• Journal of Korean Medical classics
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• v.24 no.4
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• pp.157-174
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• 2011

We derived following result by organizing research about processing of medicinal of before Han(漢) dynesty. The human being intake of natural substance for the purpose of treatment was what happened later than the use of natural substance as food. According to the record of by the early years of Shang(商) dynasty, we can assume that we cooked food with water and fire. The reason why there is no appearance of common production that can be included under the name of 'Tang Ye(湯液)' in the medical record discovered from Ma Wang Dui(馬王堆) is because 'Tang Ye' was yet developed. However, as the presentation of format of medicine process, there was gradual formation of medicinal fluid concept. There are quite of records on major details of cloth manufacture like washing and selection, grinding, processing of medicine from the recordings of "Wu Shi Er Bing Fang(五十二病方)", "Yang Sheng Fang(養生方)", "Za Liao Fang(雜療方)" discovered at Ma Wang Dui. It used words like 'Ze(擇)', 'Qu(去)' for the selection and 'Jiu(酒)', 'Zhuo(濯)' for the wash as a process method before cloth manufacture. When filter the processed medicine, it used words like 'Zhuo(捉)', 'Suo(索)', 'Jun(浚)' and used 'Yin Gan(陰乾)', 'Bao(暴)', 'Yang(暘)' for dry. The 'cutting(切削)' that crushes the medicine used different names based on the properties of medicines. The most frequent crush is 'Ye(冶)' and it means the powered medicine after dry. There was thermal process of mild fire(微火) and heating of 'Wen(溫)'. There are many states of medicine seen from the medical record discovered at Ma Wang Dui so they can be said as original medicine. 藥末劑 is relatively commercialized type then. Here, it includes later 湯劑 but there was no name such as 'decoction(湯)' or 'decoction of medical ingredients(湯液)'. Also, 'Fu Ju(㕮咀)' is the transformation of what was 'Fu Qie(父且)' at "Ja Liao Fang" of medical books of Ma Wang Dui with time flow. The original meaning of 'Fu Qie(父且)' is 'Fu Zu(斧俎)' and it means the crushing medicine with axe. The most important thing among the medical books of Han dynasty is "Shen Nong Ben Cao Jing(神農本草經)" and "Shang Han Za Bing Lun(傷寒雜病論)" of Zhang Zhong Jing(張仲景). "Shen Nong Ben Cao Jing" mentioned the dry method of medicine, collection and process production time, cooked and uncooked use of medicine and there are several types of medicine. Other than those, it mentioned 'Seven methods of combining herbs(七情合和)' to address cautions for combining medicines. Therefore, the 'processing of medicinal' in east Han dynasty period entered the theoretical step. However, there is only little recording on cloth manufacture of detailed medicine. From the "Shang Han Za Bing Lun" of Zhang Zhong Jing, the development in the way of 'processing of medicinal' reveled the cloth manufacture for each medicine. This tradition is continued until today and so it presents the development of purpose of 'processing of medicinal' is to greatly present the effect of medicine and to reduce the side-effect.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.66-79
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• 2022

