 15 years since the first show was on TV.

• Journal of Acupuncture Research
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• 제19권2호
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• pp.14-27
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• 2002

Objective : The aim of this study is to reveal the meaning of Shi-Dong-Bing and Suo-Sheng-Bing through investigating the origin of Shi-Dong-Bing and Suo-Sheng-Bing. Methods : We analyzed and compared the meridian symptoms of "ju Bi Shi Yi Mai Jiu Jing, "Ju Bi", "Yin Yang Shi Yi Mai Jiu Jing" and "Lin Shu Jing Mai". Results : Suo-Sheng-Bing seems to have been originated from the meridian symptoms of "Ju Bi" and Shi-Dong-Bing is different from the meridian symptoms of "Ju Bi". therefore two meridian symptoms differ in the source of formation and they seems to be different concerning recognition system for disease. Conclusion : Shi-Dong-Bing is the meridian symptoms, in case of feeling abnormal beat by pulse diagnosis, and this pulse diagnosis method is comparative pulse diagnosis method that compare all the pulse point of every meridians. Suo-Sheng-Bing seems to be the meridian symptoms describing the disease of somatic surface with making reference to meridian-circulating positions, afterward have been increased to the related internal organ's disease.

• Cross-Cultural Studies
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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.

• Journal of Korean Medical classics
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• 제32권1호
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• pp.75-93
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• 2019

Objectives : This study is to reveal the origin of Mingtangyangfutu in "YiXueRenMen". Methods : This study compares and analyzes it with MingTang diagrams in reference books of "YiXueRenMen", MingTang diagrams and diagrams of bronze statues for acu-moxibustion in those days. Results : The origins of Mingtangyangfutu cannot be found in the citations. The argument that it is copied and simplified from MingTang diagrams in "JinLanXunJing(金蘭循經)" lacks its grounds. As MingTang diagrams in "TongRenShuXueZhengJiuTuJing" and "ZhenJiuJuYing" have less information than it, they were nothing more than references when it drew. Apparel of man, the first acupoint, the last acupoint and orders of acupoints of their meridians in it are different from ones in MingTang diagrams and diagrams of bronze statues for acu-moxibustion. Conclusions : Mingtangyangfutu is not a copied and simplified version of MingTang diagrams in "JinLanXunJing", but is one to add new information for MingTang diagrams in "TongRenShuXueZhengJiuTuJing", "ZhenJiuJuYing", or has a separate rationale (Gajeongdongin(嘉靖銅人) related to at the time.

• Korean Journal of Acupuncture
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• 제28권4호
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• pp.177-198
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• 2011

Objectives : The purpose of this study is to examine the theory of mind and body practice in Dan-Jeon-Ju-Seon from the point of views of Taoism, Buddhism, and Oriental medicine. Methods : An ideological background and development of Dan-Jeon-Ju-Seon was first examined. Then, the definition of, other descriptions of, and various locations of, Dan-Jeon were investigated. In addition, the theory of Qi movement of Shui Sheng Huo Jiang (ascent of water Chi and descent of fire Chi) in Dan-Jeon-Ju-Seon was taken into consideration from perspectives on the thought of Taoist Nei Dan (internal alchemy) and Oriental medicine. Finally, the characteristics of mind and body practice in Dan-Jeon-Ju-Seon. Results & Conclusions : Dan-Jeon in Dan-Jeon-Ju-Seon consists of three parts, upper, middle, and lower Dan-Jeon, which is related to Jing (sperm, essence) Qi (breath, eneregy) Shen (spirit, intellect) of our body. Jing Qi Shen is a crucial part in our mind and body, mind and body are connected by energy, and the energy flow is possible by ascent of water Chi and descent of fire Chi. Ultimately, Dan-Jeon-Ju-Seon is a method of practice to keep one's mind and body healthy, and its purpose is to do timeless meditation in our daily lives regardless of time and place.

• Journal of Korean Medical classics
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• 제28권2호
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• pp.61-66
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• 2015

Objectives : Through the analyze of formative factor of time sense and the vital movement temporal rhythm in Huang Di Nei Jing(黃帝內經). Methods : We find out the principle and methods of Chronomedicine and Health Preserving in Huang Di Nei Jing(黃帝內經), and this finding will direct the life nurturing for later generations. We find that time sense had been established in Huang Di Nei Jing(黃帝內經), which had yin-yang and five elements characteristic. Results : There have temporal rhythm of functions of zang-fu viscera, meridian and collateral, qi and blood. Based on the theory of correspondence between human body and natural environment, established principle of health maintenance about based on yin and yang, temporal rhythm of visceral qi. Conclusions : Established health maintenance methods based on time such as adjusting-spirit according to time, regular daily life, dietary regimen according to time, needling and moxibustion according to time. These methods will guide syndrome differentiation and therapeutic method and Medication which based on suitable time.

