• 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.

• 헤리티지:역사와 과학
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• 제49권3호
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• pp.78-103
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• 2016

본 연구는 부석사 무량수전의 측면 지붕부 결구 구조에 관한 연구이다. 부석사 무량수전은 일제시대에 해체 보수한 기록이 있으며, 팔작지붕의 측면 지붕부 결구 구조기법과 추녀, 귀서까래 등의 결합 수법들이 정연한 형태로 결구되지 않고, 조선시대 팔작지붕의 측면 지붕부 결구구조와 이질적인 요소가 많아 원형이 아닌 것으로 끊임없이 제기되어 왔다. 또한, 그 편년에 대해 다양한 의견(13세기, 12세기 건축)들이 국내외 학자들에 의해 제시되어 왔었다. 본 연구는 동아시아 목조건축 구조틀이라는 관점에 근거하여, 중국 당 송대 팔작지붕에서 부석사 무량수전과 측면 지붕부 결구구조 기법과 유사한 건축을 대상으로 평면비 및 어칸과 퇴칸의 비례를 상호 비교하여 살펴 본 결과 부석사 무량수전의 측면 지붕부 결구구조는 팔작지붕에서도 볼 수 있는 기법으로 판단하였다. 부석사 무량수전처럼 측면 서까래가 내부 보(량(梁))에 직접 접하는 기법은 중국 당 송대 팔작지붕 건축에서도 흔하게 볼 수 없는 수법으로, 중국의 팔작지붕은 당대(唐代) 이후에 산화(山花, 합각) 양가(梁架)를 구성하여 팔작지붕의 측면을 구성하는 기법이 발달되어, 명청대 이전까지 크게 발전된 것으로 보인다. 또한 귀서까래의 발달과정 중 평행서까래에서 말굽서까래로 전환되기 이전 방식인 평행복사연(平行輻射椽)이 현재 부석사 무량수전의 귀서까래 방식과 유사한 것으로 보인다. 다만, 추녀의 중간부분부터 귀서까래가 걸치지 않는 부석사 무량수전의 방식은 중국에서도 현재까지 확인되지 않은 방식으로 부석사 무량수전의 특성으로 보인다. 이런 기법들을 살펴본 결과 부석사 무량수전의 측면 지붕부 결구구조는 중국 남방지역에서는 볼 수 없으며, 북방 지역의 당 송대(唐 宋代) 및 요대(遼代) 시기에 볼 수 있는 기법으로, 건축물의 편년시기와 평면에서 어칸과 퇴칸의 비례 관계를 고려해볼 때 동아시아 북방지역에서 볼 수 있는 고식(古式)의 구조 기법으로 판단된다. 부석사 무량수전의 측면 지붕부 결구구조가 변형된 것이 아니고, 팔작지붕 고유의 방식일 가능성이 있는 만큼 향후 부석사 무량 수전의 평면과 어칸 및 퇴칸의 비례, 측면 지붕부 결구구조를 중심으로 고려시대 이전 폐사지 중 팔작지붕으로 추정되는 건물의 측면 지붕부 결구구조에 대해 복원 설계에 좋은 참고가 될 것으로 보인다.

• 대한한의학원전학회지
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• 제20권2호
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• pp.201-230
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• 2007

Basic summary of the medical administration : First of all Ming dynasty was at its last stage of dynastic era that the politics reached absolute autocracy. The influence of centralized power lead to systematical medical administration management system that was generally formed around Tai Yi Yuan(太醫院). Criticizing treatments via shamanism with supernatural powers and advent of strengthening medical concepts were steps toward a new phase. Medical education in regional areas showed drastic development and preventative medicine on epidemics as well as relief work succeeded to a certain amount. Overall Ming(明) dynasty has somewhat of a growth in some areas keeping the basics of Tang(唐) Song(宋) and Yuan(元)'s medical administration, however basically, unique contribution was not shown much. But on the other hand, measures such as common medical system, reserving incompetent doctors, positioning medical officers by the amount of contributions, paying salary with medicine instead of currency brought losses on medical development.

