• The Journal of Korean Medical History
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• v.29 no.2
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• pp.35-47
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• 2016

"JeSeBoGam (濟世寶鑑)" was a medical document authored by Moon Gi-hong during the Japanese colonial rule in 1933, and the author acted as a Korean medicine doctor, an acupuncturist, a medicine practitioner and an apothecary. Since its first publication in 1933, it has been published three times in 1966 and 1975, from the Japanese colonial period to the liberation period. "JeSeBoGam" is largely divided into Preface part, "List of drugs according to symptoms [隨症用藥目錄]", "JeSeBoGam-Gap (濟世寶鑑甲)", and the Appendix includes "Key points for diagnosing the disease [察病要訣]" "Key points of acupuncture and pulse [脈訣]" "Key points of acupuncture and moxibustion treatment [針灸訣]" in the back of the book. In 1933, there are attached exam books and license application forms related to Korean medicine doctor and pharmacist, so strict regulations on them during the Japanese occupation period can be confirmed. "JeSeBoGam-Gap" contains 208 prescriptions from 143 prescriptions taken from "BangYakHapPyeon" and 65 prescriptions from other books. It divided into Gap (甲) Eul (乙) Byung (丙) Jung (丁). These prescriptions were placed in "List of drugs according to symptoms [隨症用藥目錄]" according to a symptom 1,286 times. Considerable parts of organization and prescription drug composition of "JeSeBoGam" are closely related with "BangYakHapPyeon", but there were adjustments in all medicinal ingredients and capacity for the rest of them except 23 prescription drugs. Compared to "BangYakHapPyeon", there was a tendency to substitute the basic prescription in "JeSeBoGam" for prescriptions used for the same disease. Though only 65 prescriptions were taken from books other than "BangYakHapPyeon", 575 times were reflected in "List of drugs according to symptoms [隨症用藥目錄]", and the rate of utilization is high compared with the number of prescriptions of "BangYakHapPyeon". It is thought that the circumstances of the Japanese occupation period, limits in medicinal ingredients composition due to regional characteristics, and changes in a patient's condition and the treatment method might have an influence on the author's drug use tendency. "JeSeBoGam" is similar to "BangYakHapPyeon" in composition, but it is a new practical medical book in which the author's clinical records are concentrated.

• Journal of Families and Better Life
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• v.23 no.5 s.77
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• pp.63-77
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• 2005

The purpose of this study was to examine the changes and the characteristics of the attitudes toward children and spaces provided for them. by analyzing people's daily lives in housing spaces and architects' floor plans between the 1920s and the 1960s. Different kinds of data were obtained from a variety of early literature, research reports, newspaper articles, historical documents, and magazines from the period. Findings of this study are as follows: 1. Before modernization in Korea, children had been regarded as immature persons. Confucian ideas of children viewed them as 'small adults' or 'immature adults.' Thus spaces for children's daily lives were neither differentiated from those of the adults' nor deemed important. However, since the Western invasions and colonization by Japan, a remarkable change in the attitudes toward children took place. Children began to be considered a hope for the future as well as members of modem families. In addition, the introduction of the new word, 'eorini (children),' by Mr. Bang Jeonghwan, brought about a significant change in social consciousness of children. 2. The appearance of 'adongshil (children's room)' on architects' floor plans, which was a result of the social critique against androcentrism during the l930s and 1940s, was highly meaningful. The new floor plans not only emphasized rationalization of the space but also upgraded the children's status in the family. 3. Since the liberation (1945), children's space was differentiated from parental spare by the introduction of private rooms and shared spaces. The privacy of each generation was expressed by the division, and the generations were considered equal in this space distribution. In conclusion, the appearance of children's rooms required conflict-laden changes of social ideals and of the family system. It also was a symbol of modernization.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.129-144
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• 2015

This study is aimed to better understand the lifestyle and fashion trend of Korea in 1954 and 1955, a period right after the Korean War. The study examined "The Journey of Duty", which was a color slide film of Seoul and Suwon made by a US soldier stationed in Korea during that time, as well as various documents. The films are assumed to be outcomes of the US Army wanting to record the situation in Korea, and the study was able to use 110 of the slides to examine the fashion trend of the times. There are three noticeable trends shown on "The Journey of duty". Koreans in western clothes, women wearing work pants called Momppae, and black color being in fashion. Most of the men and the children either wore only western clothes or western clothes with the Hanbok. But women rarely wore western-style clothing, such as blouse with skirt. They usually wore Hanbok or wore reformed Hanbok. The work pants, Momppae, becoming an everyday wear is the most unique finding from the slides. Women either wore just the pants or over the traditional Korean skirt. Black-colored clothes were in fashion. This color first spread after the Costume Reform Movement in the 1920s' and the prohibition of white robe. The wearing of white clothes did increase after the Korean liberation in 1945, as national spirit was promoted. However, many people still wore black due to economic reasons, as we as practical reasons. So the Korean fashion in 1954-1955 was in a transition period, as people were beginning to change their daily wears from traditional Korean costumes to western-styled clothes. The reasons for this change could be attributed to people only having access to western goods, as well as their awareness of western-styled clothes being more practical.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of Digital Convergence
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• v.16 no.2
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• pp.305-312
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• 2018

