• (The)Study of the Eastern Classic
• /
• no.32
• /
• pp.71-101
• /
• 2008

This study is intended to review the war and the living of the common people of Choseon dynasty, through the true stories of captives kidnapped in the region of the Qing(胡地) during the Pyeongja horan in the 17th century. The common people, Kim seung kyung and Ahn chu won, who had been kidnapped in their young age, managed to escape from the region of the Qing to Choseon after having experienced a painful living as a captive for 27 years. Kim seung kyung and Ahn chu won had to make a choice to run away from the Qing in order to bring their war distorted life back to its original state. Kim seung kyung who had successfully escaped, could live without severe difficulties by the aid of his family living at his hometown, but Ahn chu won who had not found his own family or relatives, couldn't have got any helping hand from the people mentally or financially. So, he tried to escape again to Beijing, but discovered and captured so that a diplomatic problem was caused between the Choseon and the Qing Dynasty. Through the true story of Kim seung kyung and Ahn chu won, we can see the lives of Choseon common people who were trying to overcome the difficulties with their own iron will without being undaunted by hardships. Even though the captives had terrible experiences hating to remember, their experiences gave a chance to the Choseon people opening their eyes to the foreign cultures and the new world. At that time, the Choseon government was too weak to estimate how many captives were or what the captive's real fact was. Meanwhile the Choseon government managed to do the least duty in order to protect its people, by breaking the provisions of repatriation that the fled captives should be returned back to the Qing Dynasty. Through reviewing the captive's true story of the Choseon common people, we can ruminate the Choseon society in the 17th century which failed to establish an independent national history, and the issue of the Korean War captives in the modern history forgotten under the shade of the dustbin of history.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.2
• /
• pp.186-205
• /
• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.

• CHINESE LITERATURE
• /
• v.96
• /
• pp.145-175
• /
• 2018

This study was made with the purpose of reconsidering the way of existence of literati(文人), the meaning of writing, and the relationship between cultural power and political power, focusing on Zhang Xuecheng(章學誠, 1738-1801) in the middle of the Qing dynasty. Here, 'Wenren(文人)' was used as a concept equivalent to 'the literary intelligentsia', in other words, 'literati' of English rather than the concept of 'the literary man'. Firstly, Zhang Xuecheng was the person who had lived 64 years of life from Qianlong(乾隆) 3 to Jiaqing(嘉慶) 6, in particular, one of the representatives of the Chinese literati and scholar in the mid and late 18th century. He was born in a typical Gangnam gentry family from Kuaiji(會稽) in Zhejiang province. During adolescence he was grown and educated in hometown Shaoxing(紹興) and Yingcheng(應城) in Hubei province, but Beijing was the city that had the greatest influence on him. After he entered Guozijian(imperial capital academy) at the age of 25 in Qianlong 27(1762), he was mainly active in Beijing and had lived a life of wandering in Zhili(直隸), Henam, Anhui, Hubei province etc. He exchanged ideas with many literati and scholars who led the 18th century. He had many patrons Such as Shen Yefu(沈業富), Ou Yangjin(歐陽瑾), Zhu Fenyuan(朱棻元), Zhu Yun(朱筠), Liang Guozhi(梁國治), Bi Yuan(畢沅), Xie Qikun(謝啓崑) etc, who were prominent government officials and scholars of the time. In spite of passing imperial examinations and becoming the jinshi(進士), he gave up being a bureaucrat, and decided to live as a marginal literati out of office. With the help of his patrons, he solved economic problems mainly through non-regular workers such as tutor, the chief of the local academy, muliao(幕僚, provincial official's adviser) etc. Most of non-official literati in the middle of the Qing dynasty resolved their livelihood problems through irregular jobs like Zhang Xuecheng, while they kept maintaining their identity as intellectuals. Secondly, in intellectual discourses of the 18th century, the academic world was largely divided into moral philosophy(義理), philology(考據), literature(文章, or 詞章). The question of how to define and evaluate the value, relation and status of these three was different according to discussants. However, overall, literary texts were valuated as being less meaningful and worthy than the scholarly texts to deal with moral philosophy and philology. The writings of Zhang Xuecheng generally had the character of a scholar rather than of a literary man, and the meaning and value of his writings could be found in scholarly writings rather than in literary writings. As summarized in the words, "moral philosophy could be proved by philology, literature was the tool to express it," he established the scholarly identity he should seek through the way of integrating moral philosophy and philology centering on the historical writings. Thirdly, including Zhang Xuecheng, Quan Zuwang(全祖望), Yuan Mei(袁枚), Wang Mingcheng(王鳴盛), Zhao Yi(趙翼), Quan Daxin(錢大昕), Yao Nai(姚鼐) etc, represented the Chinese literati and scholars in the 18th century. Coincidentally, they all resigned early and left office, or gave up being official despite passing imperial examinations, and engaged in teaching and writing as marginal literati out of institutional power for a very long time. The backgrounds of their abandonment or early resignation were different, but the ambition and desire to leave the endless works for posterity could be said a common part. In addition, it was necessary to consider that it was a matter of choosing one of the two, in which the 18th century literati could hardly combine official and scholar because of specialized scholarships. It also seemed to be related to the situation that cultural power was becoming a part of the individual choice of Han Chinese literati, for the Manchu regime could not create the leading cultural power.

