• 한국의사학회지
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• 제29권2호
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• pp.17-33
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• 2016

Objectives : The goal of this paper is to verify the hypothesis that the diagrams of liver from MingTangZangFuTu (明堂臟腑圖) were derived from ZangFu diagrams (臟腑圖) before northern Song Ages. Methods : The difference of form of liver was analyzed by means of 4 factors, e.g. shape, number, veins and a petiole of leafs, in diagrams from YanLuoZiNeiJingTu [煙蘿子內境圖], OuXiFanWuZangTu [歐希範五臟圖], CunZhenTu [存眞圖], MingTangZangFuTu and ones of liver from Taoism and MingTangZangFuTu. Results : Diagrams of whole body and liver from MingTangZangFuTu were first found in ZhenJiuJuYing (鍼灸聚英). Among them, lobed shape was first found in YanLuoZiNeiJingTu (in Wudai [五代]), a petiole in OuXiFanWuZangTu (northern Song Ages) and 7 leafs in WuZangLiuFuTu (五臟六腑圖. from Tang (唐) Ages to early northern Song Ages. unknown author.), one of references of UiBangNyuChwi (醫方類聚) (1455). However, veins of leafs were drawn in no diagrams. Conclusions : In diagrams of liver from MingTangZangFuTu, shape and a petiole of leafs were based on diagrams of ZangFu before northern Song Ages, but 7 leafs came from WuZangLiuFuTu. However, veins of leafs were not derived from any diagrams in same period.

• 한국의사학회지
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• 제30권2호
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• pp.101-118
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• 2017

Purpose : This paper explores the extent to which ZangFu diagrams made after Northern Song Dynasty were influenced by ZangFu diagrams made before Northern Song Dynasty, and how diagrams of the whole body and heart originated from MingTangZangFuTu and affected each other when quoted in books published after Northern Song Dynasty. Method : The author used four form factors including heart shape, internal curved lines, cylinder-like structures above heart, and wuzangxi (五臟系) which resembles a lotus flower which has not yet bloomed, to analyze and compare different ZangFu diagrams before and after the Northern Song Dynasty. Results : Two form factors, the shape of heart and wuzangxi, are described in ZangFu diagrams before Northern Song, and may have influenced ZangFu diagrams after Northern Song. However, the other two form factors (internal curved lines and cylinder-like structures above the heart) did not influence ZangFu diagrams after Northern Song. All form factors of heart found in WuCangLiuFuZhiTu (within the whole body) and diagram of heart in ZhenJiuJuYing (鍼灸聚英) were most similar, but the two paintings became less similar as they were cited in several books. With the exception of the form factor with structures above heart, the three other form factors are almost identical between two paintings produced after Northern Song dynasty, as displayed in the same book. Conclusion : ZangFu diagrams of the heart produced after Northern Song Dynasty, were not completely based on ZangFu diagrams made before Northern Song Dynasty. Diagrams of whole body and those of the heart were changed, while influencing each other after Northern Song.

• 한국의사학회지
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• 제29권1호
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• pp.11-31
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• 2016

Objectives : The goal of this paper is to research what affected diagrams of lung originated from Ming Tang Zang Fu Tu during the time they were changed in. Methods : Diagrams of lung in Traditional Chinese and Japanese medical books had been collected as many as possible. Besides being grouped by Huang Longxiang (黃龍祥)'s classification, they were analysed by 4 form factors, e.g. shape, number, veins and petiole of leafs. Results : Reliability of this methods had been checked on by the correspondence with Huang's 14 standard books, before 29 diagrams of lung were selected from 33 books including 13 books that Huang had already made his proposal. The lobes in most of diagrams resembled 6 lanceolate or long oval leafs, or a maple leaf with 5 indentations. In most of diagrams, veins of leafs were described variously, more or less than 9 nodes often drew in petioles. Conclusions : Suwen (素問), Nan Jing (難經) and Wang Bing would had steadily worked on 29 diagrams of lung, since diagram of lung stemmed from Ming Tang Zang Fu Tu, went out into the world in Zhen Jiu Ju Ying (鍼灸聚英). But they were not drawn through dissection during same periods.

• 대한한의학원전학회지
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• 제30권3호
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• pp.55-76
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• 2017

