• Journal of Korean Medical classics
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• v.32 no.1
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• pp.75-93
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• 2019

Objectives : This study is to reveal the origin of Mingtangyangfutu in "YiXueRenMen". Methods : This study compares and analyzes it with MingTang diagrams in reference books of "YiXueRenMen", MingTang diagrams and diagrams of bronze statues for acu-moxibustion in those days. Results : The origins of Mingtangyangfutu cannot be found in the citations. The argument that it is copied and simplified from MingTang diagrams in "JinLanXunJing(金蘭循經)" lacks its grounds. As MingTang diagrams in "TongRenShuXueZhengJiuTuJing" and "ZhenJiuJuYing" have less information than it, they were nothing more than references when it drew. Apparel of man, the first acupoint, the last acupoint and orders of acupoints of their meridians in it are different from ones in MingTang diagrams and diagrams of bronze statues for acu-moxibustion. Conclusions : Mingtangyangfutu is not a copied and simplified version of MingTang diagrams in "JinLanXunJing", but is one to add new information for MingTang diagrams in "TongRenShuXueZhengJiuTuJing", "ZhenJiuJuYing", or has a separate rationale (Gajeongdongin(嘉靖銅人) related to at the time.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.1
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• pp.147-164
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• 2022

The aim of this study was to reproduce the ordinary attire of Yi Seung-hyu, a civil official and writer of the late Goryeo, which will be used to make a his portrait. The reproduced costume consists of a single-layered pyoui (表衣) and jungdan (中單), lined jeogori and baji, and geon (巾), created with reference to historical documents, materials, and portraits. The pyoui was made with samcheokbe, with an H-shaped neck-shoulder band, an oblique single collar, and rectangular gussets. Two skirts were attached on the inside at the back, similarly to dopo. The jungdan also has an oblique single collar, but has an I-shaped neck-shoulder band and triangular gussets. A flat felled seam stitch, whip stitch, and French seam stitch were used in the hemlines and seams of the pyoui and jungdan. The jeogori and baji were made with toju (土紬), and small ties were attached to stabilize them. The geon is a long, oblique hat, which has folded side lines, and was made with flexible black hangra and using a French seam stitch and backstitch. The results include the elements of "restoration, historical research, and portrait costume", and will be maintained as the cultural heritage of Samcheok City.

• The Journal of Dong Guk Oriental Medicine
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• v.6 no.1
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• pp.35-66
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• 1997

Today's meridian system is revealing the theory made after the standard of 'Ling-shu Jing-mai(靈樞 經脈)'. But after excavating 'Ma-wang-dui'(馬王堆)'s' medical books from his 'Han(漢)' Dynasty tomb, there had to be some adjustments made concerning the former meridian systme. 'Shi-yi-mai-jiu-jing(足臂十一脈灸經)' and 'Yin-yand-shi-yi-mai-jiu-jing(陰陽十一脈灸經)' are not related and each of them was developed independently and influenced by the Meridian Pluse Theory of 'Ling-shu(靈樞)'. Accordingly, the leaning toward heart pluse system and the circulating pulse system were formed and 'Ling-shu(靈樞)' was influenced by this. Therefore, investigating these processes thoroughly is the main subject stated in this thesis. The occupying percentage of the 'leaning toward heart pluse system(向心脈系)' and the 'circulating pluse system(循環脈系)' in each section is one-sided to the loaning toward heart pluse system. However, today's 'Jing-mai system(經脈體系)' is developed focusing on 'Jing-mai(經脈)'. The reason for this should be investigated by using the medical history of acupuncture & moxibustion. Analongizing roughly, from the time after five transfer points of 'Ben-shu(本輸)' was absorbed into 'Jing-mai(經脈)' as only the main meridians of the traditional 'Meridian Point(經穴)' and couldn't seem to realize the true self of the original 'Ben-shu(本輸)'. Therefore, various misunderstandings might have occured in clinic, basal narusis, and antiquity of the influenced preconception of 'Jing-mai(經脈)' being first.