In the mid-Kofun period, the technology employed in the southern part of the Korean Peninsula had reached the Japanese archipelago, and a Japanese-style unglazed earthenware called Sueki was produced. During the early period of the spread of technology, regional elements from all over the Korean Peninsula remained strong, with production on the Japanese archipelago carried out only in very limited regions. After that, production in all parts of the archipelago began gradually. The Sueki culture was introduced to the Japanese archipelago with the technology of the Korean Peninsula; however, many excavations have been reported in the Korean Peninsula(these excavations are even called Suekitype). Many of these excavations were conducted in Jeolla-do, Yeongnam, and the Yeongsan River basin. As revealed in previous studies, however, many imitations were excavated around Jeolla-do, while Sueki of the Japanese archipelago were excavated from tombs in the Yeongnam area. The excavation period was generally from the late 5^th century to the early 6^th century(especially from the TK23 to MT15 stage), which is fundamentally different from that of Jeolla-do. Regarding the locations where Sueki were excavated, the majority were found in the tombs of local authorities. They were rarely excavated from the tombs of the royal people. Furthermore, there is no evidence of special meaning given to funeral ceremonies or Sueki in the Japanese archipelago form; therefore, most of them are thought to have been treated the same as unglazed earthenware. Considering the tombs as a whole, influential people(groups, families, and forces) were not only connected to certain areas of the Gaya region but also had complex and larger relationships. In other words, the Sueki excavated from the Yeongnam area may reflect the rise and fall of the forces in each Gaya region and the changes of the Yeongnam period. The role of negotiation and exchange can be seen not only from the fact that influential people in the central government of the Gaya region were involved but also from the existence of areas(groups, families, forces) discovered in the Gaya region indicating mutual relationships.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.142-171
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• 2019

The dragon is an imaginary animal that appears in the legends and myths of the Orient and the West. While dragons have mostly been portrayed as aggressive and as bad omens in the West, in the Orient, as they symbolize the emperor or have an auspicious meaning, dragons signify a positive meaning. In addition, as the dragon symbolizes the emperor and its type has been diversified considering it as a divine object that controls water, people have tried to express it as a figure. The records related to dragons in the Goryeo dynasty appeared with diverse topics in 'History of Goryeo' and are generally contents related to founding myths, rituals for rain, and Shinii (神異), etc. The founding myth emphasizes the legality of the Goryeo dynasty through the dragon, and this influenced the formation of the dragon's descendants. In addition, the ability to control water, which is a characteristic of the dragon, was symbolized as an earth dragon related to the rainmaking ritual, i.e., wishing for rain during times of drought. Since the dragon was the symbol of the royal family, the use of the dragon by common people was strictly restricted. Furthermore, the association of a bronze dragon mirror with the royal family is hard to be excluded. The type and quantity of bronze double dragon mirrors discovered to have existed during the Goryeo dynasty is great, and the production and the distribution of bronze mirrors with double dragons seem to have been more active compared to other bronze mirrors, as bronze mirrors with double dragons produced during Goryeo and bronze mirrors originating in China were mixed. Therefore, in this article, the characteristics of diverse bronze mirrors from the 10th century to the 14th century in China were examined. It seems that the master craftsmen who produced bronze mirrors with double dragons during the Goryeo dynasty were influenced by Chinese composition patterns when making the mirrors. Because there were many cases where a bronze mirror's country of origin could not easily be determined, in order to identify the differences between bronze double dragon mirrors produced during the Goryeo dynasty and bronze mirrors produced in China, meticulous analysis was required. Thus, to ascertain that Goryeo mirrors were not imitations of bronze mirrors with double dragons originating in China but produced independently, the mirrors were examined using the bronze double dragon mirror type classification system existing in our country. Bronze mirrors with double dragons are classified into three types: Type I, which has the style of the Yao dynasty, includes the greatest proportion; however, despite there being only a small quantity for comparison, Types II and III were selected for the analysis of the bronze mirrors with double dragons made in Goryeo because they have unique composition patterns. As mentioned above, distinguishing bronze mirrors made during Goryeo from bronze mirrors made in China is challenging because Goryeo bronze mirrors were made under the influence of China. Among them, since the manufacturing place of the bronze mirrors with double dragons found at the nine-story stone pagoda in Woljeongsa Temple in Pyeongchang is questionable and the composition pattern of the bronze mirror is hard to find on bronze mirrors with double dragons made in China, the manufacturing place of those bronze mirrors were examined. These bronze mirrors with double dragons were considered as bronze mirrors with double dragons made during the Goryeo dynasty adopting the Yao dynasty style composition pattern as aspects of the composition pattern belonged to Type I, and the detailed combination of patterns is hard to find in mirrors produced in China.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.70-100
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• 2023

