• Journal of the Korean Society of Clothing and Textiles
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• v.14 no.2
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• pp.164-176
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• 1990

Kok-Ryung covers the collar of underwear and protects the neck. It is between outer garment and underwear and its form is bent. According to literature, Cheom-Yu, Keup, and Pang-Ryung belong to Kok-Ryung. Kok­Ryung was used in Yemaek and also it was used as a part of the uniform of government officer in Song Dynasty. The results of the study were as follows: 1) With the changes of the times, Cheom-Yu was used in Ju Dynasty, Pang-Ryung was used in Han Dynasty, and Kok-Ryung was used from Nam-Jo through Soo, Tang, Song Dynasity. 2) Cheom-yu, Pang-Ryung, and Kok-Ryung were all made of long rectangular cloth. How­ever, Chemo-Yu and Pang-Ryung were adjusted in front of the neck, Kok-Ryung was adjusted on the back. 3) The purpose of Kok-Ryung was practial one of sweat clothes at first. But it became for decoration and dignity gradually. Therefore, the users of it were changed from the common people to high government officers. 4) Cheom-Yu, Po-Ryung, Keup, and Pang-Ryung were all a kind of scarf and they are the same with Kok-Ryung in the respect. They were put on between outer garment and underwear or attached under the collar of outer garment. 5) Kok-Ryung of Song-Sa seems to be the round collar the uniform of government officers and it is different from Kok-Ryung of Suk-Myung.

• The Journal of Internal Korean Medicine
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• v.21 no.1
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• pp.55-64
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• 2000

Objectives : this project is to find the developmental possibility of medialcohol theraphy Methods : the investigation was made by finding older oriental medicine books about the medialcohol threraphy from QuinHan Dynasty to this current published Results ; in the QinHan Dynasy. the using was so popular and various in the medicine part at the Han Dynasty especially. in the BeiWei dynasty, the making method, experience and principle was very detailed in records. new medialcohol appeared besides the making method, maintenance and development of the medialcohol before the Tang Dynasty. and the taking method was also presented at that time. in the Song Dynasty, the kinds and practical applications were magnified exactly. the treatment by medialcohol was applicated in various parts. in the MingQing Dynasty, so many doctors maintained the elder doctor, experiences and created the new prescription about the medialcohol Conclusions: the effective results were shown the possibility of development in the classification result about the medialcohol for the longevity and invigoration effect and for the antitumor effect and for antistroke effect.

• The Journal of Internal Korean Medicine
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• v.1 no.1
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• pp.78-84
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• 1976

The SIB ZUN DAE BO TANG is one of the prevailing tonics appeared at first time on TAE PYUNG HOE MIN HAW ZE GUK BANG in Song’s dynasty and have been widely used up to now. To observe the metabolic effects of Thioacetamide from the SIB ZUN DAE BO TANG, the following experiment was performed. 1. The activation of G.O.T. and G.P.T. to blood serum have been decreased when Thioacetamide was administrated into the rabbit. 2. The coefficiency of the SIB JUN DAE BO TANG appears in 3 hours after administrate and it decreases gradually along with it’s time(1st, 2nd, 3rd day) but the coefficiency of the G.P.T. was more apparent on 2nd, 3rd and 5th day. 3. When administrating Thioacetamide, the total amount of cholesterol grows rapidly up to 3rd day and it continuously grows after the 3rd day. But when administrating SIB ZUN DAE BO TANG, the cholesterol amount in blood grows up to 3rd day, but it decreases gradually after it on the other day. The conclusion of the above experiments shows that the prescription (SIB ZUN DAE BO TANG) improves the metabolic deficiency and the recovery and remedy of diseases.

• Korean Journal of Human Ecology
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• v.18 no.3
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• pp.799-807
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• 2009

When analyzing make-up trends of figures shown in portraits of different eras in Chinese painting history, you can see that red color was used much. This can be because the red color is the most outstanding among all the colors and was most preferred by ancient people, as the color of the sun, the blood, and the sacredness. The women in the Tang Dynasty was especially using the red color much. Though Seongrihak (Neo-Confucianism) in Song Dynasty was the governing ideology, it had an influence even upon its aesthetics. Thus, during Song Dynasty, the beauty of logos appeared too. This phenomenon showed a conservative tendency even in make-up as well as in costume, thereby the concept of clear and elegant beauty was emphasized. The real figure in the Ming and Ching Dynasty, was so young and weak as a sample of a delicate woman that a woman who had feminine beauty was regarded as an ideal type. The feminine image had been gradually generalized from the literary works in the latter half of Ming Dynasty. However, the painters in the era still preferred the beauty of a healthy woman. That tendency probably had an influence even upon make-up culture that was shown in portrait. As an analysis result of make-up culture in Chinese portrait paintings, it reveals that ancient make-up trends much reflected the social and cultural phenomena of the periods.

• Journal of Korean Medical classics
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• v.20 no.2
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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.

