• The Journal of Dong Guk Oriental Medicine
• /
• v.5
• /
• pp.231-271
• /
• 1996

Obstetrics and Gynecology include gynecology which is concerned with the treatment for the disease based on physiology and pathology of women, and obstetrics which is concerned with pregnancy delivery. These obstetics and gynecology can be said to date from the birth of human beings. This paper has carried on the studies about the generating and developing process of obstetics and gynecology. The results of this study are as follows : Distinction in Northern and Southern Dynasties were much more Obstetrics and Gynecology studying the Obstetrics and Gynecology books in that time, the study about "oncosis" (腫瘤) and forms of drug, pill, powder, pIaster were carried on. The highest distinction in Sui age were research and development on pathogenesis and cause of disease about Obstetrics and Gynecology disease and it was appeared representatively in "Zhubingyuanhoulun""諸病源候論" which was special book on cause of disease and pathogenesis and syndrome, And it was explained about abnormal vaginal discharge in this book. Obstetrics and Bynecology were developed on theory and clincis in Tang age when "Taiyshu"(太醫暑) was established. "Taiyshu"(太醫暑) taked complete charge of medical operation and education, published much excellent Obstetrics and Gynecology books than the past. Among them specially "Qianjinyaofang""千金要方" explained Obstetrics and Gynecology matter first in three volumes and "Qianjinyifang""千金翼方" explained this matter first in four volumes. This point indicate that Obstetrics and Gynecology's importance was established in Tang age, so Obstetrics and Gynecology's developmental history, Song age was the acme period. "Taiyju"(太醫局) was established in "xining""熙?" 9 year and Obstetrics belonged to one of nine departments under "Taiyun"(太醫局), so Obstetrics and Gynecology was separated from the other medical parts and it was prepared of it's progressing bases independently and appeared of changes in quality and increase in quantity about theory and prescription of Obstetrics and Gynecology, specially determination of treatment based on the differentiation of symptoms and sighs was taked a serious view. Besides four great physicians in Jing and Yuan dynasies diversified Obstetrics and Gynecology contents through their only medical theory and clinical treatment.

• (The)Study of the Eastern Classic
• /
• no.59
• /
• pp.387-404
• /
• 2015

A great number of philosophers during 'Six's Dynasty'(六朝) had the most active and furthest discussion throughout the history of China to study the concerns; Having a question such as "Where the body and the soul come out around us?", "What is the essence of complicated and delicate mental operation?" "Are there any relationships between the body and the soul?" and then "How do the human soul exist after death?" First, during 'Don-Jin' period as body and soul theory was based on 'Yin'(陰) and 'Yang'(陽). 'He Cheng Tian' said that everything which was burn on earth should die because the soul couldn't stay the dead body longer. In the same age, 'Ming Fo Run' and 'Da Xing Run' which denied that the soul couldn't exist forever were main topics of the discuss among the distinguished philosophers. Next, during 'Northern & Southern dynasty', body and soul theory was divided into two. First of all, body and soul of 'Heng Cun' might be harmonized, however, that was not perfectly put together. Because, after human death, even if the body of human might be existed, the soul left elsewhere but always stayed around us. The body was the soul which meant that the soul was to the nature of the body and the body was to the usage of soul. Many philosophers insisted that nobody meant no soul according to 'Shen Bu Mie Run' and 'Shen Mie Run'which was the main topic as an academic argument in those days. Finally, during Dong-Jin dynasty covered the significance of Body and Soul theory and analyzed the influence into the history of the history philosophy in china.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.24 no.4
• /
• pp.117-133
• /
• 2022

In order to reflect traditional elements in modern design, designers should be able to creatively apply elements of traditional Chinese clothing. To understand this, a deep understanding of and insights into the traditional clothing culture are required. In this study, the characteristics of traditional Chinese women's clothing from the Wei, Jin, and Northern and Southern Dynasties of China to the Qing Dynasty were analyzed by dividing them into silhouette, color, pattern, materials, and detail. The characteristics of the silhouette were classified into A, H, X, and O types, of which types A and H were the most common. As for the color characteristics, there are relatively many five cardinal colors, and for the contrast of colors complementary colors were mainly used. As the for pattern characteristics, real patterns, animal patterns, character patterns, geometric patterns, and mixed patterns were used. Four types of materials were mainly used: silk, hemp, cotton, and wool. The detail characteristics were also anlyzed by classifying them into collar, sleeve, neckband, and gusset. Based on the results of this analysis, a satisfaction survey was conducted on the design of modern Chinese women's clothing. The result of satisfaction with design elements showed that the images of vest and suit were most preferred, H and X silhouettes, and yellow and white were the most preferred. Geometric and plant patterns were preferred, as were silk and acetate materials. Based on the result of chi-square analysis of design element preferences according to the characteristics of the subject, there was no difference according to occupation, residential area, or income, and there were differences in silhouette, color, materials, and detail according to age.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.3
• /
• pp.132-153
• /
• 2009