• Journal of Acupuncture Research
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• 제19권4호
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• pp.124-131
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• 2002

Objective : The purpose of this study is to research for the formation of Ohaeng-acupuncture. Methods : I refered to ${\ll}$Classic on Difficulty${\gg}$ (難經), ${\ll}$Ling Shu${\gg}$ (靈樞), ${\ll}$Zhen Jiu Ju Ying${\gg}$ (針灸聚英), ${\ll}$Yi Xue Ru Men${\gg}$ (醫學入門) and annotations were excerpted and record that notied the Ohaeng-acupuncture. Results : The results obtained as follows. 1. ${\ll}$Ling Shu${\gg}$ "Sheng Ze Xie Zhi, Xu Ze Bu Zhi"(盛則瀉之, 虛則補之) united with "Ying Sui Bu Xie"(迎隨補瀉), developed the principle of "Qu Xue" in ${\ll}$Classic on Difficulty${\gg}$. 2. ${\ll}$Classic on Difficulty${\gg}$ explained the interdependent relations, interrestraining relations, the relations of subjugation and reverse restriction in illness condition between the five viscera according to the theory of generation, restriction, subjugation and reverse restriction in five elements. ${\ll}$Classic on Difficulty${\gg}$ united five shu points (五兪穴) with five elements. 3. Zi jing Bu xie according to Xiang Sheng theory is develped from ${\ll}$Classic on Difficulty${\gg}$ "Xu Ze Bu Qu Mu, Shi Ze Xie Qi Zi"(虛則補其母 實則瀉其子) to ${\ll}$Classic on Difficulty${\gg}$ , ${\ll}$Zhen Jiu Ju Ying${\gg}$. 4. Ta jing Bu xie according to Xiang Sheng theory is develped from ${\ll}$Tu Zhu Nan Jing${\gg}$ to ${\ll}$Yi Xue Ru Men${\gg}$. 5. The principle of treatment according to Zi-Ta jing Bu xie based Xiang Ke is develped from ${\ll}$The seventy fifth Difficulty Classic on Difficulty${\gg}$ to Sa Am Do In(舍岩道人).

• Journal of Korean Medical classics
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• 제28권4호
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• pp.57-63
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• 2015

Objectives : Through the analysis of the harmonization(和) thought in Traditional Chinese culture, and then excavate the theory and application of Harmonization Method(和法) in Huang Di Nei Jing(黃帝內經) and Shanghan Zabing Lun(傷寒雜病論). Methods : We find the harmonization(和) means harmony and neutral in traditional Chinese culture, including the harmony of society, the harmony of the mind and the body, and so on. Results : Huang Di Nei Jing(黃帝內經) emphasized the health status is moderate, the disease state is unbalance, preserving our health should keep the yin-yang equilibrium, treating disease should reestablish the equilibrium status, which establish the foundation of the theory of Harmonization Method(和法). Shanghan Zabing Lun(傷寒雜病論) created the methods of settlement and harmony, which is a precedent for the wide application of Harmonization Method(和法) for future generations, including to reconcile the interior-exterior and yin-yang, to harmony the ying-wei and qi-blood, to reconcile the activities of qi of internal organs. Conclusions : The harmonization(和) is the ideological foundation of the theory system of TCM and the Harmonization Method(和法). The Harmonization Method(和法) is an important treatment method for clinical practice of Traditional Chinese Medicine.

• Journal of Korean Library and Information Science Society
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• 제48권1호
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• pp.267-289
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• 2017

The objectives of this study are to survey publications of the chinese version of surviving to the present day and to analyze their characteristics systematically based on physical bibliographical assessment of its 42 versions. Important findings are following: During the Chosun Dynasty, the largest number(69%) of publication and distribution of was from the Youngrak Version(Ming Books) of "ShiJundaquan", of which reversely engraved editions, typologic editions, and the reversely engraved editions of the typologic editions were found. Among 42 versions, 14 reversely engraved editions are originated from the Youngrak Version. Those from earlier versions to the versions right after ImjinWar were similar to Youngrak Version in morphological characteristics, later some editions were found to be far different from Youngrak Version by repeating the reverse engraving. As for the publication time of , most editions were printed in the 18th century. The publication region of was also examined, Gyeonggi and Gyeongsang regions are the most frequent printing places. Typologic editions were printed mainly at Gyeonggi region, and the reversely engraved editions from Ming Books were printed at Gyeongsang region as Gamyeongbon (the books from Supervisory Office).