• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.63-72
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• 2012

In this study, Characteristics of colors on Chinese traditional costume in Tang, Song, Yuan, Ming, and Qing Dynasty were compared. And general colors of Chinese traditional costume and the viewpoint of them were considered. The purpose of this study were to apt colors of Chinese traditional costumes to the sensory appetite of modern people for new things, and make the recreation inspired by new senses be applied into the fashion industry effectively. The results were as followed : Firstly, colors distribution of 5 dynasties were different. In the Tang, R(red) was highest, YR(yellow red) and Y(yellow) followed. In the Song, YR was highest, Y and R followed and PB(purple blue) was increased, In the Yuan, R, YR, PB, B were concentrated at low rates, and other colors were increased, In the Ming, Y, R and B were concentrated at low rates orderly, and other colors were increased, In the Qing, PB was highest and Y, R, YR, B, P(purple) were increased. Secondly, tons distribution of 5 dynasties were different. In the Tang, L(light) was highest, P(pale) and Lgr(light grayish) followed. In the Song, P(pale) was highest, Lgr, Gr(grayish) and Dl(dull) followed In the Yuan, Dp(deep) was highest, P and Lgr followed, and other tones were increased, In the Ming, S(strong) was highest, DI and V(vivid) followed. Thirdly, The general colors of 5 dynasty were R, YR, Y, B, PB colors with vivid, deep and light tones. Forth, the viewpoint of color on Chinese traditional costume was based on the Yin-Yang and the Five Elements theory. Based on results of this study, the successive researches will be carried out about the unique colors of each nation and application traditional colors to modern fashion industry in order to the unique cultural sense.

• Journal of Astronomy and Space Sciences
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• v.32 no.1
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• pp.51-62
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• 2015

I investigated a method for drawing the star chart in the planisphere Cheonsang-yeolcha-bunyajido. The outline of the star chart can be constructed by considering the astronomical information given in the planisphere alone and the drawing method described in Xin-Tangshu; further the chart can be completed by using additional information on the shape and linking method of asterisms out of an inherited star chart. The circles of perpetual visibility, the equator, and the circle of perpetual invisibility are concentric, and their common center locates the Tianshu-xing, which was defined to be a pole star in the Han dynasty. The radius of the circle of perpetual visibility was modified in accordance with the latitude of Seoul, whereas the other circles were drawn for the latitude of $35^{\circ}$, which had been the reference latitude in ancient Chinese astronomy. The ecliptic was drawn as an exact circle by parallel transference of the equator circle to fix the location of the equinoxes at the positions recorded in the epitaph of the planisphere. The positions of equinoxes originated from the Han dynasty. The 365 ticks around the boundary of the circle of perpetual invisibility were possibly drawn by segmenting the circumference with an arc length instead of a chord length with the ratio of the circumference of a circle to its diameter as accurate as 3.14 presumed. The 12 equatorial sectors were drawn on the boundary of the star-chart in accordance with the beginning and ending lodge angles given in the epitaph that originated from the Han dynasty. The determinative lines for the 28 lunar lodges were drawn to intersect their determinative stars, but seven determinative stars are deviated. According to the treatises of the Tang dynasty, these anomalies were inherited from charts of the period earlier than the Tang dynasty. Thus, the star chart in Cheonsang-yeolcha-bunyajido preserves the old tradition that had existed before the present Chinese tradition reformed in approximately 700 CE. In conclusion, the star chart in Cheonsang-yeolcha-bunyajido shows the sky of the former Han dynasty with the equator modified to the latitude of Seoul.

• Journal of the East Asian Society of Dietary Life
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• v.4 no.1
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• pp.1-18
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• 1994