A lotus flower pattern of the shape of straight and pointed petals has the forms whose lotus flowers are pointed, and is one of the representative forms of lotus flower pattern of Baekjae along with a round and a triangle protruded style. This style of lotus flower pattern was applied to roof-end tiles, halos of Buddhist images, containers of Buddha's bones, head supports, etc. from the Hanseong period to the Sabi period of Baekjae. However most of lotus flower patterns that remain today were used for the tiles of the Sabi period. Many of them were produced under the influence of the Northern Dynasties and the Southern Dynasties of China, and of Goryeo, which implies the active cultural exchange of Baekjae at that time. Among the present lotus flower patterns of the shape of the straight and pointed petals, that of the earliest time is from Gyeongdang district of Poongnab mud castle and belongs to the mid-fifth century. However there is a higher chance that the gradual subsequent excavation and research will find some tiles of the earlier period and other styles can also be unearthed.

• Journal of the Korean Society of Costume
• /
• v.63 no.8
• /
• pp.125-142
• /
• 2013

Soek(Xi) was the highest ranked shoe that was worn with the primary formal dress in East Asian countries including ancient Korea and China. This article examined Joseon's Seok as discussed in previous studies, and it explored factors such as the wearers' status, wearing situations, its morphology, its materials, and its colors in the Great Han Empire period (1897~1910), and then extracted three morphological characteristics of the Korean Seok to examine its origin. The results of the study are as follows. For women, the Seok in the Great Han Empire period was worn with Won-sam(圓衫) and No-eui(露衣) as well as Jeok-eui(翟衣), and hence its range of wearing was extensive. Also, red Seok was worn with deep red colored Dae-sam(大衫)-styled Jeok-eui in the Joseon period(1392~1897), and blue Seok with deep blue Jeok-eui in the Great Han Empire period. This suggests the possibility that wearing of deep blue Jeok-eui occurred after 1906 in terms of the use of blue Seok. As for its morphology, its leg-less form was maintained into the late Joseon period, and there were no great changes in its name. The characteristics of the Korean Seok's morphological structure consisted of a shoe leg, the wood-less bottom and pearl ornament. As a result of the examination of the origin of those characteristics, it has been clarified that the form in which Gu, Eok, Jun(純), are attached in the structure with a shoe leg originated from the combination of Hwa(靴) and Li(履) after the two types of shoes were alternately worn in the Song (宋) period. Also, it was confirmed that the woodless bottom appeared between the periods from Wei Jin Northern and Southern Dynasties(魏晉南北朝) to Sui(隋), and the pearl ornament occurred in the Jin(金) period.

• Journal of Korean Medical classics
• /
• v.23 no.2
• /
• pp.191-203
• /
• 2010

"Bonchogyeongjipju(本草經集注)" is a pharmacological classic published in the Southern and Northern Dynasties(南北朝時代, 420-589 A.D.) in China by Dohonggyeong(陶弘景, 456-536 A.D.). In "Bonchogyeongjipju(本草經集注)", Dohonggyeong(陶弘景) edited "Sinnongbonchogyeong(神農本草經)", the earliest classical text about material medica containing notes for 365 drugs, by adding another 365 drugs and further information from "Myeong-uibyeollok(名醫別錄)" and writing extended commentaries on them. His commentaries include changes in the geographical distribution, identification of varieties and other various special characteristics. The original text had gradually disappeared after other pharmacological classics were published such as "Sinsuboncho(新修本草)", in Dang Dynasty(唐代), "Gyeongsajeungryubigeupboncho(經史證類備急本草)" in Song Dynasty(宋代). All of these books were based on "Bonchogyeongjipju(本草經集注)", so the original text can be seen indirectly through these later sources. In the early 1900's, a transcribed manuscript of the preface "Bonchogyeongjipju(本草經集注)" was found almost wholly preserved except the first three lines, in the Makgo(莫高) cave of Donhwang(敦煌). Broken strips of transcribed "Bonchogyeongjipju(本草經集注)" have also been excavated in Turfan[吐魯番], which shows its original form written in red and black ink. Mayanagi Makoto[眞柳誠] researched on Donhwang(敦煌) and Turfan[吐魯番] editions, ascertained their existence and explained their bibliographical and historical facts. Sangjigyun(尙志鈞) restored "Bonchogyeongjipju(本草經集注)" based on other related sources such as Donhwang(敦煌) and Turfan[吐魯番] editions. " Bonchogyeongjipju(本草經集注)" can be said as the locus classicus(典範) of herbal medicine, that is most of the following materia medica was based on it. It makes it possible to pass down "Sinnongbonchogyeong(神農本草經)" to posterity and provide a foundation for herbal medical development.