Objectives : The transition of the 29 diagrams of Heart originated from MingTangZangFuTu will be used to understand the shape of heart and the changes of people's understanding of heart. Methods : The 29 diagrams of Heart originated from MingTangZangFuTu are divided according to their shape elements (Heart itself, internal curvatures, structures above heart, wuzangxi, and excursus). Then its transitions are analyzed, and each shape element is compared to modern anatomy and its textual basis is searched. Results : The lengthy cylinderical organ situated above the heart is composed of upper part consisting with joints and the lower part void of joints. The upper part is Pyewan (such as the lungs) and fall into trachea. The lower part is Xinxi or Feixi which are either relative vein (or aorta) or left bronchus that passes behind the heart. This depiction of the structures around the heart can be considered to have composed by actual observance of a physical heart, a method that is similar to anatomy. However, the shape of the heart itself is described as a lotus flower that has not been bloomed, a depiction which finds its origin from Zhongguangbuzhu huangdineijing suwen (762). The three short curvatures inside the heart is described as Pericardium, influenced by Shisijingfahui (1341) in its depiction, or as sammo, influenced by Nanjing. Structures that are connected directly from the heart to spleen, kidney, and uterus are not found in modern anatomy. The saying in Excursus "All cords of five internal organs belong to heart" is based on Huatuoxuanmenneizhaotu, and this is changed to the saying cords of four internal organs belong to heart in Leijingtuyi for the first time. Conclusions : The authors of medical scriptures at the time did not have a method of direct observance when they were copying heart diagrams. Therefore, they made changes to the source material's diagram and excursus while being influenced by Nanjing, Huatuoxuanmenneizhaotu, and Shisijingfahui. Then the doctors' understandings with regards to the shape and function of heart were reflected during that process.

• 복식
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• 제53권1호
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• pp.17-34
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• 2003

This paper investigates the rank system of official uniforms of Qing dynasty to analyze ethnic characteristics of the official uniforms. As a research document, Qing Huidian Tu(청회전도) has been used. The official uniforms of Qing dynasty were chao-fu(조복), ji-fu(길복), chang-fu(상복), hang-fu(행복), and yu-fu(우복), which were used in different occasions. Each of the five official uniforms had distinct items. For example, chao-fu(조복) consisted of four items: chao-guan(조관), chao-fu(조복), chao-dai(조대), and chao-zhu(조주), and ji-fu(길복) consisted of four items: ji-fu-guan(길복관), long-pao(용포), ji-fu-dai(길복대), and chao-zhu(조주). Each of these items had elements that made distinction between ranks. This research shows that the important elements to make distinction between ranks were textiles, precious stones, patterns and colors, and additionally the number of Bo(보) and the types of Bo(보) were used.

• 동양고전연구
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• 제56호
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• pp.35-73
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• 2014

본고는 근대 전환기 심재(深齋) 조긍섭(曺兢燮)(1873-1933)의 시세계를 화운시(和韻詩)를 중심으로 살펴보았다. 그의 시에는 화운시 특히 두보(杜甫)와 소식(蘇軾) 시에 대한 화운시가 많다. 이것은 그가 격변의 시기에 가장 전통적인 방법으로 한시창작에 임했던 중세적 시인이었음을 가늠케 한다. 화운시를 놓고 보았을 때 그의 창작 생애는 대략 40세가 전환의 기점이 된다. 40세 이전에는 두 소뿐만 아니라 그 밖에 당(唐) 송(宋) 및 명(明) 청(淸) 대(代) 시인들, 우리나라의 이황(李滉) 등 화운의 대상이 폭넓게 나타난다. 40세 이후에는 두 소에 대한 화운은 줄어드는 대신 지역과 관련된 우리나라 인물의 시에 화운하는 예가 종종 발견된다. 연령으로는 30대에 지은 것이 가장 많다. 심재는 시재(詩才)의 온전함과 의경(意境)의 통달함을 꼽으며 두보를 '시인의 집대성(集大成)'이라 일컬었다. 그런 인식을 반영하듯이 두시 화운시도 주제와 의경이 다양하게 드러난다. 소시(蘇詩)에 대해서는 그가 따로 생각을 밝힌 바 없으나 일정한 애호를 가지고 있었던 것으로 보인다. 원시에 대한 밀착도는 두시가 소시보다 비교적 더 높게 나타난다. 거칠게 말하면 두보에 대해서는 닮고자 하면서 자기 개성을 찾아나가는 방향이라면, 소식에 대해서는 닮으려 하기보다 계기로 활용해서 자기 의사를 드러내려는 측면이 좀 더 많은 것으로 생각된다. 신중하게 보아야 할 것은 그가 화운시를 짓되 일방적인 모방에 그치지 않고 대조와 차이의 미학을 만들어 내고 있다는 점이다. 그 주제와 의경을 그대로 가져오기보다는 창작의 계기는 공유하되 시 안에 자기 뜻을 기탁해 새로운 의미를 만드는 경우가 많다. 소시 화운시는 전반적으로 원시와의 밀착력이 더 희박한 편이다. 이것은 화운이라는 제약이 많은 창작 방법을 활용하면서도 그에 전적으로 지배되지 않고 자신의 주제와 개성을 만들기 위해 노력한 흔적이라고 할 수 있다. 그런데 두 소시 화운시가 40세 이후로는 별로 지어지지 않는다는 점이 주목된다. 이것은 어쩌면 화운시 '안'에서의 노력만으로는 더 이상 감당하기 어려운 문학적 현실을 자각한 때문은 아닐까. 예컨대 그는 1919년 소식의 옥중시(獄中詩)를 차운해 4수를 짓고 다시 <구중잡제(拘中雜題)[팔수(八首)]>를 지었다. 이것저것 읊은 이 잡제에는 누구의 운에도 제약되지 않은 그의 복잡다단한 심사와 정회가 다종하게 분출되어 있다. 심재의 화운시는 근대 전환기에 한시의 아비투스가 생존했던 현실과 그 인상적인 생존 방식을 증언해 준다. 화운시 창작은 분명 그의 호고(好古)적 성향을 반영하는 것이나, 이면에는 근대적 문자 변동에 저항하는 심리가 일정하게 작용했을 것으로 판단된다. 아울러 유의할 것은 그것이 두 소시에 대한 일방적인 모습(模襲)과 같은 반동적 방향으로 내닿지는 않았다는 사실이다. 그가 한계 속에서도 자기 개성과 목소리를 내기 위해 노력했다는 점을 다시 한 번 의미 있게 새길 필요가 있다. 요컨대, 심재의 화운시는, 새로움과 기이함, '근대'라는 이름의 시도에 이목을 붙들렸던 근대 한시사에서 '접혀 있던' 한쪽 얼굴, 그 평면이 아닌 입체로서의 얼굴을 펼쳐 보게 하는 의의가 있다.

