• Journal of Conservation Science
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• v.36 no.1
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• pp.1-14
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• 2020

This study investigates the crystallinity distribution of ancient silk. Owing to the inherent multi-hierarchical structure of silk protein and the complicated structural changes that occur due to various burial environments, it is challenging but worthwhile to study ancient silk ageing behavior, which is based on the fact that ageing begins with a single fiber and then spreads to a whole fabric. Crystallinity was one of the most effective indicators found to reveal the ageing status of silk. Therefore, a synchrotron radiation-based X-ray diffraction(SR-XRD) method was employed to study the crystallinity distribution of single fibers of ancient silk unearthed from seven archaeological sites in China from historical periods including the warring states, Han dynasty, Song dynasty, and Ming dynasty. In comparison, the conventional X-ray diffraction method, which uses large amounts of samples, was also performed to determine the integral crystallinity of ancient silk. Thermal stability experiments by thermogravimetry(TG) as well as morphology observations by scanning electron microscopy(SEM) and optical microscopy(OM) all confirmed the deterioration of ancient silk. Moreover, the ageing mechanism of ancient silk was proposed with the assistance of an artificial ageing study. The results confirmed the effectiveness of SR-XRD as an ageing indicator, revealing the crystallinity distribution. This research could provide motivation to determine the deterioration status of ancient silk, and would also aid in explaining the fragility of ancient silk due to ageing.

• Journal of Korean Medical classics
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• v.22 no.4
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• pp.177-188
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• 2009

In the chapter "Cheonwon-gidaeron(天元紀大論)" of "Hwangjenaegyeong(黃帝內經)", Lee-Gyujun(李圭晙) corrected "heaven has the rule of six and earth has the rule of five[天六地五]" to "heaven has the rule of five and earth has the rule of six[天五地六]", and "sovereign fire is bright[君火以明]" to "sovereign fire is summoning[君火以召]", which changes the meaning of the rule of circulation of the heaven and earth. Considering the context and many scholars' opinions, it was suggested that "sovereign fire naming[君火以名]" which was noted from Tang dynasty to Jin & Wen dynasty was corrected to "sovereign fire is bright[君火以明]" over Ming dynasty. In the corrections of Wangbing(王冰)'s Plain Questions, the sentence is written as "sovereign fire naming[君火以名]". The two characters, '明' and '名' are hardly similar in both shape and meaning, that it is only plausible to assume that it was mistaken for '召'. Consequently, we corrected "sovereign fire is bright[君火以明]" to "sovereign fire is summoning[君火以召]". And "sovereign fire is summoning, ministerial fire is locating[君火以召, 相火以位]", it raise "the rule of five and six is combined together[五六相合]". "The rule of five and six is combined together' means 'heaven's number of five" coincide "earth's number of six", and it says former times before dividing up and down.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.61-70
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• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• Korean Journal of Human Ecology
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• v.5 no.2
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• pp.101-118
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• 2002

This study focuses on the ideas that Chok-Du-Ri(족두리)ㆍHwa-Gwan(화관) are mentioned a substitute preventing abuses of luxury mood by Gache(가채) as the sharpest social problem at that time. First, the origin of Chok-Du-Ri(족두리) was introduced from Ko-Ko-Gwan(고고관) of Mongo(몽고) in Korea dynasty, then was linked to Chosun. That is, Ko-Ko(고고) started from headgear reflecting spiritual view of the northen people, its size was getting smaller passing through Ming(명) dynasty, its essential decoration changed and it carried out Jeon-Ja(전자) remaining decoration nature by real accessories, then it might be descended to Chosun. Second, Hwa-Gwan(화관) is very different from Nanaec(난액) of Chosun Dynasty Records, rather Jeonia, the original form of Chok-Du-Ri, is more similar to it. Third, its decoration like color, jewel, pattern etc influenced wishes of this life like sex, prosperity, glory, longevity, blessing, wealth and fame. Fourth, Chok-Du-Ri(족두리) was restored a substitute for Gache(가채), it was accessory for preventing luxury life, besides it was modeled from headgear in China, Chosun people had it. It is worthwhile as it was based on Chosun Sinocentrism(조선중화주의) in the latter period of Chosun and made it the fruit of that age. Moreover, in those days Qing(청) society accepted the advanced culture and institutional profit of Qing(청) actually, social mood is that home and overseas policy was corrected in many parts, Chok-Du-RiㆍHwa-Gwan were mentioned a substitute of Gache, symbol of luxury. It shows one part of Practical Thougth that abolishes vanity and affectation and makes useful profits in the latter period of Chosun.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.114-159
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• 2012