• Korean Journal of Medicinal Crop Science
• /
• v.10 no.5
• /
• pp.419-422
• /
• 2002

Korean angelica(Angelica gigas Nakai), a oriental medicinal plants is important and in great demand in Korea. This crop is a biennial which is to die after flower, so as could not harvest the root. A new variety 'Anpung' was developed from the selection of the local collecting population by medicinal crop team at NCES in 2001. This showed stable bolting during its cropping year and have high quality and yield potential. The color is greenish purple in stem and red purple in flower. It was longer in plant height and root length, thicker in root diameter, more leave and latheral roots comparing with the check variety 'Manchu'. The dry root was 72 g/plant showing heavier than check variety of 65 g/plant. It showed such low bolting rate as 0.5%, on the other hand 49.3% in landrace when it cultured by transplanting with heating nursery seedlings, and $0{\sim}15%$ with field nursery seedlings. The dry root yield of the variety was averaged 3,630 kg/ha out yielding the check variety by 11% at the three regional yield test from 1999 to 2001. Finally, 'Anpung' showed higher content of extracts up to 46.3% in 'Anpung' and 45% in check variety, decursin and decursinol contents was 3.48% and 2.79%, showing slightly higher than check variety.

• Research in Plant Disease
• /
• v.19 no.4
• /
• pp.294-299
• /
• 2013

To select resistant vegetables against two species of root-knot nematodes, M. incognita and M. arenaria, 39 vegetables belongs to 7 families, 13 genera, 25 species were screened in greenhouse pot test. Susceptible vegetables to both nematodes were amarath and leaf beet in Amaranthaceae, Malabar spinach in Basellaceae, Moroheiya in Tiliaceae, and Water-convolvulus in Convolvulaceae, Pak-choi in Brassica campestris var. chinensis, Tah tasai in B. campestris var. narinosa, B. campestris var. chinensis x narinosa, Leaf mustard, Mustard green in B. juncea, Kyona in B. juncea var. laciniate, Choy sum in B. rapa subsp. arachinenesis, Kairan in B. oleracea var. alboglabra, Arugula in Eruca sativa, Garland chrysanthemum in Chrysanthemum coronarium, Endive in Cichorium endivia, Artichoke in Cynara cardunculus var. scolymus, Lettuce in Lactuca sativa. Resistant to M. arenaria but susceptible to M. incognita were B. oleracea cv. Matjjang kale, B. oleracea var. gongyloides cv. Jeok kohlrabi, and C. intybus cv. Radicchio. Resistant vegetables to both nematodes were C. intybus cv. Sugar loaf, Grumoro, Radichio treviso, B. oleracea cv. Manchu collard, Super matjjang, B. oleracea italica, B. oleracea var. botrytis italiana, and Perilla in Lamiaceae. Vegetables resistant to both species of root-knot nematodes could be used as high-valued rotation crops in greenhouses where root-knot nematodes are problem.