• Korean Journal of Human Ecology
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• v.13 no.4
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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.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.78-103
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• 2016

This research is a study on the side framework structure of the hipped and gable roof of Muryangsujeon at Buseoksa Temple. There is a record that Muryangsujeon was deconstructed and repaired in the period of Japanese Occupancy, and its authenticity has continuously been called into question because the structure of the hipped and gable side roofs, and the bonding of the rafters and eaves were not in good order and very different from those of Joseon Dynasty. Scholars date it differently. It is either dated at 13th century or 12th century. This study compares the non-planar configuration of the middle and front proportions of Muryangsujeon's hipped-and-gable-roof framework with those of the Tang(唐) and Song(宋) Dynasties in China. It concludes that the hipped-and-gable-roof framework of those architecture were built with the same technique. The style of architecture that side rafters directly touch the internal security (梁), like in Muryangsujeon, is not usual even among the hipped and garble roofs of the Tang(唐) and Song(宋) Dynasties. The technique of constructing the hipped roofs developed much further after the Tang Dynasty because they began to use garble eaves to build the side structure. The technique seems to have developed greatly by the period of Ming and Qing Dynasties. It also seems that the parallel-flat (平行輻射椽) rafter, which is the form of rafters used between the parallelrafter period and the half-flat-rafter period is very similar to the construction style of the current rafters of Muryangsujeon. However, the Muryangsujeon's eaves do not touch the corner rafter from the middle part. This seems to be a unique style, which is not common in China. In conclusion, the style of the side roof framework of Muryangsujeon at Buseoksa Temple is not of the China's southern regions, but of the northern regions of Tang(唐), Song(宋) and Liao(遼) Dynasties. And when considering the construction year and proportions of the middle front and side front on the same flat, this must be an ancient technique of the northeastern regions of Asia. Since it is likely that the structure of the side roof framework of Muryangsujeon at Buseoksa Temple has not been altered but is a unique style of hipped and gable roofs, this roof can serve as a good guide to restoring the hipped and garble roofs of the pre-Goyreo Dynasty period.

• (The)Study of the Eastern Classic
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• no.37
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• pp.189-216
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• 2009

The poem Song of Eight Drunken Celestials by Du Fu(杜甫) of the Tang Dynasty was one of the most favored theme by many painters through the Song, the Yuan, the Ming and the Qing Dynasty, as well as in Korea Chosun Dynasty and in Japan. This paper focuses on the paintings depicting Song of Eight Drunken Celestials by Wu Qiu(尤求) of the Ming Dynasty, Kim Hongdo (金弘道) of the Chosun Dynasty and Kaiho Yusho(海北友松) of Japan Momoyama Period, makes a comparative study of them. And also focuses on two preface and a postscript to the painting Eight Drunken Celestials by Yi Dukmu(李德懋), Park Jega(朴齊家) and Yi Bongwhuan(李鳳煥) of the Chosun Dynasty, makes a comparative study of them. This study helps us understand the repetition and the differences between the poem as an Ur-text and the paintings and the prose about the painting as the parody texts.

• The Journal of Korean Medical History
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• v.16 no.1
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• pp.39-62
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• 2003

${\ll}$OhJangYukBuDo五臟六腑圖${\gg}$ is the Book Name which was recorded in "Euibangyoochui醫方類聚", and the Author had been clarified as "HoEum胡愔" in accordance with those books likely as "New Records of Tang Dynasty新唐書", "History of Song Dynasty宋史" The said "HoEum" had displayed her activity at the Age of Tang Dynasty, as a Female-Physician also a Female taoist, who retired to hermitage in Mount Taebaek. As being perceived the abstruse reasons in those scriptures named "Hwang Jung Kyung黃庭經" and "Koodo(舊圖)", she composed the book at Daejung 4th Year of King Sun, namely AD 848 named "HwangJungNaeKyungOhJangYukBuBoSaDo ${\ll}$黃庭內景五臟六腑補瀉圖${\gg}$ ".

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.31-42
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• 2000

This study investigated the history of whakwan (crown, 화관(花冠)) and classified the types of whakwan accordint to its structure. Whakwan seemed to originate from the custome of sticking flowers in the hair which was the reflection of human desire of pursuing the beauty . The whakwan fist appeared in the Oriental painting during the Tang period and became fashionable is Song. It is not clear when whakwan was introduced into Korea, but is assumed to be greatly influenced by the Song whakwan. The Korean record on whakwan showed on whakwan showed fro the fist time in the reign of Kimg Sejong and whakwan was used for the costume of a dancing boy. Through the present type of whakwan appeared only one in the painting of the reign of King Seonjo, there are a number of whakwans in the lattern part of the Chosun dynasty, Now there exist three types of whakwan in Korea. The first type is similar to that of Chokduri in decoration . But it was made of paper, had the double structures of inner and outer part and was decorated by Yangkwan's vertical lines of gilt paper. The second type is the whakwan made of artifical flowers with various color cords and was widely used in Geesung and Pyungyang regions. Finally, though the third type is similar to Sabangkwan, its outside was decorated gaudilly iby Dangchae (colorful painting ) and it was assumed that dancing bodys put it on their head for various banquets. Out of these three types, the first is most representative , Black was the popularly used color for the first type and this type was used either for brides on wedding ceremonies or for shamans or palace dancers. The second type was widely used in Gaesung and Pyungyang regions. But the differences in the shape of whakwan of the two regions showed the regional characteristics of traditional costumes in Korea. The third type was most likely to be used in the dance for palace banquets, but it is necessary to further investigate whether shamans actually wore this type of whakwan.