• 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.

• 대한한의학원전학회지
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• 제28권3호
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• pp.79-88
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• 2015

Objectives : The Annals of the Joseon Dynasty has plenty of articles as primary historical records. The Korean medical historiy researches have also been driven from The Annals of the Joseon Dynasty. About public services in Joseon dynasty related to medicine, We rarely know persons in public services, titles, levels and so on. Methods : I focused on The Annals of the Joseon Dynasty to research the titles of person in public services in early Joseon dynasty. I found 33 persons related to medicine and reorganized 21 persons who had titles. Results : I got 10 titles of public medical services and more than 15 titles of public non-medical services, which were received according to their medical services and 6 grades. Conclusions : I concluded that there were much more titles of public medical services than what we had already known and several titles and grades of public non-medical services, which were received according to their medical services.

• 대한한방부인과학회지
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• 제15권4호
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• pp.76-97
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• 2002

Buin-daejeon-yangbang is one of the special book on the traditional eastern medicine(T.E.M) Ob&Gy in Song dynasty. It remains very important book of the department of the Ob&Gy in today's T.E.M. There are a good deal of the useful theories and prescriptions about clinical Ob&Gy in it. Chen-zi-ming(陳子明) was a very famous Ob&Gy doctor and professor on T.E.M who came from Lincuan Jingxi(江西 臨川) province China in the South-Song dynasty. He was born in AD 1190, was died in AD 1270. Buin-daejeon-yangbang was written by him in AD 1237 and remained several kinds of edition now. It takes form total 8 volumes, 24 chapters. There are more than 260 medical references and 1500 prescriptions in it. And the formation of the book which the arrangement of theories and prescriptions is to keep in order. But it has some unreasonable and superstitious contents too. It performed as a bridge which link the results of pre-Song dynasty about clinical T.E.M Ob&Gy and after-Song dynasty about that. So it is a grandfather of a book for about clinical T.E.M Ob&Gy as following books like Gyoju-Buin-daejeon-yangbang, Yeougwa-Jeungchi-Junsung and Jeieum-Gangmock.

• 한국철학논집
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• 제36호
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• pp.7-42
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• 2013

본고는 한국 성리학의 전래와 기원에 관한 것이다. 고려 고종 24년(1237)에 남송(南宋) 출신의 학자 정신보(鄭臣保)가 오늘의 서산 간월도(看月島)에 정착하여 고려 학인들에게 이정(二程)의 성리학을 전파하였다는 자료를 검증하고 확인하였다. 이에 따르면 안향(安珦)에 의해 성리학이 처음으로 고려에 전해졌다고 알려진 1290년보다 53년 앞선 것으로 되어 있다. 이것이 학계에서 공인을 받으면 성리학사는 고쳐 써야 할 것으로 본다. 이 글에서는 먼저 고려 유학사의 변화 과정을 3단계로 나누어 고찰하였다. 이어 정신보의 생애에 대해 집중 조명하였다. 정신보가 남송의 명문 포강정씨(浦江鄭氏) 가문의 후예라는 점과 포강정씨의 후손답게 춘추사상(春秋思想)과 의리정신에 투철하였음을 부각시켰다. 이밖에 정신보 학통의 전승 과정과 후세에 끼친 영향 등에 대해서도 추론하였다.

• 산업진흥연구
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• 제6권3호
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• pp.49-57
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• 2021

이 논문의 목적은 청대와 중화민국, 그리고 현대에 이르기까지 수십 종의 평주와 해석들이 등장하고 있는 명실상부 최고의 명리원전인 『적천수(滴天髓)』의 판본을 고찰해보는 것이다. 『적천수』의 원저자는 송대(宋代)의 경도(京圖)이며, 원말(元末)·명초(明初)의 유기(劉基)가 원주를 달았고, 청대(淸代)의 임철초(任鐵樵)가 증주를 달았다는 것으로 알려져 있다. 그러나 원문의 내용을 살펴보면 원문의 저술 시기가 명대(明代) 중기 이후로 가정하게 하는 준거가 여러 가지 나타나고, 이 저술이 송대의 것일 가능성이 크지 않다면 그 저자 또한 송대의 경도(京圖)일 가능성 또한 높지 않다. 또한, 초기 판본을 출판 간행했던 진소암과 정지운의 진술을 살펴보면 통상적인 저자 인식에 부정적 의견도 크게 자리하고 있다. 이 연구에서는 현존하는 『적천수(滴天髓)』의 판본 4종, 진소암이 편집 출판한 『적천수집요』, 천경당 목각본을 정지운이 보교정한 『명리수지 적천수』, 임철초가 주석하고 손형보가 간행한 『적천수천미』, 임철초 주석 본을 서락오가 편집 간행한 『적천수징의』에 기록되어 전하는 원문을 비교 분석하는 작업을 진행하였다. 이 연구가 『적천수』를 더욱 깊이 이해하고 향후 평주 비교 연구 등 관련 연구에 조금이나마 도움이 되었으면 한다.