• 한국생활과학회지
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• 제13권4호
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• pp.617-623
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• 2004

This research studies how a rain coat (兩衣) had developed in ancient China by searching through historic records. It can be said that people in ancient China wore two kinds of rain coats: straw coat and oiled-cloth coat (油衣). Straw coat was originally used in the Spring and Autumn and Warring States period. Then, people used natural grasses to make it. As the overall production had increased, various kinds of rain coats began to appear in Tang (唐) Dynasty, and the straw coat itself became elaborate. In Song (宋) and Yuan (元) Dynasty, the straw coat was used for the army, and when it came to be Ming (明) and Qing (淸) age, wearing it was considered a symbol of hermit. The straw coat shows the early form in the history of clothing, which was mostly put on by the poor. The material for straw coat was the grass which grows up in wet land area. People in the city and in the country had worn the straw coat for a long time. As foreign cultures were introduced, however, it disappeared first in cities and later in the country. The oiled-cloth coat was another of the kind. Its major material was water-proofed silk in the Qin(泰) and Han(漢) Dynasty. Also, it was a favorite of an emperor or aristocrats. Common people put on straw coat until the time the western rain coat was introduced and accepted in Qing Dynasty.

• 건축역사연구
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• 제19권1호
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• pp.51-70
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• 2010

Hushoujing(狐首經) is Fengshui documents traditionally known to be written by Baihe(白鶴) of Han(漢) dynasty, which is hardly known in Korea. Baihe, the author, like Qingwuzi(靑烏子) has no evident personal background in history. There is a copy known to be written by Baihe of Han dynasty included in Dilitongyiquanshu(地理統一全書), which was published in 1628. The editor is known as Yuxiangtou(余象斗) from Fujiansheng(福建省) Jianyangxian(建陽縣) the same home town as Zhuxi(朱熹)'s. In contents and system, Hushoujing has the deep(profound) relationships between Qingwujing(靑烏經) and Zangshu(葬書), which attracts attention nowadays. Studying the relationships between Qingwujing, Zangshu and Hushoujing is the realm which requires systematic approach. Another reason for Hushoujing's attraction in Fengshui research lies in the contents related with Liqilun(理氣論). Mentioning Xingqilun(形氣論), Hushoujing also includes the explanation of Chinese compass needle, Deshui(得水) and Pokou(破口), and it is directly connected with the main theme of Liqilun. Hushoujing reveals a view point that both Xingqi(形氣) and Liqi(理氣) are important. Accordingly this means that we can understand Liqilun more clearly through studying Hushoujing. It is clearly recorded in the documents of Song(宋) dynasty that there was odd notes documents of Hushoujing as well as mentioning it. Therefore it is very likely that Hushoujing had been written before Song dynasty. Being contained in Huxianshengyinyangbeiyong(胡先生陰陽備用), Dilicanzanxuanjixianp oji(地理參贊玄機仙婆集), Dilitongyiquanshu, Lidaidilizhengyimishuershisizhong(歷代地理正義秘書二十四種), Xingjiaershizhong(形家二十種), 5 kinds of Hushoujing's copies are descended. The contents of Hushoujing are also introduced in documents of sejong period in The Annals of the Choson Dynasty. This means that Hushoujing is the geographical books prevailed representatively in early years of Choson Dynasty and studying Hushoujing is indispensible to studying Fengshui history or Chinese compass(羅盤) as well as deep understanding of Fengshui theory.

• 건축역사연구
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• 제18권2호
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• pp.27-45
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• 2009