• Cross-Cultural Studies
• /
• v.42
• /
• pp.313-342
• /
• 2016

This paper is an attempt to look up the life of Guanyu who was a sainted warrior of Shu Han(蜀漢) and later, was revered as God, especially focusing on the Political perspective of Chinese Dynasty. People represented Guanyu as the general during the Wei Jin Southern and Northern Dynasties(魏晉南北朝), however, throughout the Su-Dang Dynasty(隋唐), Guanyu was Honored in the Wuchengwangmiao(武成王廟) then, was promoted from Hou(侯) to Gong(公), Gong(公) to King(王) in the Song-Yuan Dynasty(宋元). In the Ming-Qing Dynasty(明 淸) when the deification of Guanyu was proceeded most positively, he became a Di(帝) over a King and was endowed with the power over the Three Worlds(三界). He had an influence on nobility as well as the people in Folkbelief over Moral Spirits, and consequently rose through the ranks to become the spiritual guardian. The rulers gave him various names(封號) celebrating the life and work of Guanyu, In fact, they showed interests in the Belief of Guanyu as they attempted to establish an ideological base for the solution of the national disaster and maintenance of feudal system which came to the fore along with the reinforcement for emperor's power.

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

• Journal of the Korean Society of Costume
• /
• v.32
• /
• pp.225-242
• /
• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• Journal of the Daesoon Academy of Sciences
• /
• v.46
• /
• pp.123-152
• /
• 2023

This paper will examine how the Avalokitesvara faith of India was restructured into the doctrines and practices related to the Sinicized version of the deity as Guanyin (觀音) Bodhisattva. Particular focus will be given to the Hangzhou area of China, when the Guanyin faith was still in the process of gaining establishment in China. In the Hangzhou area, Buddhist Orders grew significantly due to the wealth accumulated from commerce using canals and maritime trade, and the Chan (禪 typically known as Zen in English) Orders were particularly active during the Song Dynasty. Zhiyi (智顗), a prominent master from the Tiantai Order (天台宗), based his activities out of Hangzhou. He composed the text known as the Commentary on the Guanyin Petitioning Sutra (Qingguanyinjing-shu 請觀音經疏) based on a reinterpretation of a scripture related to Guanyin, and he systematized the Guanyin Repentance Ritual (Guanyin-chanfa 觀音懺法) by combining the Doctrines of Tiantai with the Guanyin faith. In addition, Ciyin Zunshi (慈雲遵式) reformulated that Guanyin Repentance Ritual into the Guanyin Petitioning Repentance Ritual (qing-guanyin-chan 請觀音懺) to make it into a common ritual that was more accessible to everyday people. The book, Records Regarding the Personal Conduct of the Chan Master Zhijue (zhijue-chanshi-zixing-lu 智覺禪師自行錄), which is written by Yongming Yanshou (永明延壽), a figure from the Fayan Order (法眼宗), one of the Chan Buddhist orders in the Hangzhou area during the Northern Song Dynasty, reveals the acceptance of the Guanyin faith as a daily practice within the 108 daily rituals (108事). In Chinese Buddhism, there were historical examples of monks being worshipped as incarnations of Guanyin Bodhisattva. An example of this includes iconography depicting Baozhi (寶誌), a figure from Jiliang (濟涼) who lived during the Southern Dynasties, as Ekādaśamukha (十一面觀音, Eleven-faced Guanyin Bodhisattva) in keeping with the belief that he was an incarnation of that deity. Monks of the Tiantai and Chan orders operating in the Hangzhou area actively utilized the transmission of Buddhist tales about Guanyin Bodhisattva as related to monks that exhibited miraculous powers (神異僧). This can be understood as a phenomenon demonstrating how Song Buddhism tried to attract more believers through the popularity of the Guanyin Faith.