• 한국의류학회지
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• 제2권2호
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• pp.277-286
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• 1978

The history of the women's veil which was used to hide their face in Yi-Dynasty was discussed. The similar fashion of wearing veil was popular in T'ang China as Myok-li and Yoo-Mo, then it might have influenced the fashion of the women's dress of the Silla Dynasty. It was also found out that the custom was most popular in Koryo and then continued to Yi-Dynasty. The confucianism of Yi-Dynasty requested very strict moral obligation toward women that veil had to be worn by them whenever going out. It might not be their popular fashion but obligation. There were several types of veil so called; Neoul(라원) Jangott(장의) Suege-China(쓰개치마) Chun-eue(천의) Sak-kat(삿갓) Chun-mo(천모)etc., which were used as a part of formal dress for women. From the late 1930, when the new society started to accept women's activities, the customs of wearing veil had been vanishing from the women's dress.

• 한국문헌정보학회지
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• 제10권
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• pp.149-188
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• 1983

This study is about a literary man, Suheon Lee Jung Kyeung(AD. 1599-1678) and his poem 'Ohdae Eubuga' written in the language of the common people(RiEu) of Cho Seon dynasty. The outline of this study are as follows: 1) The work has been written at Ohdae, Cheongdo Gum, Kyeung-sang Do, in AD. 1656 that is the 7th year of King Hyo Jong of Cho Seon dynasty. 2) The work was written in the Korean and Chinese characters, in the form of the ancient Korean ode (Sijo). The twenty odes are composed of 'Eubuga' with 14 poems and 'Eububyeulgok' with 6 poems. The pleasureof his public life was well represented in these poems. 3) The work is included in his original manuscript 'Japhwewonjib' written in AD. 1664, the 5th year of King Hyeun Jong of Cho seon dynasty. 4) It seemed that the work has been mostly influenced by 'Mooyee Gugokga' of Joo Hee(AD. 1130-1200) of South Song dynasty, 'Eubusa' of Nongam Lee Hyeun Bo(AD. 1467-1555) and 'Dosan Sibyeegok' of Toegei Lee Hwang(A.D. 1501-1570) of Cho Seon dynasty.

• 한국의류학회지
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• 제11권1호
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• pp.87-96
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• 1987

Dan-Ryong is the traditional clothing that was worn the entire of oriental nations, and it was spreaded from Sun-Bi tribe to China about A.D. 4C. The first, the name of Dan-Ryong was translated with 25-Sa and Ancient-History Book. Among the name of Dan-Ryong, the follows were different between the name and shape. Jang-Bok was the colored Dan-Ryong, So-Bok was the unfigured black Dan-Ryong and removed Hyung-Bae, Ea-Mun-Pho was the Dan-Ryong of embroidered figure poetry, and Ja-Sam was the real short and tight Dan-Ryong. The second, some problems were given by translated Dan-Ryong's name. The results of the problems were as follows; 1. Dan-Ryong was oriented from Won-Wi. 2. At Su-Dynasty, there was going to the persuit of Han-Dynasty Courtesy, but they liked useful custom. Therefore Dan-Ryong was worn in daily life among the population. 3. At Dang-Dynasty, Ho-Bok was devided with three meanings. The first was Go-Sub, the second was Dan-Ryong of Buk-Jo about A.D. 3$\~$5 C and the last meaning was the clothing of Uighur, Turkey, Persia and etc. about A.D. 7 C. 4. The name of neck-line shape was started at Song and the majority arised about A.D. 12 C. and Dan-Ryong was only arised at Myong-Dynasty. 5. Gok-Ryong, except Song-Sa and Sam-Je-He-Bo, was different from Dan-Ryong and it was shape of neck-line inside of Jik-Ryong.

• 복식
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• 제32권
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• 복식
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• 제57권7호
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• pp.84-97
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• 2007

Dancing with weapons existed spontaneously when war and hunting were common, and sword dancing, as a dance for banquets, developed and changed in various forms. In Korea, sword dancing was performed from the Three Dynasty Period, and in Joseon Dynasty, it was performed as court ceremony. The origin of the sword dancing, that has been performed from the Joseon Dynasty until now, and costumes for sword dancing isn't accurate. The purpose of this study is to analyze the sword dancing costume of China, Korea's neighboring country, and that of Korea in the same period, and to find out the process of wearing military uniform: Jun-mo, Jeo-go-ri, Chi-ma, Gwae-ja, and Jun-dae, being settled as the sword dancing costumes of Korea in late Joseon Dynasty. In China, sword dancing became famous in Han Dynasty, and in Tang Dynasty, it was the meridian of sword dancing with the most magnificent form. After the Song Dynasty, the sword dancing fades away. In Korea, the sword dancing started as a mask dancing of children that Hwa-rang(bravery youth) in Shilla Dynasty started. After the Unified Shiila Period, the sword dancing of Tang Dynasty spread to Korea, with active interchange between the two countries. After the Corea Dynasty, the mask dancing of children faded and the sword dancing of Tang Dynasty changes into Korean form. It was incorporated into the court ceremony after the mid-period of Joseon Dynasty, and the costumes were settled as the military uniform, which are Gwae-ja, and Jun-dae on top of Chi-ma, and Jeo-go-ri, and Jun-moon the head.