• 비교문화연구
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• 제26권
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• pp.227-248
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• 2012

Orchid Dream Wonderful Biography(蘭花夢奇傳), whose author was Yimmeishanren(吟梅山人), is a Xia-Yi-Ai-Qing(俠義愛情) novel in the late Qing Dynasty. The work published in 1905 when Emperor Guangxu(光緖) governed China. The novel was reprinted for several times to its excellent art feature as well as its public praise. Orchid Dream Wonderful Biography narratives the life story of the heroin, Songbaozhu(松寶珠). Songbaozhu disguises herself as a man, takes the imperial examination, and takes part in the war. However, she is abused after marring Xuwenqing(許文卿), finally, she dies in misery. Songbaozhu's tragic fate show that although a woman may disguise as a man and makes great contributions in novel, it would never come true in reality. Songbaolin(松寶林) is also home to female hero. She has a younger brother and sister were strictly education. She is a female hero of the pitch. The writer creates her, had to satisfy a social reality male. Orchid Dream Wonderful Biography, this work has had a tragic or a reality. This work represents the limits of consciousness and the writers. Orchid Dream Wonderful Biography did not transcend male-oriented notions.

• 한국콘텐츠학회논문지
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• 제18권7호
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• pp.647-655
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• 2018

혹자는 청국장(淸麴醬)은 전시(戰時)에 단기숙성으로 단시일 내에 제조하여 먹을 수 있게 만든 장이라하여 전국장(戰國醬), 또는 청나라에서 배워온 것이라 하여 청국장(淸國醬)이라고도 하며 전시장(煎?醬)이라고도 하였다 하고, 청국장이 우리나라 문헌에 처음 보인 것은 1760년(영조 36) 유중임(柳重臨)의 "증보산림경제(增補山林經濟)"에서부터라고들 한다. 또한 어떤 이들은 청국장과 메주를 뜻하는 '시(?)'가 삼국사기에 나오므로, 청국장은 삼국시대부터라고도 한다. 이처럼 청국장의 역사는 청나라(1600년대)부터인지 고구려, 신라시대부터인지 분명하게 전해지지 않아, 혼란스럽고 그 틈을 타서 과학적이지 않은 이야기들이 많이 나돌고 있다. 이 글에서는 고문헌 기록을 통해 청국장의 역사를 과학적으로 재조명하였다. 문헌기록을 통해 본 결과 고구려, 신라시대에 이미 청국장(?)이 있었다. 청국장은 젼국, 쳔국, ?국으로 불리었으며, 한자로 '시(?)'로 썼고, 어느 시기부터 청국장도 된장, 간장, 고추장과 같이 장(醬)으로 인식되기 시작하면서, 전시장(煎?醬), 전국장(戰國醬), 청국장(靑局醬), 청국장(靑麴醬) 등으로 쓰다가 지금은 청국장(淸麴醬)으로 통일되었다. 시(?)의 의미도 1500년대까지 청국장을 의미했고, 1600년대 이후에는 청국장이 한자로 장(醬)이 붙은 전시장(煎?醬), 전국장(戰國醬), 청국장(靑局醬), 청국장(靑麴醬) 등으로 굳어지니까 시(?)의 의미도 메주, 된장을 국한지어 의미하게 되어 가는 경향이 있었다. 청국장은 전쟁과 관련이 있거나 청나라와 관련이 있는 음식이 전혀 아니며, 청국장은 문헌 기록상으로 보아 2200여년이 넘는 역사를 갖고 있으나, 기록 이전에 사물이 먼저 있었을 것이므로, 이보다 훨씬 이전인 수 천 년 이상의 역사를 갖고 있다고 할 것이다.

• Korean Journal of Acupuncture
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• 제38권4호
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• pp.235-249
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• 2021