• Korean Journal of Medicinal Crop Science
• /
• v.20 no.5
• /
• pp.359-364
• /
• 2012

This study were carried out to find bolting response of cultivation in different regions and to isolate FLC (FLOWERING LOCUS C) homologs in Angelica gigas Nakai. The mean temperature of different regions, ordering in altitude, were as follows: 100 m > 350 m > 530 m > 700 m. The largest amount of rainfall was occurred in the region of 350 m while the longest time of sunshine was occurred in the region of 100 m. The content of soil chemical properties in regions showed pH 6.2 ~ 7.4, T-N 0.17 ~ 26, organic mater $1{\sim}32gkg^{-1}$, $P_2O_5$ ${151{\sim}664_{mgkg}}^{-1}$, exchangeable potassium and calcium and magnesium were 0.78 ~ 1.15, 3.9 ~ 10.0, ${0.7{\sim}3.2_{cmol}}^{+kg-1}$. L5 line of A. gigas was occurred in bolting at all regions, but the bolting ratio was 60.0% in 700 m region with non-mulching treatment. Manchu of A. gigas was not occurred in bolting at all regions. The accumulation bolting ratio of L5 line by non-mulching was higher than that of mulching as 90.4% and 72.8% in 100 m region. The MADS-box transcription factor FLC is one of the well-known examples as a strong floral repressor. We decided to isolate FLC homologs from A. gigas as a starting point of flowering mechanism research of this plant. We have isolated two RT-PCR products which showed very high amino acid sequence homology to Arabidopsis FLC.

• Korean Journal of Environmental Agriculture
• /
• v.31 no.3
• /
• pp.224-228
• /
• 2012

BACKGROUND: This experiment was conducted to investigate the effects of red light on inhibition of flowering and vegetative growth of perilla (Perilla Frutescens. L). METHODS AND RESULTS: To determine red light intensity for inhibiting floral induction of perilla 6h light plus daylength extension (17:00-23:00) with three different intensity of red lights 0.046, 0.114 and $0.177{\mu}mol/m^2/s$ were treated respectively, and control plants were grown under 11(06:00-17:00)/13(17:00-06:00)h light/dark environment. Red(660nm) and far-red(730nm) light were irradiated for night break treatment subsequently to investigate photoreversible flowering response of perilla 'Manchu'. The flowering was inhibited by night break with red light, but sequential far-red light induced floral induction of perilla. Perilla not flowered by red light intensity over $0.177{\mu}mol/m^2/s$. Red light of $0.2{\mu}mol/m^2/s$ was irradiated for 6 hours (20:00-02:00) with LEDs device in plastic house. Perilla not flowered and continued the vegetative growth by red light treatment and the plant length, number of leaves, fresh weight, and leaf area of perilla were increased by 3%, 7%, 21%, and 19%, respectively, compared to incandescent control. CONCLUSION: These results showed that red(660nm) light for daylength extension could be used to control flowering and to enhance production of perilla leaf.

• Journal of the Korean Society of Costume
• /
• v.50 no.3
• /
• pp.59-72
• /
• 2000

Dragon robe was defined as a robe on which the principal design consisted of dragon. Dragon patterns have been used on princess robes during T'and Dynasty. In Sung, Dragon-figured robes seem to have an Imperial prerogative. Yuan took over the use of robes with dragons patterns as a definite institition. Ming tried to reject all Yuan innovations, the dragon robe was retained as an unofficial court costume. The Emperor's semiformal robes which at first had four dragon medallions, later had twelve along with the 12 Symbols(십이장문). As Ch'ing dragon robes were only intended fro semiformal use. The Later Ch'ing robes date from after 1719, when the Ch'ien-lung(건륭) introduced 12 Symbols on Ch'ing robes. The Ch'ien-lung laws were disobeyed, notably the ones that specified the number of claws on the dragons. THe Emperor's dragon robe, lung-p'ao, (용포) was described as bright yellow in color, having four slits and horsefoof cuffs. The basic pattern consisted of nin dragons, in addition it had 12 Symbols. The elaborate textile techniques reached their peak in Ch'ing Dynasty-with its Weaving and Dyeing Office in Peking, and this factories at Hangchow(항주), Soochow(소주), and Naking(남경) -helps to explain why the decay of the Ch'ing bureaucracy hastended the decline of dragon robes. In the Ch'ing Dynasty tow terms were used for dragon robe, depending on the number of claws on the dragons. Those with five-clawed dragons were called lung-p'ao, while those with four-clawed dragons were called mang-p'ao(망포). The Court felt compelled to take corrective meausres. It decreeed that Ninisters of State and other officials, who had been bestowed five-clawed lung dragons, must take out one claw. Finally, the sale of ranks and the attendant privilege of wearing dragon robes gradually increased during the 18 th century, reaching its height in the 19 th century, Finally, after the Taiping Rebellion, when the Imperial Treasury was depleted by the wholesale destruction of revenue-producing lands, the Chinese government came to depend on such sales as an important source of revenue and the practice became even more widespread. The ensuing mass production of dragon robes, and the necessity of conforming to the fairly rigid basic pattern established in 1759, resulted in marked deterioration of workmanship, and a comparative monotony of decoration. The patterns on the dragon robes slight changes continued to be made in the ways of representign them. The li shui (입수) portion at the base of the robe become inreasingly wider throughout the 19th century. The background became cluttered with symbols of good fortune, scattered among the clouds and waves. As a result of all this extraneous decoration, the dragons were so crowded that they had to shrink back into the small size that they had originally occupied in the medallons. Kuang-hsu(광저) was a long one, allowing time for the manufacture of numerous robes. Also, it would seem likely that Occidental museums and collections would have a considerable number of his robes, in view of the widespread looting of his palaces during the Allied occupation of Peking in 1900, and the frequent sales of Late Ch'ing imperial textiles by destitute Manchu courtiers in the '20's.