The celadon made in the Goryeo era, a time when Buddhism was flourishing in Korea, naturally contains many elements of Buddhist culture. Among them, inlaid celadon with Sanskrit inscriptions bears a close relationship with esoteric Buddhism. However, the research on deciphering the Sanskrit inscriptions has made little progress due to the small number of extant examples. However, the four recent excavations at the No. 23 kiln site in Sadang-ri, Gangjin have yielded new materials that allow the existing materials to be categorized into several types. The results obtained through the reading and interpretation of the inscriptions are as follows: First, the Sanskrit characters inlaid on the celadon were parts of mantras. Inscriptions where only one character is apparent cannot be deciphered, but scholars have revealed that others are written in the manner of a wheel mantra represent the "Mantra for Purifying the Dharma-Realm," "Six-Syllable Mantra of the Vidyaraja," "Sweet Dew Mantra," "Jewel Pavilion Mantra," "Mantra of the Savior Bodhisattva," "Dharani of the Mind of the Budha of Infinite Life," and "Mantra for Extinguishing Evil Rebirth." Each mantra was written in Siddham script. Second, they are believed to have been produced during the thirteenth and fourteenth centuries based on the arrangement of the inscriptions and the way the "Sweet Dew Mantra" is included in the "40 Hands Mantra." In particular, the celadon pieces with a mantra inlaid in a concentric manner are dated to the late thirteenth and early fourteenth centuries based on their production characteristics. Third, the interpretation of the inlaid mantras suggests that they all refer to the "Shattering Hell" and "Rebirth in the Pure Land." Based on this, it can be concluded that some of these inlaid celadon wares with mantras may have been used in Buddhist rituals for the dead, such as the ritual for feeding hungry ghosts (施餓鬼會). Also, because the Sadang-ri No. 23 kiln site and the "ga" area of the site are believed to have produced royal celadon, it is likely that these rituals were performed at the royal court or a temple under its influence. Fourth, this inlaid Goryeo celadon with Sanskrit mantras was not a direct influence of the ceramics of Yuan China. It emerged by adopting Yuan Chinese Buddhist culture, which was influenced by Tibetan Buddhism, into Goryeo Korea's existing esoteric practices. Fifth, the celadon wares inlaid with a Sanskrit mantra reveal a facet of the personal esoteric rituals that prevailed in late Goryeo society. Changes in esotericism triggered by the desire for relief from anxieties can be exemplified in epitaph tablets and coffins that express a shared desire for escaping hell and being born again in paradise. Sixth, the inlaid celadon with Sanskrit mantras shares some common features with other crafts. The similarities include the use of Siddham Sanskrit, the focus on Six-Syllable Mantra of the Vidyaraja, the correspondence with the contents of the mantras found on Buddhist bells, wooden coffins, and memorial tablets, and their arraignment in a similar manner with rooftiles. The major difference between them is that the Mantra for Extinguishing Evil Rebirth and the Sweet Dew Manta have not yet been found on other craftworks. I believe that the inscriptions of Sanskrit mantras are found mainly on inlaid celadon vessels due to their relatively low production cost and efficiency.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Cartoon and Animation Studies
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• s.50
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• pp.75-99
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• 2018