Objectives : Acupoint LU6 (Gongchoe) is known as an acupoint for the treatment of pain and bleeding caused by hemorrhoids. The purpose of this study was to critically review acupoint LU6 for treating hemorrhoids. Methods : We searched both ancient and modern literature of acupuncture and moxibustion using keywords "Gongchoe" and "hemorrhoids". We further performed an online ancient literature search for crosscheck. The searched literature was stratified by country (Korea, China, and Japan), and data were organized chronologically. Concerning literature related to hemorrhoids, data based on acupuncture treatment were compiled. Results : The bone proportional measurement of the forearm had been 12.5 cun until the Qing Dynasty but was recorded as 10 cun in "Shinkyushinzui," and the majority of modern Japanese and Korean literature indicated it as 10 cun. Gongchoe for treating hemorrhoids has been reported in the literature, including "Shinkyushinzui" (Japan, 1941), "Shiyoungzongguozhenjiujingxuexue" (Taiwan, 1963), "Gyeonghyeolhak" (Korea, 1971), and "Jinzhenmeihuashichao" (China, late Qing dynasty), but except "Jinzhenmeihuashichao", the location is different from the World Health Organization (WHO) standard acupoint location as it is 7 cun from the wrist out of 10 cun of the forearm bone proportional measurement. In addition, classical guides published until the Qing Dynasty did not report acupoint LU6 for the treatment of hemorrhoids. Conclusions : It is necessary to distinguish between Gongchoe in "Shinkyushinzui" and LU6 in WHO standard acupuncture point locations. Gongchoe (LU6)'s primary treatment for hemorrhoids has not been described in the classical literature, and further clinical evidence is needed to support it. When using Gongchoe for hemorrhoids, we should consider that the location of Gongchoe is closer to the LU5 than the standard acupuncture point locations and it is meaningful not only for treatment but also for diagnosis.

• 대한한의학원전학회지
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• 제23권1호
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• pp.217-233
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• 2010

"Singijonmangron(神氣存亡論; theory of mind-spirit activities)" is a medical discourse of Janggyeongak(張景岳) in the Ming[明] dynasty, and "Wongijonmangron(元氣存亡論; theory of original gi functioning)" is a work by Seoryeongtae(徐靈胎) in the Qing[淸] dynasty. One emphasized the importance of mind-spirit activities and the other said seriously about original gi functioning. We did a study on these two medical theories, and began with identifying the meaning of 'Gi' among the ancient chinese philosophy and medicine such as "Hwangjenaegyeong(黃帝內經)". After that, we showed the general 'Gi' and its variations in the meaning of 'Gi' according to name and function in "Hwangjenaegyeong(黃帝內經)"and other classics of prominent historic scholars of medicine, finally trying to find out the essentials of mind-spirit[神氣] by Janggyeongak(張景岳) and original gi[元氣] by Seoryeongtae(徐靈胎).

• 복식문화연구
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• 제12권4호
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• pp.599-613
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• 2004

The purpose for this paper is to find the common characteristics of Korean traditional clothing, which is largely affected by Chinese arts and culture. There are many different theories about Faking Opera＇s orgine but an established character is an ensemble song and dance. It virtually represent overall Chinese arts. There are four characters in the Peking Opera ; Sheng, Dan, Jing, and Chuck. Sheng is divided into Nosheng, Sosheng, Musheng and Hongsheng based on their dramatic skills. Also, Sheng requires various acting skills : song, dance, dialogue, act and fighting skill. Peking Opera＇s stage costume was set up in Qing dynasty though it＇s style was embellished with mainly Ming dynasty＇s clothing style. The rankings and personalties of the role are strictly applied to decide what to wear. Artistic exaggeration, symbol and transfiguration, use of colors are equally important in planning the stage costume.

• 중국학논총
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• 제61호
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• pp.181-202
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• 2019

Huangying-er黃鶯兒 is regarded as one of Feng Menglong's folk song books such as Guazhi-er掛枝兒, Shange山歌, and Jiazhutao夾竹桃. However, preceding researches criticized Huangying-er as 'a fly in the ointment' for laughing at pitiable female entertainers and harming the spirit of edification. In response, there has not been a detailed research on basic items such as editions, compiler, and written time. Thus, this study tried to shed new light on bibliographic information of Huangying-er. To discuss the bibliographic information of Huangying-er, this study organized and supplemented the 8 editions featuring Huangying-er in Ming Dynasty and Qing Dynasty periods. Most of these editions have signature of 'Fubaizhuren浮白主人' or 'Fubaizhaizhuren浮白齋主人'. After organizing the existing theories, this study came to support the theory claiming that the complier is Feng Menglong himself. Also, in reference to the works related to Huangying-er, this study concluded that Huangying-er was complied before compilation of Guazhi-er and Shange, the middle of the Wanli萬曆 reign period.