This study was to analyze the philological character of Qingwujing(靑烏經). Qingwujing is the oldest and representative documents of FengShui, especially famous for FengShui XingQi(形氣) theories. In spite of is fame, a systematic research for Qingwujing was not yet fulfilled up to now in Korea. In is the main reason why have to research the philological character of Qingwujing. The results from this research were described as following. Qingwujing(靑烏經) as knows of Qingwujing's writer is very famous already in Han 한(漢) dynasty for his accurate FengShui methods. His FengShui thories getting more powerfyl from WeiChen(魏晉) to Tang(唐) dynasty. In Tang(唐) dynasty Qingwujing was abolished by government rulers, but it recovered and retouched by some scholars from Tang(唐) and Song(宋) dynasty. In the process, the block book of Qingwujing were changed for four or five kinds. Qingwujing's block books of Ming(明) dynasty are Yimenguangdu(夷門廣牘), Xiaoshisanjing(小十三經), Jujiabibei(居家必備), and Shuofu(說郛). It's block books of Qing(淸) dynasty are Gujintushujicheng(古今圖書集成), Sikuquanshu(四庫全書), Xuejintaoyuan(學津討原), and Ershierziquanji(二十二子全集). It's block book of Choson(朝鮮) dynasty is KyujangKak(奎章閣). Among them distinctive characters been founded, but the basic contents and theories are almost same. In Korea, Qingwuzi's FengShui theories were confirmed in Silla(新羅) dynasty, and it recoreded in Soongboksa inscription written by Choi-CheeWon. Qingwu(靑烏) or Qingwuzi were known for a great FengShui master of a FengShui standing theories in Koryeo(高麗) and Choson dynasty among royal families and the aristocratic classes. And Qingwujing was a representative FengShui theory book in wh0.1ole period of Choson dynasty. Now for understanding traditional FengShui theories, we have to understand the main FengShui theories on Choson dynasty at first. For understanding Choson FengShui, the study on philological character of Qingwujing is the basic works. If those works fulfilled successfully, we can understand FengShui theories and FengShu itself more correctly.

• 복식
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• 제56권8호
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• pp.74-82
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• 2006

In ancient China, Su(綬) was the ornament of the full dress. It had originated from tying the jade or another thing before Jen(秦:Qin) dynasty and it tied the imperial jade seal and the chop from Han dynasty. Su of Han dynasty was different in the inscape, colour, length and density according to the grade. And the shape was the straight line. But these phenomena were changed after Han dynasty. This study showed how it changed. To studying used the comparison method of literature records, paintings and archeological relics. It mostly studied imperial Su. Su of Han dynasty of the high grade was formed by Yeok, the circle type jade and Su(Su moaned whole Su, at the same time moaned the part of Su, too). Afterward, Yeok was changed into Small Su[小綬] and Su was changed into Big Su(大綬). Originally the circle type jade was connecting Yeok to Su, but it was changed into tying Small Su only. Su of Han dynasty used the four kinds of colour, but from Su(隋: Sui) dynasty used the six kinds of colour. Originally Su was interlacing, but it was changed into the silk fabric from Song[宋] dynasty. According to using silk fabric's Su, it was likely to disappear the system distinguishing the grade by length. And it kept the method of interlacing the reticulation in the low part of silk fabric's Su. So, after using silk fabric's Su, the system of the density was not about the main body but about the reticulation. Su was been used woven with supplementary golden wefts, too. The circle type jade was chiseled the dragon and cloud from Geum[金:Jin] dynasty. These not the pattern of silk fabrics.

• 대한한의학원전학회지
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• 제24권5호
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• pp.107-118
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• 2011

Classified Emergency Materia Medica is a pharmacopoeia published by the government of the Song(宋) dynasty. After publishment, it had a decisive effect on East-Asian herbology of China, Korean & Japan. Sakae Miki(三木榮), Tameto Okanisi(岡西爲人) wrote papers on the subjects of type, publishing process, bibliographic terms of Classified Emergency Materia Medica published in the early and middle years of Joseon Dynasty. Moreover, Sakae Miki claimed that Classified Emergency Materia Medica from China had been a standard of herbology of Joseon Dynasty since its publishment, and herbology based on materia medica from countryside(鄕藥) also had occupied a part of herbology in Joseon Dynasty. Nevertheless the specific influences, from Classified Emergency Materia Medica to the medical books of Joseon Dynasty which established the herbology based on materia medica from countryside has never been handled so far. So I would like to investigate the influence of Classified Emergency Materia Medica to Joseon Dynasty, through a comparison with literature review. The main literatures for comparison are two representative medical books of Joseon Dynasty, Compendium of Prescriptions from the Countryside(1433) & Treasured Mirror of Eastern Medicine(1613), especially focusing on the pharmacognostic parts. The main comparing points on researching literatures will be the following: publication year of books; order of herbs; and quotations. This paper will show which edition of Classified Emergency Materia Medica was utilized to publish two medical books of Joseon Dynasty, and the process how Korean herbology based on materia medica from countryside was transformed after accepting Chinese herbology.