This study is designed to delve into the measuring systems of different periods so as to help with more exact representations of cultures of different periods. The basis of the measuring system in china stems from the huangjong (Huangzhong : the yellow bell) of the period of Huangdi, the length of the bell being the width of 90 black millet grains. Do (Du : width) ; 1 bun=the width of one black millet grain, 1 Chon=10 Buns, 1 Chuk=10 Chons, 1 Jang=10 Cheoks, 1 In=10 Jangs. Ryang (Lyang : volume) ; 1 Yak=the weight of 1,200 grains in the yellow bell, 1 Hab=2 Yaks, 1Seung=10 habs, 1 Du=10 Seungs, 1 Gok=10 Dus. Hyung (Hung : weight) ; 12 Jus=the weight of 1 Yak, 1Yang=24 Jus are equal 1 Hab in weight, 1 Geun=16 Ryangs, 1 Jo=30 Geuns, 1 Seo=4 Jo. In the era of Eun (In) it was decided that the 9-chon length of the Yellowbell shall be 1 Cheok. The Cheok of Ju was set at 4/5 of the length of the yellow bell. The Cheok of Ju breaks into Yongjocheok, Joryegicheok, Pogeumcheok. Yongjocheok, arising from Rohbancheok of the Ju period, is part of Gokcheok also used as a measuring tool for wooden works. The Han cheok has the same length as the yellow bell. The Sang Cheok is 4/5 of the length of the yellow bell. The Tang Cheok was originally the same as the Sang cheok but became longer and longer to be the Long cheok (31.3cm). The length-measuring system used in the three-nation era of Korea includes the gijeom cheil (35.52cm), Ju cheok (25.45cm), sunje Cheok (23.5cm), the Long Tang Cehok (29.706 cm), making 10 Bun 1 Chon and 10 Chon 1 Cheok. The volume-measuring system(Seung) was 198.81 ㎤ before 681 BC in the shilla Dynasty and was 596.42 ㎤ after that. In the seventh year of Kng Munjong of the Koryo dynasty the standard measuring system with the Long Tang Cheok as its basis was adopted, and the standard volume-measuring tools were used under the name of Migok, Daesodugok, Mijangdu, (29.706 cm), making 10 Bun 1 Chon and 10 Chon 1 Cheok. The volume-measuring system(Seung) was 198.81㎤ before 681 BC in the shilla dynasty and was 596.42 ㎤ after that. In the seventh year of King Munjong of the Koryo dynasty the standard measuring system with the Long Tang Cheok as its basis was adopted, and the standard volume-measuring tools were used under the name of Migok, Daesodugok, Kijangdu, Habseung and gokseok. The 1 Seung volumes of theses toolas were 596,447,927 and 1053㎤, respectively. were called Migok, Daesodugok, Mijangdu, Habseung and Gokseok, being respectively 596,447,927, 1053 ㎤, respectively. In the Chosun Dynasty the length of the Yeongjocheos was 27.6 cm or 31.220 in the Sejong era, 29.8 from Heonjong through Gojong, and 30.3 cm after the 6th year of King Kwangmu, and the volume of Du(Mal) also changed like 4.121 or 5.964, 5.187, 23.08 $\ell$, and the 1-Jeonjung also changed like 2.66 or bout 4, 3.45, 3.75 in line with the changes of the length system.

• Journal of architectural history
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• v.8 no.2 s.19
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• pp.9-32
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• 1999

In order to reveal the source of the architectural norm embodied in the first built-form of ChongMyo's Main Building, three analytic types were introduced into research. According to the level of accepting the architectural form of ChongMyo in the Koryo Dynasty, these types were defined by 'newly interpreted form', 'newly introduced form', and 'coventionally accepted form'. Among the first built-form in ChongMyo's Main Building, the form of 'TaeSil' was newly interpreted on the basis of the Tang's realating norm, and the form of 'HyupSil' was newly introduced according to the contemporary trend that had increasingly regarded it as an indispensible form. But the form of 'IkSil' had the different source, that is, the architectural form of ChongMyo in the Koryo Dynasty. After reconstructed by the King ChungSun, that form had been sustained without any change until the end of Koryo Dynasty. In result, that form had been accepted conventionally at the first time of building ChongMyo in the ChoSon dynasty.

• Journal of the Korean Society of Costume
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• v.32
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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'.