• 건축역사연구
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• 제14권3호
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• pp.119-128
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• 2005

In ancient times, architectural design was seen as a critical task in building technologies. Specifically, form, dimension and structural design are of significant. These aspects are associated with each other and to be emerged as a whole. Designing plan dimension was deemed to be the core of design technology due to its close relationship with module system. Thus, its evolution as well as development process typically represents and reflects the spirits and contents of design technologies in ancient China. In China, the materials regarding ancient architectural technology include Yingzaofashi(營造法式) of Song Dynasty and Gongchengzuofazeli(工程做法則例) of Qing Dynasty. They show many aspects concerning materials, structure, scale system and building. In Yingzaofashi, although the length of objects are decided by 'cai(材)' and 'fen(分)', there are no regulations on length, width and height of a building. However, in the construction of ancient buildings, the above mentioned basic scales are very important in both design and construction. The present paper attempts to discuss the significance, namely, the design principles of length, with and height of ancient chinese architecture.

• 한국식생활문화학회지
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• 제15권4호
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• pp.307-312
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• 2000

The purpose of this study is to understand the Chinese noodles(mian tiao). Wheat seems to have been cultivated 3-4,000 years before according to the archaeological evidences from the neolithic sites. The five grains(rice, millet, beans, barley, barnyard millet) already appeared in the period prior to Chin dynasty and were used as whole grain, but it was not until Chun Chu Zhan Guo period that the introduction of the flouring method stimulated the cultivation of wheat. In Chin-Han period, when water power and animal force were put into usage to facilitate the mass production of wheat flour, 'Bing', a designation for all the food made of wheat first appeared in the literature, and it was this 'Bing' that had later developed into noodles. In Wei Chin Nan Bei Chao period, roasted 'Bing', namely 'Kao-Bing' made its first appearance, and in Tang period, various noodles were created with the increase of restaurants specialized in noodles. In Song dynasty, 'La-Mian', the noodles stretched and beat from noodle dough, was first introduced, and in Yuan period, invention of drying method made the appearance of dried noodles, 'Gua-Mian', possible, which was good for easy and long preservation. Qing dynasty developed the noodles with a variety of assorted ingredients. The Chinese noodles are classified by various standards such as main ingredients, cooking methods, kinds of sauce, secondary ingredients, shape, eating method, flavor, and look.

• 한국생활과학회지
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• 제15권3호
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• pp.405-416
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• 2006

We, in this thesis, examined the similarities and differences of bat patterns in China and Korea, along with a consideration of how two peoples understood bats and how their understanding of bats developed and also influenced the bat patterns. As for research period, the Ming(明) dynasty and the Qing(淸) dynasty in China and the Chosun dynasty in Korea were considered. The subjects of this study included clothes, personal ornaments, and embroidery. This research was done by comparing and analyzing the similarities and differences of two countries' bat patterns. The results of comparing and analyzing Chinese and Korean bat patterns were as follows: In terms of similarity, people of two countries understood bat patterns as the symbol of happiness. Therefore, they were used in clothes, personal ornaments, and daily necessities. In terms of difference, bat patterns of two countries had different shapes. In China, colorful and realistic single bat patterns were shown as intensive composition, whereas in Korea plain and simple bat patterns were used. These differences resulted from different way of understanding of bat patterns. It can be concluded that the bat patterns can be a great cultural commodity with high commercial values, if the traditional pattern is used as a unique element of the Oriental designs and altered and developed to attract consumers' attention.

• 한국의류학회지
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• 제47권2호
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• pp.244-255
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• 2023

Patterns abstractly depicting flowing water with Chinese characters such as gong, wan(man), or wang continued endlessly and curved water patterns began appearing on textiles during the Song Dynasty. Though Song curved water patterns encompassed poetic sentiments such as "falling flowers and flowing water," the meaning faded with time, and these patterns were depicted in backgrounds with flowers added to brocade (Geum-sang-cheom-hwa). During the Ming and Qing Dynasties, combinations of diverse patterns, including flowers, butterflies, dragons, and auspicious treasures became fashionable, rather than the gong- and wan-shaped curved water patterns. Likewise, during the Joseon Dynasty, curved water patterns were preferred as background rather than as primary patterns. They were overlaid with flowers and clouds. The overlaid flower patterns included four-season flower patterns (17th-18th centuries), round flower patterns (19th century), and large flower patterns (20th century), which were identical to flower patterns fashionable at the time and arranged at intervals on complex curved water pattern backgrounds. In contrast, simple Ruyi types were more numerous than the four-Ruyi types fashionable at the time with regard to cloud patterns. Added here were Taiji (great ultimate symbol) or crane patterns, thus seeking to depict diverse auspicious Ruyi such as wish fulfillment and longevity.