The Northern Song Dynasty Period (北宋時代) was a drastic transitional era in all aspect of Chinese society including the politico-economic system, ideology and cultural trait. These changes that began in the late Tang (唐) Dynasty Period accomplished in the Northern Song Dynasty. In this phase, the fundamental change influenced in all institutional area; and among them, the capital city planning and its associating building technology to pile stone walls shows one of the significant change of those time. Based on the geographical factor, confluences of many rivers, the Kaifeing (開封) area where the BianLieng palace had developed as a political and economical centre since the Tang Dynasty when the Grand Canal was constructed. According to archaeological researches, the central city structure of Dongjing Walled Town was begun to plan in the late Tang Dynasty and formed in Five Dynasties. The fundamental functional change of city completed in the Midnorthern Song Dynasty. In spite of the relatively late beginning of archaeological investigations to Kaifeng Walled Town and Dongjing Walled Town due to unfavourable natural environment, excavations inaugurated since 1981 have achieved the significant investigations including the actual measurement and excavation to the outer wall, the preliminary excavation to the inner city area, the investigation and excavation to the royal palace of Song and the survey to the royal palace of King Zho in the Ming (明) Dynasty. These surveys have provide important data to reconstruct the 변량 palace, and elucidate the characteristics of city plan in the Dongjing Walled Town and the institutional change of capital city plan of the Northern Song Dynasty. The basic layout of Dongjing Walled Town reflect the realisation of ideality of the late Chinese medieval capital city structure that establish the commercial and economic centre based on the intensification of emperor's power by means of the organisation of ethical institution and the development of commercial economy. Firstly, the central place of the Kaifeng area is encircled with triple walls. This emphasise the authority of emperor located on the summit in the hierarchical ethic system succeeding to the main capital city plan of the late phase of ancient China. Secondly, the location of Dongjing Walled Town was decided by the transport network and the commercial function and defence function. Thirdly, this site shows the change of city structure and landscape of the Northern Song Dynasty. The closed Fengri (坊里: block) system transferred the open Jiexiang (街巷: road) system. Fourthly, the capital city was characterised by the free market trade and the diversification of market place. Fifthly, a convenient transport network in the Bian River, a centre of the Grand Canals, enabled to construct the Kaifeng Walled Town. Therefore, the Northern Song Dynasty continuously accomplished the developed water system as concerning about the utilisation of waterways after the construction of city.

• Cartoon and Animation Studies
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• s.29
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• pp.61-75
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• 2012

The essay explores the narrative structure of the classical Chinese feature animation, (a.k.a. Da Nao Tian Gong, 1964). The film is presented with a modular structure which is quite unique compared with the storytelling in feature animated films from other cultures, but could be connected with the tradition narrative structure in Chinese Zhanghui style novels in Ming and Qing Dynasty. By relating the original text of the story, the 16th century novel Journey to the West (a.k.a. Xi You Ji), with the film , the essay addresses the question of how the narrative tradition in Chinese classical literature influenced the Uproar in Heave for its segment narrative structure, character driven storytelling strategy and mirrored repetitive 2 plot lines. The subject of this essay is even more significant after the restored 3D version of was re-released in the spring of 2012 and became one of the best-selling animated feature film in the history of the country.

• 중국학논총
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• no.68
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• pp.235-251
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• 2020

This study collected and intensively analyzed the works and remains in Namwon(南原) province by Liu Ting(劉綎) of Ming Dynasty during the Imjin War (the Japanese invasion in 1592-1598; 壬辰倭亂). Liu Ting engraved characters on the rocks as passing by the Yeowon hill(女院峙) twice. A local official of Namwon built a memorial stone at the guest residence of Namwon district to appreciate the contribution of Liu Ting to care for the local people. During the second Japanese invasion in 1597-1598(丁酉再亂), Liu Ting often climbed up the Yongdu pavilion(龍頭亭) located at Mt. Yongtu(龍鬪山) and fell in love with the splendid scenery while enjoying fishing at Jogi(釣磯). Immediately after the war, Liu Ting renovated the Guanwang Shrine(關王廟) in Namwon and built the memorial stone claiming that he defeated the Japanese army with the divine power from Guanyu(關羽).

• The Journal of Korean Medical History
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• v.18 no.1
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• pp.49-63
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• 2005

Man-Byeong-Hoi-Chun(萬病回春) is the principal book of Gong Tingxian who was a physician in the time of Ming(明) dynasty. It has been widely used in Korea and Japan. We recently analyzed the case reports in the book and found that he made some prescriptions by day and night separately. The method was based on the Jo-Seok-Bo-Beop(朝夕補法) by 薛己. We thought that it was an important key to his ideas in medicine. So we reviewed the origin and the basic principles of Jo-Seok-Bo-Beop and considered the clinical usages.

• Journal of the Korean Society of Costume
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• v.9
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• pp.89-106
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• 1985

The peony patterns represent one of decorative designs with their fortunate and auspicious implications. The pattern emerged first from T'ang Dynasty, flourished during the periods of Sung and $Y\ddot{u}an$ in China, and then was introduced to Korea and Japan. For the purpose of systematizing the development of the pattern, this thesis is about the process of formation and various changes in peony patterns. It examines in general the literatures and the craft works, such as textiles, lacquer wares, chinas and porcelains, and metals. The characteristics of peony patterns are dealt respectively in this study about T'ang, Sung, $Y\ddot{u}an$, Ming and Ch'ing Dynasties of China, Shila, Korea, Chosun, of Korea, and Nara, Haian, Kamakura, Muromachi, MomoYama, Aedo of Japan.