• Korean Journal of Heritage: History & Science
• /
• v.54 no.3
• /
• pp.242-261
• /
• 2021

Sangjeong was a sculptor-monk who was active in the mid-to-late 18th Century, and the current study established the overall chronology of Sangjeong's Buddhist statues and their styles based on the six sculptures of Sangjeong already known and the Wooden Seated Buddha of 1767 in Songgyesa Temple, Geochang, which was found to be his last work. All of the Buddhist statues of Sangjeong have commonalities in terms of the appearance of the ears, wrinkles on clothing on the upper and lower body, position of hands, and expression of the lower body. The expression of the lower body, in particular, is classified into three types: Type A, where the clothing drapes through the lotus leaves on the bottom; Type B, with an 'S-shaped' drape over the lower body but no lotus leaves or pedestal; and Type C, with the Buddha and pedestal as a single unit, and the clothing draping through the lotus leaves on the pedestal. It appears that Sangjeong faithfully succeeded the style of Taewon, who was his only instructor for sculpture. This is verified based on the records of his participation in the creation of the Wooden Seated Sakyamuni Buddha Triad and Statue of Arhat in Bongeunsa Temple, Seoul, as the third sculptor-monk out of twelve sculptor-monks, and the reflection of the S-shaped drape on the lower body found on the statue of Buddha in Bongeunsa Temple on all of the statues created by Sangjeong. Not only that, but it was assumed that the expression of the pedestal and hair was also inherited by Sangjeong from Taewon and Jinyeol, who was a sculptor-monk from the early 18th Century. The work of Sangjeong and Taewon showed differences in the volume and thickness of statues, strength of unevenness on the wrinkles of clothing, drapes on the right side of chest, and details of the ears. The current study identified the original styles of each individual sculptor and attempted to categorize the fourteen pieces of ten Buddhist statues reflecting the styles of Sangjeong into Sangjeong-style or Taewon-style.

• Korean Journal of Heritage: History & Science
• /
• v.37
• /
• pp.121-150
• /
• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• The Journal of Art Theory & Practice
• /
• no.8
• /
• pp.33-58
• /
• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• The Journal of Korean Medical History
• /
• v.35 no.1
• /
• pp.45-57
• /
• 2022

This paper examines the positions and personnel of the Naeui system in the late Joseon Dynasty. First, the regulations of the Naeui system were investigated through the literature related to Naeuiwon. Next, the operation of the regulations, changes in the system, and causes were analyzed through the Seungjeongwon Diary (承政院日記). We discovered: 1) Naeuiwon's medical bureaucracy originally did not have a fixed number of positions, but gradually came into being with a quota regulation. Uiyagdongcham-ui (議藥同參醫) and Naechim-ui (內鍼醫) did not have a quota, but was initially set at 10 people, then expanded to 12 people. Originally, the royal physician had no fixed number, and in 1864 the first quota was 7 people. 2) 'Gyeom-eoui' and 'gachanaeui' served to expand Naeui's quota. After the mid-17th century, 'Gyeom-eoui' expanded the quota of royal physicians to secure a position for the medical bureaucracy of Naeuiwon. 'Gachanae' after King Jeongjo serves to add to the quota while obeying the provisions of the law. 3) The customary promotion of Naeuiwon's medical bureaucracy expanded and became stricter after the mid-19th century, during which special promotions became more frequent than in previous periods. As for the provision of appointment to the 6th class after 30 months, Uiyagdongcham-ui was established in 1686 and Naechim-ui was established in 1718, increasing the chance for customary promotion. In the case of Naeui, the regulation for the Secretary General to raise the degree of official rank has been strengthened since the Cheoljong era. However, special promotions were frequent in the mid-19th century because the number of high-ranking officers increased compared to the previous period. In conclusion, the Naeui system in the late Joseon Dynasty changed in the direction of strengthening their own privileges. The Naeuiwon's quota was increased and promotion was guaranteed through the system and customs. Since the mid-18th century, there have been some regulatory restrictions, but the framework has not changed. This is confirmed not only in the regulations of the documents related to the Naeuiwon, but also in the Seungjeongwon Diary. Naeuiwon's medical bureaucracy enjoyed superiority in promotion and status compared to other forms of technical bureaucracy.

• The Journal of Korean Medical History
• /
• v.26 no.1
• /
• pp.97-106
• /
• 2013

What is the fundamental cause of the broader gap between East and West medicine? This is a very long story that began in the late Renaissance and still continues today. Why it took so long time from the end of the XIIth century when acupuncture was firt imported to Europe to XX century when it was finally settled in France? We present three cases which caused the delayed establishment : A "blisters" article from Diderot and D'Alembert in the eighteenth century, the practice of acupuncture by Dr. Berlioz in Paris in early 19th century, and the reception of the works of Georges Soulie de Morant in France in the 1930's. We attempt to show the misunderstanding that has always prevailed between the East and West medicines because of different viewpoint : the West has not understood the richness and subtlety of the approach of East asian thought and wanted to "align" the Asian medical modality to west medicine with inappropriate and insufficient "experiments" without enough explanation of the principles and philosophical backgrounds. It was not the matter of technology but the mutual incomprehension of history and culture.