• Journal of the East Asian Society of Dietary Life
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• v.3 no.2
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• pp.15-24
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• 1993

(1) According to the history of three kingdoms, tea was introduced to Korea at the period of Korea at the period of Sun-Duck Queen of Shilla dynasty, and Dae-Ryeom Kim, the emissary, brought tea seeds from Tang China in 828, and sowed them on Mt. Jiri by the order of the King Heung-Duck, Shila. In 1885, The Chosun government took action in transplant 6000 each of tea of tea seeding from Ch'ing. (2) Transmission of schools As for the type of tea through the history of Korea, it could be characterized as cake-tea in the three kingdoms period, lump-tea in Koryo dynasty and leaf-tea in Chosun dynasty. Those were affected by Chinese tea culture. (3) Transfer of tea and tea utensils Kokuryo and Shilla had to import cake-tea from tang China, and Koryo had to import lump-tea from Sung China, and Chosun had to import leaf-tea from ch'ing China. On the other hand, to export various tea to Khitai, Chin, Yuan, and Chosun had to export tea Ch'ing China. And the tea bowl produced in the Sung such as Chien Chou ware and Chi Chou ware, was also introduced to Koryo. (4) Suggestion for the promation of tea industry The Chosun government were adviced to the exchange of Chosun tea for Chosun tea for China horse, by yang Ho, General to the Ming expeditionary forces in Chosun, and were advised to engage in foreign tea trade, by Lee Hong Jyand, minister of commerce for the nothern sea to the Ching.

• The Journal of Korean Philosophical History
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• no.36
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• pp.293-317
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• 2013

The purpose of this paper is to examine the development of the content of Dao-tong during the Tang and Song Dynasties. This paper examines the transition of Dao-tong in the following three stages. First, Han-yu(韓愈) defined that Ren-Yi(仁義) is the content of Dao-tong. Second, Sun-fu(孫復) and other Confucian scholars in the Northern Song Dynasty stipulated that a broader meaning of Confucian Dao is the content of Dao-tong. Third, Qi-song(契嵩) and Dao-xue-jia(道學家) in the Northern Song Dynasty insisted that Zhi-Zhong(執中) should be a content of Dao-tong. This Confucian Orthodoxy is changed into the philosophical theory of human-nature and heart by Dao-xue-jia in the Northern Song Dynasty.

• Journal of Korean Medical classics
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• v.18 no.3 s.30
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• pp.116-125
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• 2005

1) Objective ${\lceil}Wai-Tai-Mi-Yao{\rfloor}$ had been made by Wang-Dao(王燾) in Tang Dynasty(唐朝). It included fumigation therapy and aroma therapy. Therefore we would like to bring out use sphere and detailed method of Fumigation therapy and Aroma therapy in Tang Dynasty and before period. 2) Conclusions (1) Fumigation therapies of ${\lceil}Wai-Tai-Mi-Yao{\rfloor}$ have contained boil and burn. The effects of fumigation therapy are made by cooperation effect of medicine and heat. (2) Aroma therapies of ${\lceil}Wai-Tai-Mi-Yao{\rfloor}$ have been used to cure infectious, internal, psychologic, dental, pediatric, dermatologic and surgical diseases. Especially these therapies have a good effect on cough. (4) Aroma therapies of ${\lceil}Wai-Tai-Mi-Yao{\rfloor}$ have been used to cure infectious, internal, psychologic, dental, ophthalmic, otolaryngologic, obstetrics, gynecologic, dermatologic and surgical diseases. Expecially this therapy has an good effect on nightmare.

• Journal of Korean Medical classics
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• v.26 no.1
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• pp.79-83
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• 2013

Objective : Osim((惡心) stands for nausea which usually precede vomiting(嘔吐). Although it is very common symptom, we can't find the word Osim in some ancient classics. So we tried to find when it had appeared, and what had been its substitute in former medical classics. Material and Methods : The digitalized text in Zhonghuayidian(中華醫典) was used for text search. The text search was performed chronologically. Results : We found that there had been yokto(欲吐), yokgu(欲嘔), geongu(乾嘔), beon(煩), beonsim (煩心), simbeon(心煩), min(悶), ongi(溫氣) as the precedent expression of osim(惡心), which had appeared in Jebyungwonhuron(諸病源候論, 610) for the first time. Conclusion : Until Tang dynasty, there had been kinds of alternative expressions correspond to osim(nausea).

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.685-688
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• 2008

Use the collection of Tang Dynasty warrior's image as a basic, and find the element to use. Analyse the RPG game character image's element, then put the warrior image's element into the game character design's process, in order to find a way to create a new game character.