• Environmental Engineering Research
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• 제8권2호
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• pp.59-71
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• 2003

• 복식문화연구
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• 제4권2호
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• pp.207-217
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• 1996

The founding of ching costume system starts from the rule issued in second year of Te-chong reign that the clothing of Manchu people is prohibited to be chinesized. It has undergone many revisions and is officially established in the 37th year of Chien-lung reign. This study is Emperor's costumes during the year in Chien-lung reign. The results are as follows: Emperor's costumes go to the travel are Chi-fu hat and Hsing-fu. Sea-dragon hat changes on otter skin or beaver hat and Ching-rong and ching-ni hat changes velvet hat. Light green informal wear is to be worn once a year. Name of sacrificial robes does not exist in Ching-hui-dien-tu but it take the place of Chao-fu I and Chao-dai II in Chuan-dai-dang-an. Sacrificial robes wear with indigo boots and the other cases wear blue boots and shoes and socks. The shape on ornaments in belt of sacrificial robes is tetragon style.

• 대한한의학원전학회지
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• 제33권1호
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• pp.61-80
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• 2020

Objectives : To clarify the construction, changes, and contents of the diagrams of spleen through comparison of 30 different diagrams originated from Mingtangzangfutu. Methods : The diagrams were analyzed in whole shape, ratio between width and height, shape of the lower part, and concavo-convex of the middle part, then matched to the characteristics of the section diagram. The contents of the diagram of the spleen were newly interpreted with comparison to the classical texts. Results : The whole shape is described to be a long sword, long stick, bottle gourd, western pear, sole of feet. The height to width ratio was mostly above 4.0:1, but those listed in the 『Bianquemaishunaning』 and 『Hehensancaituhui』 were 1.9:1~1.0:1, most similar to the numbers described in the 『Nanjing』. The shape of the lower part was narrow and sharp, narrow and flat or wide and flat. To analyze through affiliation characteristic, properties of other affiliations could be found. In comparison to classical texts, the diagrams could be found to be affected by 『Nanjing』 and Wangbing's annotations. The diagrams of the spleen should be composed of the spleen, the cord of spleen, and Sangao(散膏); but those which distinguish the spleen and the cord of spleen are twelve. The description of its shape as being similar to sword or sickle seems to come from Lichan's misunderstanding of the diagram in 『Zhenjiujuying』. Those that mention Sangao are merely two and their opinion on the position are different from each other; both did not identify it with the pancreas. Conclusions : In the process of the diagrams differentiating into 30 they were affected by the classical texts. The various changes seem to come from difference in understanding of the content composition of the diagram of the spleen.

• 한방안이비인후피부과학회지
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• 제14권2호
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• pp.286-294
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• 2001

I researched clinically one patient with Hypothyroidism who was hospitalized in DongShin Univ Shunchun Oriental Hosp. from the 4th, November, 2000 to the 13th, December, 2000. The results were obtained as follows. 1. Hypothyroidism corresponds to edema of instep (浮腫), consumption (虛勞), infantile retardation of walking (行遲), retardation in speech (語遲), inactivity of Yang-Qi(결양증). It is caused to deficiency of both Qi and blood (氣血兩虛), insufficiency of Yang of the spleen and kidneys (脾腎陽虛), decline of the fire from the vital gate (命門火衰), deficiency of yang of the heart and kidneys (心腎陽虛) 2. In internal medication, it was thought that Yi qi bu xue tang(益氣補血湯). Shao yin ren Bu zhong yi qi tang(少陰人補中益氣湯), Jia wei ta bu tang (加味大補湯) were effective. 3. In acupunture therapy, zu san li(足三里), san yin jiao(三陰交), Ren ying (人迎), Fu tu (扶突), Tian tu(天突) were used frequently and in moxibustion therapy. qi hai(氣海), zhong wan(中脘). Guan yun(關元) were used for Hypothyroidism.