• Journal of Physiology & Pathology in Korean Medicine
• /
• v.19 no.2
• /
• pp.295-303
• /
• 2005

YangDongChangHwaHuRok(兩東唱和後錄)is a book that organized the conversation between Joseon physician Ki-DuMun(奇斗文) and Japanese Acupuncture specialist Murakami Tanio(村上溪南) and others when they visited the quarters where the Choson Delegation(朝鮮通信使) were staying in, while the Choson Delegation party were visiting Japan in 1711. YangDongChangHwaHuRok(兩東唱和後錄) was discovered in the process of gathering medicine-related historical documents of the Choson Dynasty that is spread out all over the Japanese region, with the help from Japanese and Chinese scholars. This was part of the Co-Examination-Research-Process of korean medical documents that are located in the East Asia traditional medical region, which was promoted by the Korean Institute of Oriental Medicine in 2003. This paper has analyzed in-depth, with an inner-medical view, the academic exchange content of YangDongChangHwaHuRok(兩東唱和後錄) by following the order of the main text. With this examination, we were able discover new facts about the interest in Primary Symptom(是動病) and Secondary Symptom(所生病) of 17th century doctors, a new hypothesis on the diffusion of HeoYim(許任)'s ChimGuKyungHeomBang(鍼灸經驗方) in Japan, the existence of a new acupuncture tool called ChongChim(腫鍼), and the influence of the 18th comtemporay famous traditional medical books (it is called UiHakYipMun(醫學入門) and ShinEungKyung(神應經) on the 18th century East Asian medical circle. We were also able to ascertain the specific medical content that was diffused to the Japanese medical circle by the Korean medical circle.

• Korean Journal of Heritage: History & Science
• /
• v.41 no.2
• /
• pp.79-97
• /
• 2008

Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

• Journal of the Korean Geographical Society
• /
• v.51 no.5
• /
• pp.651-665
• /
• 2016

This paper tried to delimitate the location and scope of Nokdundo located in the Dumangang estuary. In 18th century, Nokdundo was an alluvial island formed by several tributaries divided from the mainstream of Dumangang. In the mid-19th century, Nokdundo was connected to the Russian territory because some tributaries were blocked by sediment flows. In many maps published in the Joseon Dynasty, the location and size of Nokdundo had not been depicted consistently with each other nor been described correctly. Because of the recurrent extinction-generating phenomena of waterways of the Dumangang due to sedimentation process, the location and scope of Nokdundo can be delimitated differently according to the era. According to the distance information of the records published in the 19th and 20th century, the scope of Nokdundo can be extended widely to the Maritime Province of Siberia. So, the author have set the Sodumangang(Karasik River) as the northern boundary of Nokdundo. The Karasik River is called Sodumangang by the Koreans living in the Maritime Province. As a tributary of the Dumangang, Sodumangang flows into the Posyet Bay. Nokdundo was an island separated from the Korean peninsula and the Maritime Province by the Dumangang and the Sodumangang respectively. Tributaries of the Dumangang have formed many alluvial islands at the mouth of Dumangang where the Dumangang meets with the East Sea. So, the possibility that Nokdundo was consisted of several islands can not be excluded.

• Journal of architectural history
• /
• v.29 no.6
• /
• pp.57-65
• /
• 2020

This study covered the Mulmae, architectural drawing recorded on Yeonggeon-uigwes and Sanleung-uigwes during the late Joseon Dynasty. In uigwes, the term 'Mulmae' was used as a mixture until the 17th century, but from the 18th century, the term 'Mulmae(勿乙每, 勿每, 水每)' was unified into 'Mulmae(水每)'. The paper of the Mulmae was made to be used during the construction period by using a thick oil paper called Yudun. Four Yudun were connected, and its size was 197.4×141cm, which was rather large. The Yingzaofashi(營造法式) of Song Dynasty describes how to draw a longitudinal section on a scale of 1/10. The scale of 1/10 was the maximum when comparing the size of the Mulmae with the buildings in uigwes. A sectional drawing of Gongpo in Geunjeongjeon was drawn on a scale of 1/10. There is a testimony that a senior carpenter drew a cross-section on a scale of 1/10. Therefore, it was determined that the scale of the longitudinal section drawn on the Mulmae paper was 1/10. The term 'the Mulmae' was used equally by carpenter active in Japanese colonial era. The scope of the painting was clarified from pillar to rafter. Uigwes records that the Mulmae was made for wood processing. Through this, it can be understood that the Mulmae painted the entire structure as a longitudinal section.

• Journal of architectural history
• /
• v.25 no.5
• /
• pp.27-40
• /
• 2016

The purpose of this study was to comprehend the procurement system of iron materials and the production process of ironwork in royal tombs constructions in the later Joseon period. For this purpose, sixteen Sanneung-uigwes were analyzed. The following conclusions have been reached through the study. First, it was procuring five types of iron materials in constructions of royal tombs. Sincheol had been supplied up to the mid-18th century. On the other hand, the amount of jeongcheol was increased rapidly. Because of the procurement system of initial tools was changed from bokjeong(a kind of tribute) to self-production in the Noyaso. Second, the government stockpiles were utilized as much as possible than bokjeong to manage the limited construction period and sudden construction start. Third, before moving the site of tombs, the melting furnace was installed in the Gungisi(armament factory). The amount of the melting furnace was increased from 5 to 8 since producing the initial tools in the Noyaso. Fourth, six kinds of master artisans were worked in the field of producing ironwork. Metal worker was assigned to one person per melting furnace. Fifth, the quality of final iron materials was controlled by use. Since the 19th century, it had been produced enhanced ironwork.