• Journal of the Korean Society of Food Culture
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• v.27 no.6
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• pp.598-606
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• 2012

The aim of this study was to comparatively analyze the differences in Jinseol (ritual table-setting) and Jesu (ritual food) from the cultural perspective of ancestral ritual formalities regarding Bulcheonwijerye of Admiral Yi Sun-Sin, which is being held in Asan-hyeonchungsa shrine, Tongyeong-changnyangmyo and Namhae-chungyeolsa. The results are summarized as follows. A total of 32 types of Jemul (ritual food) in 6 rows in Asan-hyeonchungsa shrine, a total of 30 types of jemul in 6 rows in Tongyeong-changnyangmyo, and a total of 12 types of jemul in 2 rows in Namhae-chungyeolsa were prepared for the ritual table. In the Asan-hyeonchungsa shrine and Tongyeong-changnyangmyo, cooked foods have been used for jesu, whereas raw, uncooked foods have been used for jesu in Namhae-chungyeolsa. In the Asan-hyeonchungsa shrine, Gaeng (Kook) for liquid soup of Tang (stew) and Tang (5-tang) for the solid ingredient of stew have been prepared for a ritual table. In Tongyeong-changnyangmyo, fish Kook for Gaeng and So-tang (tofu stew) for Tang have been prepared for the ritual table. In Asan-hyeonchungsa shrine, Yukjeok (beef slices broiled on a skewer), Gyejeok (chicken jeok) and Eojeok (fish jeok) have been stacked together as Dojeok on a ritual table whereas in Tongyeong-changnyangmyo, Yukjeok, Sojeok and Eojeok have been placed on the ritual table as Pyunjeok (one by one). In Namhae- chungyeolsa, raw pork meat has been placed on the ritual table. As Po (a dried meat or fish), dried fish and dried seafood have been used in Tongyeong-changnyangmyo, whereas raw beef meat has been used in Namhae-chungyeolsa. Although Namul (cooked vegetables) and Mulkimchi (watery plain kimchi) are placed on ritual table for Asan-hyeonchungsa shrine, only Namul and Saengchae (raw vegetables) is used in Tongyeong-changnyangmyo and Namhae-chungyeolsa, respectively. Bulcheonwijerye for the same person, Admiral Yi Sun-Sin, has different characteristics according to the shrines. Accordingly, there is a need to preserve and succeed bulcheonwijerye of Admiral Yi because it is a traditional culture in ancestral rituals.

• Fashion & Textile Research Journal
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• v.9 no.2
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• pp.176-187
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• 2007

Buddhist paintings in the late Joseon dynasty are characterized by diversification and subdivision of subject matters. Buddhist paintings rapidly declined since 19th century, being miniaturized and showing complicated composition. Figures that identified the shape of shoes in Buddhist paintings of late Joseon dynasty included sacheonwang that were placed in the left and right bottom of Buddhist paintings, sinjung, gwiwang and pan-gwan of siwangtaeng. Sacheonwang, an Indian folk god, was depicted as a noble person in "ahamgyeong", an early sutra, but was depicted as an armored warrior in Mahayana Buddhism world. The style of shoes sacheonwang in Korea were different depending on the times. The shoes of the sacheonwang sculpture in Seogguram of Shilla dynasty are sandal type. The sacheonwang that was drawn on Jijangbosaldo in Goryeo dynasty wears non-showy armor and red yi(履). The sacheonwang that was expressed on Buddhist paintings in Joseon dynasty wears showy armor and decorated hwa. Comparing the yi of Goryeo Jijangbosaldo sacheonwang with the yi of Bodhisattva on the Dunhuang yeolbanbyeonsangdo, Jijangbosaldo sacheonwang's shoes are Korean style in which the sole is flat and the front part has no decoration, but in the shoes of Bodhisattva on the Dunhuang yeolbanbyeonsangdo the sole is not flat, the front part is lifted. The style of shoes of pan-gwan, who is depicted on Siwangtaeng, is hwa. However, unlike the decorative hwa of sacheonwang, its front is not lifted and it has no decoration. It is assumed that the shoes of sacheonwang or pan-gwan represented obangsaek based on the idea of eumyang-ohaeng. Depiction of shoes shown in Buddhist paintings reflected the phases of the social life. In addition, the sandals of Shilla sacheonwang implies that sourthern culture in addition to Buddhism was introduced. Having expressed the shoes of Goryeo sacheonwang with conventional yi implies that Buddhism governed the inner world of the people, and the shape and material of the shoes reveals aristocracy. It is assumed that that an armored warrior wore yi, not hwa implies that the then society was stable. Also, it is assumed that that the shoes of sacheonwang on Buddhist paintings in Joseon dynasty were hwa implies that the role of tutelary god was stressed in the disordered society.

