• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.2
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• pp.244-255
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• 2023

Patterns abstractly depicting flowing water with Chinese characters such as gong, wan(man), or wang continued endlessly and curved water patterns began appearing on textiles during the Song Dynasty. Though Song curved water patterns encompassed poetic sentiments such as "falling flowers and flowing water," the meaning faded with time, and these patterns were depicted in backgrounds with flowers added to brocade (Geum-sang-cheom-hwa). During the Ming and Qing Dynasties, combinations of diverse patterns, including flowers, butterflies, dragons, and auspicious treasures became fashionable, rather than the gong- and wan-shaped curved water patterns. Likewise, during the Joseon Dynasty, curved water patterns were preferred as background rather than as primary patterns. They were overlaid with flowers and clouds. The overlaid flower patterns included four-season flower patterns (17th-18th centuries), round flower patterns (19th century), and large flower patterns (20th century), which were identical to flower patterns fashionable at the time and arranged at intervals on complex curved water pattern backgrounds. In contrast, simple Ruyi types were more numerous than the four-Ruyi types fashionable at the time with regard to cloud patterns. Added here were Taiji (great ultimate symbol) or crane patterns, thus seeking to depict diverse auspicious Ruyi such as wish fulfillment and longevity.

• Journal of Korean Medical classics
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• v.32 no.1
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• pp.159-169
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• 2019

Objectives : As for the effect of Polygonum multiflorum on malaria treatment, this study analyzed the characteristics of Herenyin use in Korea and the contents mentioned in major Herbs books of the past. Methods : This study searched, collected and analyzed in the literature and data DB including the contents in herbs books on the treatment of malaria with Polygonum multiflorum, and the contents of various medical books about Herenyin used in Korea, etc. Results :Since Ming and Qing dynasties, Polygonum multiflorum was used mainly for patients with malaria, whose vitality gets weakened with time. Such effects are described in numerous Herbs books. Herenyin, consisting of major medicinal materials of Polygonum multiflorum and ginseng, was also frequently used in malaria treatment in Korea in late Joseon, rather than in China since it was listed in "Jingyuequanshu". Conclusions : Based on the mechanism studies of Polygonum multiflorum with malaria treatment effects and the study of malaria treatment medication including Polygonum multiflorum, it is hoped that the development of new therapies for complete eradication of malaria will be made in the future.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.34 no.5
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• pp.173-180
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• 2024

The Forbidden City in Beijing, China, served as the imperial palace and was a significant political and cultural center during the Ming and Qing dynasties. The complex architectural structure and artistic, symbolic elements of the Forbidden City continue to inspire modern artists and designers. However, there has been relatively little research on developing jewelry designs inspired by the Forbidden City, particularly in terms of color, form, and other elements. This study selected six major buildings from the Forbidden City and analyzed their exteriors and patterns, creating sketches based on this analysis. The colors were analyzed using the HSB color model. The research used the analyzed forms (double-eaved hipped roof, double-eaves gable and hip roof, and single-eaved hipped roof with four ridges), decorations (dragon patterns, three intersecting six-petal lattice), and color differences, the Hall of Supreme Harmony bracelet, Hall of Preserving Harmony earrings, and Hall of Central Harmony ring were completed. The study reinterprets the historical value and artistic beauty of the Forbidden City through contemporary jewelry design, presenting a new design paradigm that harmonizes tradition and modernity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.42 no.2
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• pp.20-32
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• 2024

The purpose of this study was to divide cultural assets distributed in Shandong Province, China into five periods and identify the spatial distribution of each cultural asset type and its relationship with the natural environment, such as elevation, slope, and water system. As a result of the study, cultural properties before the Jin dynasty had a high distribution ratio of urban relics such as villages and tombs, and in Jin·Han~Su·Tang dynasty, tombs, ruins, stone caves, and stone carvings. In the Song and Yuan dynasties, there were many cultural properties such as relics, architectural and landscape cultural properties, and in the Ming and Qing dynasties, there were many cultural properties such as buildings, and they were more spatially distributed and distributed. After the Qing Dynasty, commemorative sites, political and defense-related buildings were distributed throughout Shandong, and many cultural assets were located in coastal cities on the east side of Shandong Province. It was found that the types of cultural assets were influenced not only by the social environment of each era but also by the natural environment. Except for cultural assets related to religion, such as grottoes and stone carvings, most cultural assets were located at low elevations and low slopes, and cultural assets were often distributed within 5km of water systems.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.94-113
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• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.130-138
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• 2014