Makoto Shinkai, an animated film maker in Japan, has been featured as a one-person production system and as a 'writer of light', but his 2016 release of "Your Name" was a departure from the elements that characterize his existing works. At the same time, by the combination of the traditional musubi(むすび) story, ending these, it was a big hit due to its rich narratives and attraction of open interpretation possibility. As it can be guessed from the title of this work, this work shows the encounter between the Japanese ancient language and the modern language in relation to the 'name', and presents the image that the role of the name(language) is repeatedly emphasized with various variations in events for the perfect 'encounter'. In this work, the interpretations of $Signifi\acute{e}$ for characters and objects are extended and reserved as a metaphorical role of the similarity, depending on the meaning of the subject which they touch. The relationship between words and objects analyzed through the structure of Signifiant and $Signifi\acute{e}$ is an epoch-making ideological discovery of modern times revealed through F. Saussure. Focusing on "the difference" between being this and that from the notion of Saussure, Derrida dismissed logocentrism, rationalism that fully obeyed the order of Logos. Likewise, dismissing the center, or dismissing the owner had emerged after the exclusive and closed principle of metaphysics in the west was dismissed. Derrida's definition of 'deconstruction' is a philosophical strategy that starts with the insight on the nature of language. 'Dissemination,' a metaphor that he used as a methodological concept to read texts acts as interpretation and practice (or play), but does not pursue an ultimate interpretation. His 'undecidability' does not start with infinity, but ends with infinity. The researcher testifies himself and identifies that we can't be an interpreter of the world because we, as a human are not the subject of language but a user. Derrida also interpreted the world of things composed of Signifiant and $Signifi\acute{e}$ as open texts. In this respect, this study aimed to read Makoto's works telling about the meeting of a thing and a thing with name as a guide, based on Derrida's frame of 'deconstruction' and 'dissemination.' This study intends to re-consider which relationship the Signifiant and $Signifi\acute{e}$ have with human beings who live in modern times, examine the relationship between words and objects presented in this work through Jacques Derrida's destruction and dissemination concepts, and recognize that we are merely a part of Signifiant and $Signifi\acute{e}$. Just as Taki and Mitsuha confirm the existence by asking each other, we are in the world of things, expecting musubi that a world of names calls me.

• Journal of Korean Society of Forest Science
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• v.103 no.4
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• pp.622-629
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• 2014

This study aims to develop a standard diagnostic table for mountain ginseng so that the cultivators not only can check their current level of management with the table, but also can understand and address operational challenges better by themselves utilizing the table. The standard diagnostic table consists of 3 categories and 18 subcategories to diagnose the general status of forestry households, the indicators of management performance and the level of management. To develop the table, the study conducted a survey on the actual condition of management, targeting 81 forestry households throughout 15 municipalities including Mu-ju, Jeollabukdo, and Ham-yang, Gyeongsangnamdo, all of which are the chief producing districts of mountain ginseng. Then, the study calculated total scores by regions by aggregating the scores of 18 subcategories, in order to evaluate and compare the management level among regions based on the scores. According to the result, the average score of 81 forestry households was 57.2 point-58% of which surveyed belonged to the range of 40-60 point. Compared by regions, the average score of Jeollabukdo regions was 52.9 point, the lowest, and that of Gyeongsangnamdo regions was 61.4 point, the highest. It is remarkable that among the indicators of management base, the average score of 'mounding (the height of mound)' item was recorded rather low with 1.59 point, reflecting the fact that the cultivators tend to raise mountain ginseng with no additional mounds. As for the indicators of production skills, the average score of the pest control item was remarkably low with 1.28 point. Over 90% of cultivators answered that they do not usually forecast or survey the pest disease in advance. Meanwhile, it is also noticeable that the item of sowing and planting methods, and the item of seed were both rather high, recording 4.00 and 4.47 point respectively. As for the item of management and sales skill, however, the score was rather low with 2.20 point, meaning that the forestry households still have a low interest in the business management.

• The Journal of Internal Korean Medicine
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• v.31 no.1
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• pp.1-10
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• 2010

