• Cross-Cultural Studies
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• v.51
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• pp.235-256
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• 2018

The purpose of this study is to compare the academic achievements of these two eras with the content and performance of the bronze ware decorative patterns in the Song dynasty and age of the Minguo. We investigated the origins and developmental process of the bronze ware decorative pattern research in Chinese bronze research history and examined their academic value. Studying bronze ware is a scholarly study. In the past, research focused on classifying letters on bronze ware. However, research on bronze ware decorative patterns was neglected. Bronze ware decorative patterns are associated with archeology and mythology studies and provide important clues as to the imagination of ancient people. The study of bronze ware in China began with the Song dynasty. Since then, research on bronze ware has been revived in the Qing dynasty, although there has been no academic achievement regarding bronze ware decorative patterns. However, at the age of the Minguo, the achievements of bronze ware decorative patterns continued to follow the Song dynasty.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.522-537
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• 2020

The Joseon dynasty had close communication with the Ming and Qing dynasties on multiple levels. In the development process of furniture modeling design, the same cultural source and mutual communication, and the same factor was reflected in each other's furniture modeling. In this paper, "Furniture in the later Joseon Period" and "Ming style furniture" are taken as the research noumenon, table furniture as the specific research object, and from the perspective of "similarity" in the history of exchanges between the two countries, the overall modeling design and the local modeling design are selected to discuss the modeling design of traditional furniture in the two countries. In the analysis of specific research cases, there are similar genes in the overall modeling design of table furniture such as soban, warp bed and inkstone bed in the later Joseon Dynasty and table furniture such as kang, square table, wine table and incense table in the Ming and qing dynasties. In terms of local modeling, the appearance of similar desktop, cloud horn, leg, foot and other modeling designs better confirms the similarity in modeling design between the two countries. In this paper for "type of air hole" formative source speculated that traditional furniture is for Korean peninsula a tentative study of cultural studies. Considering the fact that the exchanges between Korea and China are expanding in many aspects, exploring the similarities in the traditional furniture will help to analyze the cultural exchanges between the two countries and promote the exchanges.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.283-291
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• 2020

Chusa is a pearl in our cultural history. His unfavorable times and circumstances made him more and more devoted, and through this, his art was able to bloom brilliantly. He was born and raised in a prestigious family, and was able to establish his academic world broadly through the encounter with Ongbanggang and Wanwon, the great masters of the Qing Dynasty culture at the time of the 20s. Particularly, his artistic activities in the area where he lived in exile allowed him to establish Chusache. He also showed the essence of his literary spirit as a picture of Sehando. Through numerous letters, he can also examine his culture, art, and thought. Furthermore, based on the archaeology of the Qing Dynasty, you can also examine the thoughts and philosophies of the real world. This article intends to examine and review the Aesthetic Sense of Chusa's literary art in terms of mentality through Sehando·Bujakrando. This is because it is judged to be an aesthetic sense that is the essence of Chusa art.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.67-71
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• 2024

Mo Youzhi (1811-1871) was a famous scholar, poet and calligrapher in the late Qing Dynasty. Mo Youzhi's life was rich in experience and broad vision, especially during his ten years in the Shogunate of the Tsengoku Domain, and he made friends with many political and cultural elites. Mo Youzhi is talented and diligent, and has a good relationship with celebrities from all walks of life at that time, so that his talents have been fully demonstrated. In the Qing Dynasty, the study of calligraphy became the absolute dominant force in the world of calligraphy, and the first great prosperity occurred after the Qin and Han dynasties. In accordance with the times, Mo Youzhi devotes himself to learning, takes into account the calligraphy, and goes out on his own path. Moe's work seal, li, kai, line, especially fine seal. Based on its Lishu, this paper expounds its typical style and atypical style respectively, and also discusses the relationship between its Lishu and other fonts. Finally, the author briefly summarizes the significance of Li Shu for the creation of contemporary Li Shu.In the course of discussion, always based on calligraphy ink, consult the relevant literature, combined with Mo Youzhi's life experience, try to be objective and fair, the listed points of view can be based on.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.61-70
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• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• Journal of the Korean association of regional geographers
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• v.10 no.3
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• pp.497-510
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• 2004

This study searched for comparison with geography of Qing China, origin of geographical name, people's feature and costume, description on regional geography, and perception on locality on view of a geographer, Ji-Won Park, a renowned Korean scholar of practical learning on the late 18th century. This study on the first three chapters of his Yorha Ilgi - "Crossing the Amnok(Yalu) River("渡河錄")," "Several Records on Senyang("監京雜識")," and "Writing Essays, Riding Horses("馹迅隨筆")," focusing on landscape of Qing China, inquiry on geographical name, feature and costume, and descriptions on locality, gives a glimpse on Park's geographical view on geography of Qing China. His writing style to compare landscapes between Korea and Qing China, full of his love for Korean landscape, is very delicate and clear, Although he sentimentalized when he passed through Bonghwang-castle(鳳凰城) in China, his subtle and beautiful writing explains that land and mountains in Han-yang(Seoul) are much more wonderful than those in China. His vivid depiction of landscape and weather on his way in Qing China is remarkable and explanation on geographical names like Parhae(渤海), Yoha(遼河), Taejaha(太子河), Senyang(瀋陽) etc. is enough to stimulate readers' curiosity on geography.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.238-261
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• 2012