There is a general consensus that Baekjeing means Butcher after the Joseon Dynasty. In the Goryeo Dynasty, the title of "Baekjeong" was named as a general farmer's name, "Hwacheok" and "Jaecheok" from the north, but it changed its name to Shin Baekjeong by nationalization policy in the early Joseon Dynasty. They were multicultural Ancestors who worked for jobs which people despised. The purpose of this study is to examine the background and trends of how these were stripped of their identity and to present a direction for deciding on the policy of multiculturalism which is the subject of our society today. Based on the researches of historical researchers, the study examines the multicultural dynamics of old period and observes the present phenomenon by interpreting the statistics of the related institutions of the government. We realized that the reason for the liberation of the Baekjeong has a various causes and its causes are similar to the phenomenon of today 's multicultural society, so that the depth research on each factor will be added to form a desirable policy base for multiculturalism in our country.

• Journal of Nutrition and Health
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• v.1 no.3_4
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• pp.201-205
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• 1968

The authors has observed the histopathologically and histochemically on the effect of the garlic and garlic oil to the liver and kidney of rats. In order to confirm the histochemical changes of the metabolism of polysaccarides, the periodic acid Schiff reaction was applied. The 30 albino adult male rats weighing about 150 grames from the National Institute of Health were housed individualy and devide into 3 experimental groups: Group C: stock diet group Group B: stock diet-garlic group Group A: stock diet-garlic oil group Group C was fed with stock diet only through out this experimental period, Group B was fed with stock diet supplemented with garlic homogenator to be 1%, and Group A was fed with stock diet supplemented with the garlic oil to 0.05%. The garlic oil used in this experiments was extracted by author. And all rats was fed during 10 weeks. The histopathological and histochemical results were shown in each figure. According to the all results, the following concIusions were drawn. 1) In the garlic oil administrated groups, congestion of the sinusoid was subsided and the liberation of the Kupffer's cells were observed. 2) In garlic administrated groups, fatty metamorphosis in hepatic cells, and slight liberation of Kupffer's cells in sinusoidal walls were observed. Connective tissue proliferation and collagen bundle were observed. 3) The connective tissue and blood vessel wall in portal area Were reacted intensely with PAS stain. The hepatic cells Were reacted intensely with PAS stain in control group and moderately or slightly in garlic and garlic oil administrated group. 4) There were no significant differences in collecting and Henle's loops in each groups, but narrowing of lumen of the distal tubules were observed in garlic oil administrated group. 5) The basement membrane of the tubules and the connective tissues of the vessel wall in Kideny were reacted intensely with PAS stain in each groups. In control and garlic administrated groups. the brush border of the proximal tubules were reacted intensely with PAS stain, but epithelium of the Heine's loop, proximal, distal and collecting tubules were reacted moderately. In garlic oil administrated-group, there were tendency of decreasing of PAS stain in each tubules.

• Journal of Korean Society of Forest Science
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• v.95 no.1
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• pp.60-72
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• 2006

The aim of this paper is to identify and evaluate relations for forest greening and the firewood substitution for home use after 1945 Liberation of Korea. Korea faced serious forest degradation by the early 1960s due to the enormous firewood consumption, which was about ten million cubic meters annually, for home use. If the trend of firewood consumption was maintained until 1955's, the total forest area in Korea could be thoroughly degraded within 10 years. The firewood substitution for home use had to be solved as soon as possible. For this purpose, energy sector by the Ministry of Commerce and Industry carried out the substitution policy for home using the briquettes which was the only natural resources for energy produced in Korea. Firewood was prohibited being carried in the major cities by forestry sector, the Ministry of Agriculture and Forestry, from 1958. Only 5.2% of household in the cities used the forest products consumed as a fuel in 1970 because these inter-sectoral substitution measures of firewood for home use turned out a success gradually. After the 1970s, firewood consumption for home use was naturally decreased due to rural people's explosive move to cities, who were major consumers of firewood for home use at that time. Firewood for cooking was substituted by LPG gas after 1985 and firewood for house heating was substituted by coal and oil after 1980. Finally, on the basis of the firewood substitution for home use, the forest degradation that lasted over one hundred years was put a period.