• Korean Journal of Oriental Medicine
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• v.15 no.2
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• pp.51-61
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• 2009

Objective: Much has been known that the systematical theory of acupuncture was developed from stone needle as therapeutic tools for orthopedic diseases in ancient times. Stone needle is very old therapeutic method like moxibustion and has been recognized that it was developed since the Stone Age in China so far. In the present study, it was examined for the origination and formation of stone needle based on stone relics of the Stone Age in Korean Peninsular, the medical and geographical literatures. Materials and methods: The facts of stone needle was examined and arranged on the ancient medical or geographical literatures such as The Yellow Emperor's Canon Internal Medicine, Shanhaijing as an ancient geographical book, etc. The clan societies and family related to an origination of stone needle was chased together with their cultural characteristics and origination. The stone relics which have been digged out of historic sites in the North-East Asia were examined for a relevance to stone needle. Results: In The Yellow Emperor's Canon Internal Medicine, it was referred to the stone needle that originated from a fishery zone related to the east coast district in North-East Asia. Through the examination of Shan Hai Jing as an ancient geographical book and its historical reviews, a Go-yi clan society who keep Go's family tree dealt well with the stone needle and jewels including jade in the North-East Asia before the publication periods of The Yellow Emperor's Canon Internal Medicine, and is comprised in the culture of Dong-yi clan society but not the Chinese culture. The obsidian stones, which have been digged out of historical sites in the North-East Asia since the Stone Age, are originated from volcanic areas combined with seashore that seems to be Baekdu mountain district in Korea and Kyushu district in Japan. Furthermore, obsidian stone tools which were found out at Laodung peninsula and the Korean peninsula are archeologically similar to the stone needle with regards to the shape, size and dual-use. In addition, specific obsidian stone tools have been used in orthopedic surgery as well-crafted obsidian blades have a cutting edge up to five times sharper than high-quality steel surgical scalpels. Conclusion: The origin of obsidian stone needle is well corresponded to the explanation about that of the stone needle. It is suggested that the stone needle which influenced in completion of acupuncture and Meridian theory in China seems to be an obsidian stone, and distribution of obsidian stone needle has been closely connected to Dong-yi clan society which are lived in the North-East Asia including Baekdu-mountain district.

• Journal of Korean Medical Ki-Gong Academy
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• v.2 no.2
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• pp.185-199
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• 1998

Going back to long chinese medical history, there were many different methods of treatment according to the origin of local chinese areas, such as Bian-Shi(?石) from east, herbal therapy from west, acupuncturing from south, moxibustion from north, and mainpulating therapy from middle china. In the midst of these therapies, acupuncture needling had developed very much both in theories, shapes, usages and also in theraputic boundray. Historical books dealing with acupuncture had introduced and used Jiu-Zhen as a tool for acupuncture needling in common. But there are some differences between each texts about in shape, use, and there are also another different point of view about the interrelationship between Bian-Shi and Ji-Zhen. So the author, in this research, tried to look for how Jiu-Zhen had took on its real kinds, adaptive usages, theraputic boundaries, many different skills of needing. By researching over ${\ulcorner}$ Ling-Shu, Jiu-Zhen(靈樞,九鍼)${\lrcorner}$, ${\ulcorner}$ Ling-Shu, Jiu-Zhen-Shi- Yi-Yuan(靈樞,九鍼十二原)${\lrcorner}$, ${\ulcorner}$ Ling-Shu, Guan-Zhen(靈樞,官鍼)${\lrcorner}$, and by compar- ing them with the contents of Jiu-Zhen in ${\ulcorner}$ Zhen-Jiu-Yi-Jing(鍼灸甲乙經)${\lrcorner}$ ${\ulcorner}$Zhen-Jiu-Da-Cheng (鍼灸大成)${\lrcorner}$, the author discovered small conclusions such as following. 1. Taking Jiu-Zhen in a narrow sense, it only repesents nine different needle used in different cases. But in large sense, this means nine different deedling methods using each different needles which is represented in the form of Wu-Ci ( 五剌 ), Shi-Yi-Ci ( 十二剌 ) in ${\ulcorner}$ Ling-Shu, Guan-Zhen ${\lrcorner}$ 2. Jin-Zhen has been first originated from stone age as a substitute for Bian-Shi and through bronze and iron age, it followed a process of it's own shape and applicating functions. As an example, the moxibustional therapies shown in ${\ulcorner}$ Zu-Bi-Shi-Yi-Mai- Jiu-Jing ( 足臂十一脈灸經 )${\lrcorner}$ ${\ulcorner}$ Yin-Yang-Shi-Yi-Mai-Jiu-Jing ( 陰陽十一脈灸經)${\lrcorner}$ in ahead of ${\ulcorner}$ Nei-Jing ( 內經 )${\lrcorner}$ era, was relationship in acupuncturing skills and shape. So Jiu-Zhen had been originated on the base of Bian-Shi in ancient times to develop into delicate shape, skill, and theraputic foundation of modern oriental medicine.