Objectives : It is necessary that the international classification of diseases (ICD) be examined in order to comprise the third revision of the Korean Classification of Disease on Oriental Medicine (KCD-OM) and disease classification in the oriental internal medicine field. It is essential that the selection, classification and definition of disease and pattern names of oriental concepts in internal medicine be clear. Since 2008, the fifth revision of the Korean Classification of Disease (KCD-5) has been used in Korea. It was required to use the reference classification from the Oriental medicine area based on the ICD-10. Methods : In this review, the necessity for, meaning of and content of the third revision are briefly described. The ICD system was reviewed and KCD-OM was reconstructed. How diagnosis in the oriental internal medicine area had changed is discussed. Review and Results : In 1973, the disease classification of oriental medicine was established the basis on the contents of Dongeuibogam. It was irrespective of the ICD. As to the classification system in the Oriental internal medicine field, systemic disease was comprised of wind, cold, warm, wet, dryness, heat, spirit, ki, blood, phlegm and retained fluid, consumptive disease, etc. Diseases of internal medicine comprised a system according to the five viscera and the six internal organs and followed the classification system of Dongeuibogam. The first and second revisions were of the classification system based on the curriculum in 1979 and 1995. In 1979, in the first revision, geriatric disease and idiopathic types of disease were deleted, and skin disease was included among surgery diseases. This classification was expanded to 792 small classification items and 1,535 detailed classification items to the dozen disease classes. In 1995, in the second revision, it was adjusted to 644 small classes and 1,784 detailed classification items in the dozen disease classes. KCD-OM3 did KCD from this basis. It added and comprised the oriental medical doctor's concept names of diseases considering the special conditions in Korea. KCD-OM3 examined the KCD-OMsecond revised edition (1994). It improved the duplex classification, improper classifications, etc. It is difficult for us to separate the disease names and pattern names in oriental medicine. We added to the U code and made one classification system. By considering the special conditions in Korea, 169 codes (83 disease name codes, 86 pattern name codes) became the pre-existence classification and links among 306 U codes of KCD-OM3. 137 codes were newly added in the third revision. U code added 3 domains. These are composed of the disease name (U20-U33, 97 codes), the disease pattern name (U50-U79, 191 codes) and the constitution pattern name of each disease (U95-U98, 18 codes). Conclusion : The introduction of KCD-OM3 conforms to the diagnostic system by which oriental medical doctors examine classes used with the basic structure of the reference classification of WHO and raises the clinical study and academic activity of the Korean oriental medicine and makes the production of all kinds of nation statistical indices possible. The introduction of KCD-OM3 promotes the diagnostic system by which doctors of Oriental medicine examine classes using the association with KCD-5. It will raise the smoothness and efficiency of oriental medical treatment payments in the health insurance, automobile insurance, industrial accident compensation insurance, etc. In addition, internationally, the eleventh revision work of the ICD has been initiated. It needs to consider incorporating into the International Classification of Diseases some of every country's traditional medicine.

• Korean Journal of Soil Science and Fertilizer
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• v.37 no.4
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• pp.228-234
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• 2004

In organic farming, nutrients for the crop production are mostly supplied by compost containing various organic materials. The long-term organic cultivation would result in continuous changes of soil chemical properties and fertility. The aim of this study was to investigate the contribution of long-term organic cultivation to the soil fertility in Korea focusing on the chemical properties of soil. Soil samples were collected from organic farms that had been cultivated for 8-10 years after certification of organic product through the conversion periods of 2-3 years. Thereby each organic farm had acquired optimal cultivating techniques and soil condition. We separated organic farms into three groups by cultivating crops, i.e. leaf vegetables, fruit vegetables and fruit trees. In each group, five representative farms were chosen in order to investigate the relationships between application rate of compost and nutrient contents in soil. The application rate of compost was approximately $10-15Mg\;10a^{-1}$ for the first 2-3 years at the beginning of organic farming and then reduced to a rate of $3-4Mg\;10a^{-1}$ after stabilization of organic matter content in soil with $30-50g\;10a^{-1}$. However, the continuous organic farming for 8-10 years resulted in accumulation of nutrients, especially of P, in soil probably due to the excessive amounts of compost applied. In conclusion, we suggest that the application rate and organic sources of compost should be decided on the basis of P content in soil by soil testing and thereafter the lack of soil N content for crop cultivation should be compensated by crop rotation with such as legumes. This might be an approach to the original meaning of organic farming as an environmental friendly agriculture.