• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.17-34
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• 2003

This paper investigates the rank system of official uniforms of Qing dynasty to analyze ethnic characteristics of the official uniforms. As a research document, Qing Huidian Tu(청회전도) has been used. The official uniforms of Qing dynasty were chao-fu(조복), ji-fu(길복), chang-fu(상복), hang-fu(행복), and yu-fu(우복), which were used in different occasions. Each of the five official uniforms had distinct items. For example, chao-fu(조복) consisted of four items: chao-guan(조관), chao-fu(조복), chao-dai(조대), and chao-zhu(조주), and ji-fu(길복) consisted of four items: ji-fu-guan(길복관), long-pao(용포), ji-fu-dai(길복대), and chao-zhu(조주). Each of these items had elements that made distinction between ranks. This research shows that the important elements to make distinction between ranks were textiles, precious stones, patterns and colors, and additionally the number of Bo(보) and the types of Bo(보) were used.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• Industry Promotion Research
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• v.5 no.1
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• pp.165-170
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• 2020

This study concerns of how the Qing dynasty overcame the national inferiority on the process of the Ming-Qing war in the East Asia during the early 17th century. Historically the Qing came forward in succession the total 12 Emperors whose posthumouses were recorded according to a respective independent system. These studies will be commented the alliance between Manchurian and Mongolian tribes. As the researching result, it will be commented that the Qing's emperors possessed the names of the Emperor of Han's race, Khan of Mongolian tribe, Han of Manchurian clan at the same time. Furthermore in other to follow the war against the Ming dynasty the Qing dynasty promoted positively the strategic alliance through the marriage connection with Mongolian royal family. And the Qing dynasty succeeded in organizing the Military Eight Banners so that Qing dynasty could utilize the reorganized social civilian groups into the avaliable groups to the battle. Thus this Eight Banners were comprehended all members who were not only the Mongolian clans allianced but also the submitted soldiers from the Ming in the war.

• Journal of the Korean Home Economics Association
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• v.41 no.5
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• pp.193-203
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• 2003

Magoja is a jacket for men and women. Magoja was worn between the jacket, jogori and the coat durumagi; that is over the jacket and under the coat. In the 19th century, Daewon-kun, who was wearing maqua, was in China and he came back to Korea. So, it was believed that the origin of magoja was from maqua from Qing. But, there were differences between magoja and maqua in their design. Therefore, I researched the origin of magoja and tried to know the design and the method of wearing magoja in the Chosun dynasty. The results are as follows. The design of magoja, especially its collar, was different from Chinese maqua. As analyzed above, it is difficult to regard the origin of magoja as deriving from Daewon-kun's maqua, which he wore when he went to Qing. Magoja-style jacket can be found from many old pictures. The collar of those jacket, whose style was waonsam-git unlike the present-day magoja, is consistent with the collar of sagyusam or baeja. And this kind of git style had existed for a long period of time as already studied in bangryungbangbi. Furthermore, the origin of this kind of jacket dated back to the maeksu of the Sung Dynasty; maek meaning Koguryo, maeksu was understood to indicate the style of the Koguryo jacket of short sleeves for the convenience of horseback riding. Maeksu, which varied in its kind and style, had been used as the equestrian clothes in China and was assumed to be particularly put on widely during the Yuan and Sung Dynasties. Maeksu continued to exist as daegeumeui during the Ming Dynasty but, later called magua, it was worn more widely ding the Qing Dynasty of the Manchus. This kind of maeksu or magua was the jacket which could be put on the coat and this style of wearing it during the Chosun Dynasty could be confirmed by the pictures. Therefore, magoja is not the jacket which was all of sudden derived from Qing's magua but one of traditional Korean clothes of the northern provinces which had existed for a long period of time. And magoja seemed to be put on more widely during the latter part of the Chosun Dynasty because of the influence of Qing's magua.

• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.375-382
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• 2016

This study focuses on the shape of the bottle, the Chinese Qing Dynasty porcelain decoration. Consideration given to understand the basic form of the catheter, and the basic division. To study the binding form to the principles of the design work to prepare a lacquer on the basis of the results obtained here. When classified by type illness Qing Dynasty porcelain decorative porcelain six types, semi-porcelain could be classified into five types. Production form to pursue work in this study design is produced in the form of asymmetrical vases object type curve. These bottles of Qing Dynasty porcelain for decoration. The basic type of pottery types and selected six of its basic and applied work. Production design work was produced Hyupjeotae production techniques that facilitate formative representation.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.253-281
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• 2018