• Journal of Digital Convergence
• /
• v.11 no.1
• /
• pp.413-421
• /
• 2013

We, currently settled on the peninsula, have a long history and our ancestors lived over the vast land further to the central Asia and northern China. Normally, our ancestors traded with many countries, but they fought battles when they were on bad terms and many countries emerged and disappeared. In this history, a variety of cultures have been established and the traditional martial arts is a part of those cultures. Our martial arts has been almost severed because of the development of fire weapons in the late Chosun Dynasty, Japan's colonial rule, and 1950-53 Korean War. Fortunately, we can study the traditional martial arts from history books, the records on the martial art books and relics. Muyeadobotongji, the martial art book published in the late Chosun Dynasty, regrets the negligence of martial arts Giyae(arts) after Japanese Invasion of Korea in 1592 and the Manchu war of 1636 and accommodated the martial art skills from Chosun, China and Japan. It is useful for studying martial arts, because it contains detailed description and drawings, clothes and accessories, and the specification of the weapons. However, the problem is the level of Giyae of the martial arts organization and individuals based on Muyeadobotongji vary and some organizations are arguing about the numbers.

• (The)Study of the Eastern Classic
• /
• no.67
• /
• pp.35-67
• /
• 2017

This paper is a study on popularise aspects and consciousness of times about Seol-In-Gui's narrative in the Joseon Dynasty. Seol-In-Gui is general of Dang(唐) and he entered the war between Goguryeo(高句麗)and Dang. The war between Goguryeo and Dang is ended victory of Goguryeo. And Joseon peoples was long for power of Goguryeo and recognized again history of Goguryeo. So discourse of regaining native land was formed in the Joseon Dynasty. Besides was very popular in the Joseon Dynasty. Seol-In-Gui's narrative and are quite similar. And Dang-Tae-Jong, Ul-Ji-Gyeong-Deg's old story was prevalence. Dang-Tae-Jong and Ul-Ji-Gyeong-Deg entered war between Goguryo and Dang. Therefore Seol-In-Gui's narrative was popular in the Joseon Dynasty. Popularise aspects of Seol-In-Gui's narrative as follows. First, Seol-In-Gui's conquest of Yodong(遼東) narrative and heroism was gradually emerged in Seoul block printed of 40, 30 sheets version and printed book of . Second, Dang-Tae-Jong, Ul-Ji-Gyeong-Deg, Hab-So-Mun's individual narrative was formed. Third, Seol-In-Gui's narrative was expended to female hero's conquest of West-Beon(西蕃) narrative. Because are adaptations of . And is succession of Seol-In-Gui's narrative. Seol-In-Gui is people, Ben-Li-Hwa is female, Ben-Li-Hwa and Ul-Ji-Gyeong-Deg are ethnic. It is revealed that people, female, ethnic are real ability of Chinese nation. Furthermore it is revealed that people and female must are appointed and ethnic must is combined. Besides it is revealed that it is necessary built up national strength of Joseon Dynasty like Goguryeo and Goryeo. After the Manchu Invasion of Korea in 1636 national strength of Joseon Dynasty was weaken. So the Joseon Dynasty People long to be intensifed national strength keep in check China.