• Journal of architectural history
• /
• v.30 no.3
• /
• pp.21-31
• /
• 2021

This paper studied the Pingzuo(平坐) platform structure of the two story building covered with one roof during the early period of Tang dynasty, based on wall paintings, stone pagodas, brick buildings and wooden buildings might be influenced by the Tang style. Instead of Chazhuzao(叉柱造), the typical column linkage in the Song, Liao and Jin buildings, it put the boundary column just behind the wall of a bracket set. Otherwise, the column root might be seen from outside, because its bracket set was still using Touxinzao(偸心造) which did not have a lateral arm on it. And its flooring structure was also different from the Song style, it used cantilever beams instead of lateral beams supported by bracket sets.

• Journal of architectural history
• /
• v.20 no.6
• /
• pp.115-129
• /
• 2011

The bracket sets which are supporting the weight of the roof, has to meet both requirements which are structural functions and act as an ornamental element. Therefore the bracket sets differ in many types from time and space and has done an important role in the history of architecture with many studies being presented. The first form of the bracket set has been found in the bronze table relics in zhong shan wang ling (中山王陵). Through the Eastern Han dynasty (A.D. 25-220) it became more specific in the shique (石闕) and huaxiangshi (畵像石) in the Han dynasty (206 B.C.-A.D. 220). Afterwards, as Buddhism was introduced to China, the bracket construction techniques shown in the Mogao Caves, Yungang Grottoes, and Longmen Grottoes has given much help for understanding the building techniques of wooden architecture. Especially the Xia-ang structure seen in the Mogao caves shows a vast development in wooden structure and a typical building would be the main hall of Fo Guang Shan monastery in Mt. Wutaishan from the Tang dynasty (A.D. 618-907). This accumulated techniques is inscribed in the 'Ying Zao Fa Shi (營造法式)' wooden structure designs which was published during the Northern Song dynasty (A.D. 960-1127) and many buildings were constructed following this technique after the publication. During this period, it is assumed that Baek-jae (B.C.18-A.D.660) in the Korean peninsula also used the Xia-ang technique, but there havn't been many studies on this field. In this thesis it is introducing the development of the building techniques and structural features of the Xia-ang wooden architecture during the Tang and Song dynasty.

• The Journal of Korean Philosophical History
• /
• no.36
• /
• pp.293-317
• /
• 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 the Korea Fashion and Costume Design Association
• /
• v.14 no.4
• /
• pp.63-72
• /
• 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 the Korean Society of Costume
• /
• v.57 no.7
• /
• pp.84-97
• /
• 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.

• Journal of architectural history
• /
• v.18 no.2
• /
• pp.27-45
• /
• 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.

• (The)Study of the Eastern Classic
• /
• no.62
• /
• pp.67-85
• /
• 2016

This paper review literary trend in the late Yuan and the early Ming dynasty and the position of Song lian 宋濂's literature in that time. Analyzing his literary theory chronologically, this paper were able to reveal that Song lian had falled into ancient prose of the Chin and Han dynasty for a long time. He have been symply summarized as a confucian literary man, but he could not extricate himself from ancient prose during youth and his manhood. It was only after that he met his teacher Huang jin 黃? and withdrew into the six confucian classics and began to have a view of literature based in confusian. But he still wasn't able to rid himself of the temptation of ancient prose. At the age of fifty, assisting Zhu Yuanzhang 朱元璋 in founding Ming dynasty, he's built up his own view of literature based in the Six Confucian Classics 六經, confucian scholars during the Song dynasty, ancient prose of the Tang and Song dynasty like as Hanyu 韓愈 and Ouyang Xiu 歐陽脩's works. In short, undergoing a complete transformation individually and historically through a tumultuous period of the late Yuan and the early Ming, Song lian could establish his own view of literature based in confusian and present ideological coordinates and a new model of the Ming literature.

