• The Korea Journal of Herbology
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• v.24 no.4
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• pp.31-37
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• 2009

Objectives : The rapid progress seen in the Chinese medical and pharmaceutical industries since the mid.Ming Dynasty, and the resulting surge in demand for medicinal herbs led to the emergence of dedicated medicinal herb markets. A representative example was the medicinal herb market of Qizhou (today's Anguo) in Hebei Province. This paper examines various factors that contributed to the transformation and growth of Qizhou into and as a major medicinal herb market of China. Methods : Along with the examination of geographical factors, this study attempts to link the development of Qizhou as a center for medicinal herbs trade with legends related to the Medicine Lord Temple (Yao Wang Miao), a local shrine dedicated to the mythical Medicine Kings. Results : The main argument of this study is that although the emergence of Qizhou as China's largest marketplace for medicinal herbs was significantly helped by its proximity to Beijing, a huge source of demand, as well as its convenient location easily accessible from all parts of the country, and the large herbal production from surrounding areas, the single.most important contributing factor was the body of legends attributing to this city a magical healing energy. Conclusions : The example of Qizhou may also suggest that in pre.modern eras, legends related to supernatural healing power, associated to a city or town, were as important contributing factors to its emergence and growth as a dedicated medicinal herb market as its location or ease of access.

• Korean Journal of Oriental Medicine
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• v.18 no.1
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• pp.13-23
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• 2012

This paper studied the premodern Chinese Medical Herb Market and commercial culture by analysing the structure and management of Qizhou(祁州) Medical Herb Market, the most representative herb market of the Qing(淸) Dynasty. The merchant of Qizhou(祁州) Medical Herb Market developed 'guild halls(會館)' or 'regional merchant groups(地域商帮)' and form a strong regional bond. These local merchants brought medical herbs from their hometown to Qizhou(祁州) to sell, and bought herbs that were not produced in their hometown or valuable medical herbs from Qizhou(祁州) Medical Herb Market. Qizhou(祁州) Medical Herb Market was a space of various types of business managements. The major business of Qizhou(祁州) Medical Herb Market was herb trade but merchants of other related industries were also active. The thtive of 'Wu Da Hui(五大會)' reflects this.

• Archives of Plastic Surgery
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• v.44 no.4
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• pp.261-265
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• 2017

Periauricular paresthesia may afflict patients for a significant amount of time after facelift surgery. When performing face and neck lift surgery, temple and posterior auricular flap dissection is undertaken directly over the auriculotemporal, great auricular, and lesser occipital nerve territory, leading to potential damage to the nerve. The auriculotemporal nerve remains under the thin outer superficial fascia just below the subfollicular level in the prehelical area. To prevent damage to the auriculotemporal nerve and to protect the temporal hair follicle, the dissection plane should be kept just above the thin fascia covering the auriculotemporal nerve. Around the McKinney point, the adipose tissue covering the deep fascia is apt to be elevated from the deep fascia due to its denser fascial relationship with the skin, which leaves the great auricular nerve open to exposure. In order to prevent damage to the posterior branches of the great auricular nerve, the skin flap at the posterior auricular sulcus should be elevated above the auricularis posterior muscle. Fixating the superficial muscular aponeurotic system flap deeper and higher to the tympano-parotid fascia is recommended in order to avoid compromising the lobular branch of the great auricular nerve. The lesser occipital nerve (C2, C3) travels superficially at a proximal and variable level that makes it vulnerable to compromise in the mastoid dissection. Leaving the adipose tissue at the level of the deep fascia puts the branches of the great auricular nerve and lesser occipital nerve at less risk, and has been confirmed not to compromise either tissue perfusion or hair follicles.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.136-161
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• 2014

This paper investigates the Buddhist sculpture and wall-painting enshrined in the halls of Bunhwangsa (Bunhwang temple) at Gyeongju in the mid-Silla period, which are thoroughly unknown to us except through textual records of Samgukyusa compiled by Priest Ilyeon in the late thirteenth century. According to Samgukyusa, a clay portrait-sculpture of Monk Wonhyo, made by his son Seolchong, was placed in Bunhwangsa. This image faced to the side, because he turned his body toward Seolchong when Seolchong bowed to this image. This story suggests that the portrait image of Wonhyo was most likely made after the Vimalakirti images, which were popular in China from the Six Dynasties period on, especially the Vimalakirti images of the early Tang period, turning his head and body toward Bodhisattva Manjusi seated opposite. The Vimalakirti image of Seokkuram might show the portrait image of Wonhyo. A wall-painting of a Thousand-Armed Avalokiresvara who has a thousand arms with a thousand eyes, called by the name 'Great Mercy with a Thousand Hands', was enshrined on the north wall of the left hall of Bunhwangsa. During King Gyeondeok's reign, Himyeong and her five-year-old blind child prayed before this image, and the blind child gained eyesight. While praying, they sang a song pleading for one of the thousand eyes which the Bodhisattva had in his hands. This song implies that Thousand-Armed Avalokiresvara had a thousand eyes, one painted on each hand. The fact that Thousand-Armed Avalokiresvara of Bunhwangsa was called 'Great Mercy with a Thousand Hands' indicates that this painting was based on the scripture Thousand-Armed Avalokiresvara Sutra translated by Bhagavaddharma in about 655, in the Tang period, which also has 'Great Mercy' in its title. In the year 755, a gilt bronze image of Medicine Buddha was made in Bunhwangsa, using nearly 61 tons of bronze to cast. The huge amount of bronze suggests it includes not only the Buddha statue but many other images such as two attendant Bodhisattvas of Suryaprabha and Candraprabha, Eight Great Bodhisattvas, or Twelve Guardians. Seven images of Medicine Buddha might have been made in accordance with the scriptural text of Seven Medicine Buddha Sutra translated by Monk Yijing. Textual evidence and recent excavation have revealed that seven images of Medicine Buddha and their whole attendant images based on Seven Medicine Buddha Sutra were made in the Nara period from 751 to 762 when Queen Gomyo contructed Sinyakusiji temple for the recovery of her husband Shomu. It is fair to assume that one or seven Medicine Buddhas and a whole group of his (their) attendant images were made for the main hall of Bunhwangsa temple in 755.