• Journal of Ginseng Culture
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• v.5
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• pp.77-96
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• 2023

This study looks at the origin of a wild-ginseng, Korean ginseng, and traces the origin of associated wild-ginseng digging customs back to the Annals of the Joseon Dynasty. These historical customs helped Korea gain control over its wild ginseng resources following Japanese colonization acts, Korea's present-day forest laws, and Korean Civil Law. Prior to Japanese colonial rule in Korea (1910-1945), ginseng digging was a common custom, but Imperial Japan distorted Korea's own legal principles of the public rights of wild-ginseng digging during this colonial period. Distorted legal principles concerning digging customs continued after Korea's liberation from Japanese rule and were maintained until the enforcement of the Korean Civil Law in 1960, when legal principles of the right of common were changed to special servitude. The origin of the right of common can be found in the Sichojang of the Joseon Dynasty. The Sichojang, a place where local residents jointly collected firewood and fed livestock, was the minimum right to life and interest at the time. Since the right of common was the right to life, Imperial Japan attempted to abolish it, but it was never successful. In addition, distorted legal principles have been maintained in present-day forestry-related laws and regulations. Over 75 years since the liberation from Japanese rule in 1945, it is imperative to break away from the distorted legal principles and acknowledge that digging custom rights have changed from common customs to a special servitude under Korean Civil Law. Hence, an organization of wild-ginseng diggers is an unincorporated association, and their wild-ginseng digging customs can be constituted as a special servitude. Hence, their practices should be considered valid under customary law. Through this, it will be possible to clarify the legal nature and grounds for ginseng-related wild-ginseng digging activities, as well as the civil responsibility for the activities of wild-ginseng diggers.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.120-131
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• 2014

Sajikdan(a sort of national shrine in Korea) built at the time of foundation of Joseon was entrenched into Sajik Park going through Japanese colonial era and recently the efforts to restore it is in progress. The details of change in Sajikdan in terms of diachronic analysis are as follows: Firstly, the first period refers to one prior to Japanese colonial era from the first king (also named as "Taejo" in Korean) of the Joseon Dynasty, during which it secured and strengthened the presence as a place for performing important national rites in a nation. It was built on the foot of Inwangsan Mt. at the time of the first king in Joseon Dynasty at first, was destroyed fully by fire during a Japanese Invasion period to Korea(1592-98) and afterward its ancestral ritual facilities were completed under the regime of Youngjo. However, as Japanese intervention coming to the fore, its place was destroyed and then ancestral rites were also abolished in 1908. Secondly, next period falls on 1910 to 1944 when it was transformed and entrenched into a park by the Japanese Empire. While facilities related to a park and an heterogeneous building around the part of boundary were set up, the area of altar, a ritual house and d door of Sajikdan were also designated as historical remains and treasures. Thirdly, this period refers to one from Korea's liberation year from Japanese colony(1945) to the year of 1984 when it had a mixed placeness with the statues, monuments and buildings with heterogeneous nature built. Furthermore, a door of Sajikdan was removed and reconstructed over twice due to opening of Sajik Tunnel. Fourthly, a final period falls on 1985 to the present when efforts are in progress to restore the historicity and symbolism of Sajikdan. A plan for restoration is promoted but now is a difficult time suffering from troubles caused by residents' resistance. Scrutinized historical researches through excavation investigation and residents' understanding are required altogether for restoration of Sajikdan.

• Journal of architectural history
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• v.3 no.1
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• pp.101-122
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• 1994

This paper is one of the sequels from 'A Survey of Villages and Dwellings of Korean Immigrants in the North-Eastern Part of China'. It is the result of the extensive survey of Ch'ang-ts'ai-tsun village and covers several architectural characteristics of the dwellings. This paper alma to identify the 'double file' dwelling type, which is believed as one of the main stream of Korean folk dwelling. In this type, 'Chung-ju-kan' forms the central open space, where main household functions are carried out. This type originates from climatic reasons and functional reasons as well. This paper also aims to clarify how the dwelling forms are changed according to the life styles of various periods. The Korean immigrants in this village have experienced rapid changes in modern times like other Chinese. Through various political movements, the original dwelling type of this village has changed to adapt various needs and functions, which shows the simple truth : dwelling form changes according to the changes of life style and social structure. In this paper the directions of chimney through various periods are analyzed to verify the differences of the house layout methods and concepts of the time. The village had grown through 3 main periods before liberation period(1946), communization period(1946 - 1966) and contemporary period (1967 - ). It is concluded as follows: 1. The village was originated in late 19th century along the east-west street, which was a major routes of Korean Immigrants to China. In this area there was no regularity in its site plan. The direction of chimney, which was usually westward, was not determined according to the location of gate. This type was kept until liberization of this area, 1946. The plans of dwellings followed Ham-kyong-do 'double file' dwelling type, '6-kan dwelling' or '8-kan dwelling'. 2. The 'New Village' area, which was formed in the communization period, has a strict regularity in its site plan. The direction of chimney was determined as opposite direction of the gate. This method was maintained until 1976, when Mao died and new 'open' policy was held by Chinese government. In this area the 'dwelling house' plan type was not changed, but its layout and size were restricted. The general form of the dwelling in this village was shaped in this period. 3. The contemporary dwellings were built in random site location. The dwelling type was changed because of the reduction of family size and the permissin of private ownership. The number of rooms was reduced but the storage rooms and domestic animal hutches were added. But the 'Chung-ju-kan', the major chacteristics of north-eastern Korea dwelling is still kept. It becomes one large 'Chtin-ju-kan' room like 'open plan' type.