The purpose of this paper is to analyze the meaning of of "Nikolai Garin - Mikhailovsky's the "Joseon tale". talks about the origins of the Joseon Dynasty and the Qing Dynasty. In this paper, we revealed the features of the form of "Otter Legend". And analyzed the confrontation between Nurhachi's family and Yi Seong-gye's family shown in the story. The result is as follows. is complex tale. The start of is 'the typr of Yaraeja'. Next is the story of Myoung-Dang. Myoung-Dang is deep in the water. also has anecdotes of Jeong, Chung-shin. rearranged at least three stories or more. transformed each type of stories, communing the different patterns of stories with different logic. The basic logic of the transformation was to maximize the confrontation between the NuruhachI and Yi Seong-gye clans, the origins of Manchuria and the Chosun Dynasty. As a result, the sacredness of Nurhachi's Family, the origin of the Qing Dynasty, was expanded. On the other hand, Yi Seong-gye s Family was less extraordinary than Nurhachi's Family. Also, the ability of the person is also inferior. This is not the yearning for the Qing Dynasty. This is because the Qing Dynasty and the Joseon have the same pedigree. shows that the Qing Dynasty's experiences should be shared since the Qing Dynasty was born of another clan of Joseon. This is a new perception of Qing Dynasty. This is similar to the interpretation that dragged the Qing Dynasty's history into the Joseon's ethnographic historical point of view.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.5-34
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• 2022

The purpose of this study is to investigate the unique contrasting landscape characteristics of imperial tombs of Qing dynasty by examining the characteristics of facility layout in which location, Feng shui, and siblings are harmonized with the 12 Qing Dynasty Hwanggyeongchim. Through literature surveys, field observation and interviews, videos and drawing comparison, and inductive contrast analysis, the contrasting landscape characteristics of imperial tombs in the Qing Dynasty were analyzed by classifying them into natural environment, location, Feng shui, and formal esthetics. As a result, the characteristics of the location type and the layout plan of the Qing dynasty imperial tombs were derived from the analysis of Feng shui shape, axis extension distance along the midaxial line, the width of the ridge, the formality of the facility layout according to the difference between the height of the starting point and the end point, the leftward direction of the tomb, and the space ratio of the 'entry space' - 'ritual space' - 'burial mound space', etc. In addition, it was possible to derive the facility arrangement characteristics of tombstones through the analysis of the types and the arrangement order of tombs facilities, as well as the distribution, quantity and types of stone figures, while also revealing some contrasting characteristics different from those of the Ming Dynasty. In addition, it was confirmed that the spatial division effect through the water system and the view effect of the view from the midaxial line and the vista are the representative view effect found in the Qing Dynasty imperial tombs along with the density contrast.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.65-75
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• 2005

The purpose of this paper is to understand the formal characteristics of Pi-Ling by investigating the Pi-Ling(披領)'s system of Qing Dynasty. As a research document, Qing-Huidian-Tu(淸會典圓) has been used. The following results were found out in this research; 1) The form of Pi-Ling was horizontally wide and both sides were narrow and sharp. There was a circular hole in the center of Pi-Ling. It was worn around the neck by a button in its front center. 2) materials: The materials of Pi-Ling were the leather of marten or sea-lion, satins, and silk. 3) The color of Pi-Ling was purple or blue. 4) Moving dragons(行龍) were used on the pattern of Pi-Ling. And the Pi-Ling of low level officials had no patterns.

• Journal of Korean Medical classics
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• v.31 no.2
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• pp.83-103
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• 2018

Objectives: The Qing Dynasty experienced a development in Yunqi even greater than in the Ming Dynasty. Popularization and universalization of Yunqi theory led to many books on the subject published, especially with weights on Warm Heat Disease and Pestilence, also giving birth to new Yunqi theories. A study into this development has a great significance in the study of the traditional medicine in Qing. Methods: The paper studies the Yunqi books published in the Qing dynasty to find out the unique characters of those books. To understand the direction which the Yunqi theory in the Qing period took, the paper also reviewed the positions of different groups, those who were favorable, those who compromised, and those who were unfavorable. Results: Four directions were taken by the study of Yunqi in the Qing period. First is the systemic study and composition of Neijing's chapter of Yunqi. This direction was taken by Liumaoxiu's NeiJingYunQiBingShi) and $N{\grave{e}}ijingyunqibiao$, Xuefuchen's Suwenyunqitushuo, Zhuenhua's Suwenyunqiqianshuo, an unknown person's Su wen yunqi chao, Weigeliu's Neijingqihuapian. The second direction is the study of Yunqi in relation with the Warm Heat Disease and Pestilence, which was taken by Mayin lin's Wuyunliuqiwenyifayuan, Lumaoxiu's Suwenyipianbìngshi, Litianchi's Shiyiwenbingqìyunzhengyan lun, and Wangxun's Cihangsanyuanfujifang. The third direction deals with a new Yunqi theory. The Fourthis the explanation of Yunqi in the form of Songs, which was taken by Wuqian's Yunqiyaojue, and Wengzao's Yunqiyaojue. Conclusions: Ludanchen published Yunqibian, and explained that Haizichouyinmaochen, which is the eclipse's south latitude, becomes Nanzheng, and Southern government, which is the eclipse's north latitude, becomes Northern government. Lumaoxiu revealed that the Liuqidasitian, founded by Wangpuzhuang, his great grandfather on the mother's side, is in alignment with the theory of Dashitian, used by Liushozhen, Lidongyuan, Zhudanxi, and Zhangjingyue. The representative figure in the favorable view of Yunqi in the Qing period is Wuyang, that of those who compromised is Fengzhaozhang, and that of opposition is Zhangzhuo.

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.10a
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• pp.82-82
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• 2001