• 동양고전연구
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• 제37호
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• pp.189-216
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• 2009

두보(杜甫)의 <음중팔선가(飮中八仙歌)>와 이를 화제(畵題)로 삼아 회화화(繪?化)한 시의도(詩意圖) 3편과, 원텍스트를 패러디한 <음중팔선도(飮中八仙圖)>를 다시 원텍스트로 삼아 패러디한 세편의 서발(序跋)을 살펴보면서 시라는 양식의 원텍스트가 그림이라는 양식으로, 다시 산문이라는 양식으로 그 모습을 바꾸면서 패러디되는 모습을 보았다. 개원(開元) 천보(天寶) 연간에 취중기행(醉中奇行)로 유명했던 여덟 명의 기인(奇人)을 노래한 두보(杜甫)의 <음중팔선가(飮中八仙歌)>는 많은 화가들에 의해 사랑받는 화제(畵題)가 되어 송(宋) 원(元) 명(明) 청(淸), 조선(朝鮮), 일본(日本) 등지에서 <음중팔선도(飮中八仙圖)>로 다시 태어났다. 이처럼 화가가시에 대한 해석을 회화적으로 재창조한 것을 시의도(詩意圖)라고 하는데 시의도(詩意圖)는 이미 존재하는 시를 전제로 하고 있으므로 이 둘 사이에는 원텍스트와 패러디 텍스트라는 관계가 성립한다. 두보의 마음에 공명한 화가들의 그림 3점, 명대(明代) 우구(尤求)의 <음중팔선도(飮中八仙圖)>, 조선(朝鮮) 김홍도(金弘道)의 <두보시의신선도(杜甫詩意神仙圖)>, 일본모모야마(桃山)시대의 가이호유쇼(海北友松)의 <음중팔선도(음중팔선도(飮中八仙圖)>를 살펴보며 원텍스트를 반복하면서도 각 화가의 개성에 따른 차이를 고찰하였다. 언어로 표현된 <음중팔선가(飮中八仙歌)>를 원텍스트로 삼아 패러디한 시의도(詩意圖) <음중팔선도(飮中八仙圖)>는 문인들이 그림에 부친 서문(序文) 및 제발문(題跋文)을 통해 다시 언어화된 텍스트로 패러디되었다. 화가의 마음에 공명한 조선의 세 문인 이덕무(李德懋), 박제가(朴齊家), 이봉환(李鳳煥)의 서발(序跋)을 통해 <음중팔선가(飮中八仙歌)>가 어떻게 변주되는지 살펴보았다. 이를 통해 원텍스트와 연속적인 관계에 의한 반복과 각 작가의 독자적인 해석에 의한 차이를 알 수 있었는데, 이덕무(李德懋)는 집정자에 대한 경계로, 이봉환은 회재불우(懷才不遇)한 현인(賢人)으로, 박제가는 현세의 규율을 초월한 천연(天然)스러운 선계(仙界)를 꿈꾸게 하는 대자유인으로 음중팔선(飮中八仙)을 이해하였음을 알 수 있었다.

• Journal of Acupuncture Research
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• 제17권1호
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• pp.13-25
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• 2000

According to development of acu-figure which has been existed in Korea, China and Japan through successive generation and conservation status, I classified the process of manufacture of Standard Acu-Figure that is the first manufactured form in Korea historically. And conclusion was as follows. In history, the first acu-figure was manufactured in Song(宋) Dynasty by Wang Yu Il(王維一). after that acu-figure had been made various type in the each countries. In japan, Cheon Seong Acu-Figure(天聖銅人) was imported and preserved and similar shape acu-figure was manufactured. In Korea, Chim Geum Acu-Statue(鍼金銅像) is unique acu-figure that is conservated and exhibited in museum. Standard Acu-Figure was manufactured after the model of standard human body. First step process of standard acu-figure manufacture undertook at my lab, next step, investigation, discussion, reform was proceeded along with other chief professors major in meridian and acupuncture point.