This research was carried out about the Bansu which surrounded the Sunggyungwan(成均館), national university in the Joseon Dynasty to get the main characteristics of the landscape at Korean traditional school campus by analyzing cultural meaning and historical origin. The earliest record about the Bansu was in "The Book of Odes(詩經)" as Bansu was the water flowing near the Ban palace(泮宮). But, in the following time, Bansu has become the symbol of the school which was built by the feudal lords and one of very important elements in the temple-school(廟學) landscape. The Bansu of Sunggyungwan at Joseon Dynasty was the streams flowing at the east and west of the school campus and get together at the south. Sunggyungwan was located in the sacred place which followed the special organization of Bansu at the beginning of the Joseon Dynasty. And, Bansu in Joseon Dynasty was influenced by the Bansu in Song Dynasty(宋), but it was different from the Bansu in Ming and Qing Dynasty which has been formulated as the halfround pond in front of the school. This research tried to find the reason why in the Josenon Dynasty the stream flowing around the school was regarded as the Bansu. Bansu was also regarded as an important element in the public school, Hyanggyo(鄕校) and the private Seowon(書院). According to this research, the streams which flows around the Seowon or the Hyanggyo were found as called Bansu. Water stream around the Hyanggyo and the Seowon in the Joseon Dynasty has to be reconsidered under the deep research on the organization of Ban-su.

• 중국학논총
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• no.27
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• pp.147-166
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• 2009

New year pictures prevailed from 1660s to 1860. Especially, the reign period of Emperor Qianlong(r. 1736-1795) was the period of prosperity. The period of 1660s when new year pictures were started to be popular was the reign period of Emperor Kangxi(r. 1662-1722) was just started and corresponded to Emperor Kangxi's promulgation of "Sacred Edict." Chinese operas such as Peking opera were very popular among common people in the period from 1660s to 1860 when new year pictures prevailed. Qing emperors as foreign ruler chose the way of ruling their people by means of cultural influence in stead of military power. However their culture effort was not efficient toward the majority of illiterate people. New year pictures offered every information about the world through visual icons to the illiterate people at that time who perceived the world by means of seeing. They met the world through visual information offered by new year pictures. New year pictures were the stronger visual medium to spread and educate "Sacred Edict" to illiterate subjects than any other guide books published by elite officers.

• Acta Via Serica
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• v.8 no.2
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• pp.155-174
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• 2023

Trade along the Silk Routes reached its zenith during the Pax Mongolica, a period of relative stability in Eurasia that was created by the Mongol empire in the 13th and 14th centuries. It is generally believed that the Silk Routes declined after the disintegration of the Mongol empire in the second half of the 14th century and that they fell into disuse after the 1453 Ottoman conquest of Constantinople as the Europeans sought alternative maritime routes to Asia. This paper examines the aftermath of the Mongol-era overland and maritime Silk Routes from a non-Eurocentric perspective. Seen from the standpoint of various successors to the Mongol empire, such as the Timurid empire, the Mughal empire, the Uzbek khanate, the Ottoman empire, Manchu Qing, and Russia, the overland and maritime Silk Routes did not really collapse or sharply decline during the post-Mongol period. These Mongol successor states maintained close and thriving overland trade relations with each other or some important maritime trade relations with Southeast Asia. It may be argued that the Silk Routes in the post-Mongol world functioned rather independently of European seaborne commerce.

• Journal of Korean Medical classics
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• v.30 no.2
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• pp.45-57
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• 2017

Objectives : There exists a number of books that deal with curing diseases with foods. This includes Shennongbencaojing from Han Dynasty era, Zanyin's Shiloaoxingan and Mengxi's Shilaobencao from Tang Dynasty era, Husihui's Yinshanzhengyao from Won Dynasty era, and Feiboxiong's Sikgamboncho from Qing Dynasty era. This paper aims to delve into the food treatment revealed in Sikgamboncho, which is the latest book in the preceeding list, and studied its differences when compared to other medical books that deal with food treatment methods. Methods : The format and contents of Feiboxiong's Sikgamboncho were studied. For its format, Shilaoaoxingan, Yinshanzhengyao, Shikryochanyo, and Donguibogam were used to compare their formats with that of Sikgamboncho in order to discern the unique characteristics found in the book. For its contents, the paper studied food ingredients and food treatment separately, and then studied the historical significance of Feiboxiong's Sikgamboncho. Results : Sikgamboncho categorizes 12 types of grain, 22 types of vegetables, 7 types of cucumis calyx, 27 types of fruit, 9 types of flavor, 4 types of bird, 4 types of animal, 10 types of fish with scales, 4 types of carapace, and 2 types of worm. The book explains each ingredient's harvest period, its nature, potency, and taboos. The food treatment section explains 74 types of treatments that are divided between the wind, cold, summer heat, dampness, dryness category and the qi, blood phlegm, deficiency, and excess category. Each treatment contains its potency and recipe. Conclusions : Feiboxiong underlined the importance of ingredient through placing significance even to the order of ingredients. Out of the total 74 food treatments, 25 treatments were dedicated to deal with weakness. Feiboxiong attempted to prevent human body from becoming weak, which reflects his emphasis on the importance of food and wellness.