This study aimed to grasp Feng Shui Geographical Thought appears in layout, Axial symmetry, hierarchical planning, spatial composition and hidden design techniques of Chinese Garden, that is "Xue effect", "Long-Sha effect" and "Shuikou effect", and to study on expression in Landscape Space. The Author selected the Chinese courtyard and the Nets Garden as the object to prove the Layout landscaping techniques; and selected Beijing in Ming and Qing Dynasties and the Forbidden City, A square design in Xuanwei as the object to prove the Axial Symmetrical and Hierarchical landscaping techniques, and also selected the Lingering G-arden and the Gentle Waves Pavilion, Humble Administrator's Garden in Suzhou, and Nanhu Park in Taian as the object to prove the Spatial Composition and Hidden design techniques. The methods of this article is combined Literature survey and Field survey with Case analysis to draw the conclusions as follows: First, "Xue effect" of Chinese Feng Shui Geographical Thought is suitable for the layout of Chinese courtyard and the Nets Garden in Suzhou; Second, "Long-Sha effect" is suitable for the urban planning of Beijing in Ming and Qing Dynasty, and the layout of the Forbidden City, by the city square design in Xuanwei, we can see that it is also suitable for Chinese modern landscape design; Third, "Shuikou effect" is appeared in the Spatial Composition and Hidden design techniques. All of these landscape design techniques are commonly used in China's modern landscape. It has been proved by the analysis of the Lingering Garden and the Gentle Waves Pavilion, Humble Administrator's Garden in Suzhou, and Nanhu Park in Taian.

• 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.

• Journal of Ginseng Culture
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• v.3
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• pp.119-131
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• 2021

The purpose of this study was to explore the characteristics of and solution to thermogenic reactions to Korean ginseng through bibliographic research. A review of bibliography on the thermogenic reaction induced by ginseng indicated that people who lack fluids, have fever in lungs, a stuffy chest, coughing up sputum, a strong pulse, and constipation due to fever in the stomach may exhibit such a reaction. In the herbal medicine book of the Qing Dynasty, Bon-Cho-Jeong-Ui (本草正義) recorded that wild simulated ginseng is slightly cold and replenishes the body's liquid reserves. The book also describes the field cultivated ginseng is slightly warm and enhancing stamina. Bon-Kyung-Bong-Won (本經逢源), Bon-Cho-Pyon-Dok (本草便讀), and Bon-Cho-Jeong-Ui were published authors in the Qing Dynasty, and they explained that ginseng fine root is bitter, supplements bodily fluids, and can be easily ingested because it is cold. Wol-Ji-In-Sam-Jeon (月池人蔘傳) and Bon-Cho-Bi-Yo (本草備要) described fresh ginseng assweet, bitter, and slightly cold in the Ming and Qing Dynasties, respectively. On the basis of this bibliographic description, the thermogenic reaction induced by Korean ginseng can be overcome by using ginseng fine root, fresh ginseng, or wild simulated ginseng. These ginseng radices are slightly cool, replenish human bodily fluids, and show the physiological effects of easy ingestion properties.

• Journal of Korean Medical classics
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• v.31 no.3
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• pp.77-97
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• 2018

Objectives : Qianjinyifang Shanghan is an important versions of Shanghanlun, but it was never introduced widely, and studies on its were not done a lot. Thus, the author seeks to study this book in order to find its special features, its relationship with other versions of Shanghanlun, and its status in the process of the transmission of Shanghanlun. Methods : Dissertations on Qianjinyifang Shanghan and dissertations that compare Yuhanben and Songben were studied. Sentences were numbered based on Qianjinyifang Shanghan, Tangbenshanghanlunjiaozhu to compare with other versions of Shanghanlun. Results : Sunsimiao brought the changes of "以法方類證, 方證同條 比類相附" in Shanghanlun. It organized Taiyangbing chapters according to their decoction pattern, and made Taiyangbing chapter name as "太陽病用${\cdots}$湯法". Chì shi ye was placed in front of Taiyangbìngyongguizhitangfa. Jueyinbing and Liouhuibing were combined to one that were seperated in Yuhanben. Shanghanyiji titlel was put in front of Yijipian to distinguish clearly from Sanyinsanyangpian. Sanyinsanyangpian and Yijipian contains many sentences that are missing in Songben. Conclusions : Qianjinyifang Shanghan is one of the major Shanghanluns that were saved by Jiaozhengyishuju I Northern Song Period, and it was put together as an independent book after the Ming and Qing dynasties. It plays an important role in the process of the transmission of Shanghanlun in 800 years, through 3C, 7C, and 11C. Moreover, when we compare the three books of Qianjinyifang Shanghan, Yuhanben, and Songben's Sanyinsanyangpian and Yijipian's sentences, we could know that they began from a common original text, but they became branched, and Qianjinyifang Shanghan has a closer relationship with Yuhanben. Sanyinsanyangpian and Yijipian sentences can serve to supplement what is missing in today's Songben.