• Journal of the Korean Society of Costume
• /
• v.18
• /
• pp.211-223
• /
• 1992

The results of the researches in the wig and the Boyo are as follows. The wig is to be classified into Bu, Pyun, Chah, Cheh, and kwik, Bu is an ornamental hairpin used by the empress, and it is decorated with Boyo. Pyun is a wig made of braided hair. Chah is made of Bal which is put together by its lenath, and it was also called Picheh or Pisuck. It is made, one by one, of hair of the convicts and the low-class people. 초도 has a meaning of toupee, and it is used to look beautiful with its thick black hair. Kwik is a wig made of hair as if it is weaved out of thread, and it is rounded with a wire. In ancient times, it was also called chah, Pi, or Pi People wore different wigs according to their class and the use, in order of Bu, Pyun, and Chah. There are remains of the Han Dynasty. Boyo, just like the wig, was originally a custom of the northern nomadic tribes which had been introduced to the later Han Dynasty. It is also called Cho Song and has a different meaning from the Boyo attached to a crown before the Han Dynasty. It became much more beautiful in the Which in period. Boyo gained its popularity by the women in Tang Dynasty, which is due to the influence by the customs of the western Ho tribe. The name of hairstyling using wigs in each period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its properity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found. times, it was also called chah, Pr, or period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing, it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its prosperity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found.

• The Journal of Korean Medical History
• /
• v.15 no.1
• /
• pp.11-24
• /
• 2002

First, during Jin and Sui dynasty, It is possible that the theory of the contraindications of needling according to whereabouts of the self-guarding energy and demon, affected considerably to the practise of acupuncture and moxibustion, but the detailed situations are unknown. Only, there are some records of the process about circulation of the self-guarding energy and demon by a periodicity of 30 days in the "The prescriptions of Fan-Wang" by Fan-Wang in Jin dynasty and "Hua Tuo Fa" by a nameless person. But the theory differs form the theory of "Huang Di Xia Mo Jing" in some respect. Also, there is the contraindications of needling to abscesses according to whereabouts of the self-guarding energy and demon by every year in the "Liu Juan Zi Gui Yi Fang". but the book has no specific rule in use. Second, during Tang dynasty there were a vasty development on the contraindications of needling according to whereabouts of the self-guarding energy and demon. In the medical works in Tang dynasty, the contents of the contraindications of needling are included in various periodicities and directions such as 12 regions according to the year, 9 regions according to the year, 9 palaces in the body according to the year, whereabouts of the self-guarding energy and demon according the four seasons, every 10 days, every 12 days, every 30 days, and every dozen hours. Also, during Tang dynasty period, the contraindications of needling according to whereabouts of the self-guarding energy and demon were formulated through several adjustments and modifications by many medical scholars. Third, the period between Jin and Tang dynasty, because of historical situations, the documentary data are insufficient in the study of the recommendations and contraindications on the acupuncture, moxibution, and herb medicine according to the specific days and times. And the detailed informations are unknown. Only but once in Tang dynasty the considerable and theoretical adjustments were performed in the "Qian Jin Yao Fang". In Song dynasty, there were also much theoretical fluctuations in the study of the choice of the favorable or the injurious days and times or directions in the acupuncture, moxibustion and the prescription and processing of herbs. Fourth, contraindications on the acupuncture, moxibution, and herb medicine did not include acute and serious disease among the effect province, only include chronic and not serious disease. If the doctors had treated a surgical patients and abscess patients with deeply attached contraindications on the acupuncture, moxibution, and herb medicine, the patients would have became more serious. So the theory was not used for treatment by doctor.

• Journal of Society of Preventive Korean Medicine
• /
• v.26 no.3
• /
• pp.59-71
• /
• 2022

Objective : This study examines the historical changes of Ssangwha-'tang', traditional restorative medicine, to a type of tea in tea rooms(Da-bang) named Ssangwha-'cha' in the modern era in South Korea. The goal is to understand how traditional Korean medical culture has been related to the food culture of everyday life. Method : We analyzed traditional medical texts, newspaper articles and advertisements, literary works, and folk song lyrics in which Ssangwha-tang and Ssangwha-cha are mentioned. Results : Ssangwha-tang used to be mentioned as a medicine to tonify 'Yang' energy(Bo-yang) in traditional medical texts from the late Goryeo dynasty to the mid-Joseon dynasty. Since the late Joseon dynasty, it has also been prescribed for cold, as the tonifying method(Bo-beop) gradually prevailed from the royal family to the public. Since then, Ssangwha-tang has been more popular with the public, with the emergence of the patent medicine(Mae-yak) market since the Opening port period and the Colonial period. As the number of Da-bang sharply increased nationwide amid the period of the country's liberation, Ssangwha-tang has been included in the Da-bang menu served as Ssangwha-cha, corresponding to the increasing demands of the public and government policy that tends to favor traditional beverages over coffee. Conclusion : The historical process in which Sssangwha-tang, a type of herbal medicine, became also considered as tea, Ssangwha-cha, provides an example of how Korean traditional medical culture emphasizing the tonification of the body is interconnected with the daily lives of the public and food culture.