• (The) Research of the performance art and culture
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• no.20
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• pp.95-128
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• 2010

'The Orphan of Zhao family(Zhaoshi-Guer)'is one of the famous Chinese drama constantly transmitted for a long time from Yuan Dynasty to Qing Dynasty. The plot of the play in the transmitting process has not been changed much, but added new characters or episodes. The Kunqu, one of the Chinese drama styles was characterized by graceful music and refined literature, being very popular among the gentry of Ming and Qing Dynasty. The 'Zhaoshi-Guer' play in 'chuanqi' style of the 'The Sixty Plays' collection, is called 'Ba-yi-ji', which was sung in Kunqu崑曲 stage. Because 'The Sixty Plays' collection was widely read throughout the late Ming and Qing Dynasty, the 'The Sixty Plays' version became the model of Kunqu lineage example and so it was in the case of "Ba-yi-ji". In the end of the Ming, new performing type of drama that is called as Zhe-zi-xi(折子戱) was appeared. Zhe-zi-xi refers to make only some pieces, not the whole. With the new form of performance appeared many of the selected texts of plays have come out including 'Zui-bai-qiu'. Through the comparison between the pices of two Kunqu version, 'The Sixty Plays' and 'Zui-bai-qiu', I tried to observe the charisteristics of the Ba-Yi-ji performance of Qing dynasty. The latter succeded the former, but more performance oriented, such as using lively and easy word with the acting direction intensified and comic characters.

• The Journal of Korean Philosophical History
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• no.52
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• pp.107-130
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• 2017

The purpose of this study is to catch the characteristics of the Hanju Yi Jinsang (寒洲 李震相, 1818~1886)'s thought of the 'Li(理)' through Hanju's view on the Ido-seol(理到說), the Toegye Yi Hwang(退溪 李滉, 1501~1570)'s latter Mulgyuk(物格) theory, and to establish the foundation for identifying the aspects of development about Toegye School's concept of Li from Toegye's Ido-seol. The Ido-seol was criticized for regarding Li - the immovable principle - as 'living thing'. Toegye School's scholars tried to solve this problem by translating the 'word' correctly. Hanju also translated the word 'Do(到)', the verb of 'Ido', as meaning of 'perfectly understood' based on his translation of the word 'Gyuk(格)' as 'Ku(究)'. On the other hand, he also regarded the principle-application structure of Li and the its characteristic the 'Li as Hwalmul(活物)' as the main point of Toegye's Neo-confucianism thought his methodology 'Three viewpoints[三看法]'. Before Hanju, scholars dose not have more opinion from the translation of the word, and it is too difficult to identifying their scholarly identity through their viewpoints on Ido-seol. On the other hand, Hanju thought that the lack of the idea for comprehensive approach between Xin(心) and Li(理) will cause the misunderstanding the relationship between Xin and Li. In this reason, he evaluated Toegye's Ido-seol based on the concept of 'One principle and its manifoldness[理一分殊]'. Consequently, he concatenated the characteristic of Xin which includes all things with concept of Mulgyuk, and emphasized that Xin which penetrates the principle of all things has the characteristic of 'One principle(理一)'.

• The Journal of Korean Philosophical History
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• no.53
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• pp.63-100
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• 2017

In this article, I researched Nam Dae-nyeon's(1887~1958) thought of Neo-confucian theories, interpretation of confucian canons, and evaluation of historical figures. First, from the side of Neo-confucian theories, he asserted that Qi(氣) had behaviors and Li(理) had not. About his teacher Jeon Wu's(田愚) theories, he thought that those were in tradition of Confucius(孔子) and Mencius(孟子), but not emphasized presidence of mind. And he criticized the theory of mind was Li(理). Second, from the side of interpretation of Confucian canons, Nam Dae-nyeon's study centered on Four Books(四書). This showed he was in tradition of Neo-confucianism. Through this studies he emphasized the importance of Confucian Ren(仁) and Filial piety(孝), self-consciousness as gentry(士). Third, from the side of evaluation of historical figures, Nam Dae-nyeon evaluated many Chinese and Korean scholars, for example, Qu Yuan(屈原), Lu Zhong-lian(魯仲連), Zhen De-xiu(眞德秀), Lu Long-qi((陸?其), Zhang Lu-xiang (張履祥) of China, and Jeong Mong-ju(鄭夢周), Zho Kwang-jo(趙光祖), Yi Hwang(李滉), Yi Yi(李珥), Jeon Wu(田愚) of Korea. And his criteria for evaluation of historical figures was fidelity and insight.