In this study, we investigated the time signal devices of Deungnu (circa 1270) and Gungnu (1354), the water clocks produced during the Yuan Dynasty (1271–1368). These clocks influenced Heumgyeonggaknu (1438) of the Joseon Dynasty (1392–1910), exemplifying the automatic water clocks of the Yuan Dynasty. Deungnu, Gungnu, and Heumgyeonggaknu can be considered as automatic mechanical clocks capable of performances. The Jega-Yeoksang-Jip (Collection of Calendrical and Astronomical Theories of Various Chinese Masters) contains records of Deungnu extracted from the History of the Yuan Dynasty. We interpreted these records and analyzed reproduction models and technical data previously produced in China. The time signal device of Deungnu featured a four-story structure, with the top floor displaying the four divine constellations, the third floor showcasing models of these divinities, the second floor holding 12-h jacks and a 100-Mark ring, and the first floor with four musicians and a 100-Mark Time-Signal Puppet providing a variety of visual attractions. We developed a 3D model of Deungnu, proposing two possible mechanical devices to ensure that the Time-Signal Puppet simultaneously pointed to the 100-Mark graduations in the east, west, south, and north windows: one model reduced the rotation ratio of the 100-Mark ring to 1/4, whereas the other model maintained the rotation ratio using four separate 100-Mark rings. The power system of Deungnu was influenced by Suunuisangdae (the water-driven astronomical clock tower) of the Northern Song Dynasty (960–1127); this method was also applied to Heumgyeonggaknu in the Joseon Dynasty. In conclusion, these automatic water clocks of East Asia from the 13th to 15th centuries symbolized creativity and excellence, representing scientific devices that were the epitome of clock-making technology in their times.

본 연구는 몽골의 음주문화를 살피고 원대 새롭게 조합된 금속제 음주기의 기형, 문양, 기법 등을 분석하여 원대 음주기의 특징을 고찰한 것이다. 원을 포함한 몽골제국에서 발견된 음주기도 함께 비교하여 기물 간의 유사점과 차이점, 그리고 이들 지역 간의 교류 양상도 탐 색하였다. 몽골이 세운 원대에 사용된 음주기는 이전의 전통을 계승하면서도 그들이 음용한 주류의 특성과 음주 취향, 그리고 몽골제국의 확장에 따른 다양한 민족ㆍ문물ㆍ문화적 요소가 융합 되면서 독특한 양상을 보인다. 원대 신유형의 음주기는 몽골제국에 속한 러시아 남부의 주치 울루스와 중동의 훌레구 울루스에서도 등장하였다. 이는 지역별로 다소 차이를 보이지만 거 리를 초월한 ‘대몽골 울루스’ 라는 하나의 연합체 안에서 음주문화가 공유되었다는 것을 의 미한다. 원대 음주기는 금속기와 도자기로도 두루 제작되어 재질 간의 기형을 공유했을 뿐만 아니라 고려에도 심대한 영향을 끼쳤다.

According to the research, all the translations of Mathematical terms in the Chinese translation of the Ji He Yuan Ben in Ming and Qing Dynasty adopt Liberal translation. Some translation of mathematical terms exists the problem of multiple translations of a word, Matteo Ricci and Xu Guangqi’s collaborated on the translation of the mathematical terms most in use today. In the purely Liberal translation of the words translated by Matteo Ricci in collaboration with Xu Guangqi, borrowed and transplanted words are the most used today. In Literal translation words, two-syllable Literal translation words are the most used today. This was due to the impact of the principle of naturalization, influence of traditional systems theory thinking and the restriction of Chinese disyllabic law. The Mathematical terms translated by Matteo Ricci and Xu Guangqi had a significant impact on the choice and creation of mathematical translations for later generations: establishes a predominantly Liberal translation of mathematical terms, pay attention to the combination of traditional Chinese knowledge, according to the need to create three syllables and more than three syllable translation words and lay emphasis on the systematic translation of words, etc.

The purpose of this paper is to examine how late Joseon art scene interpreted and reflected the concept of “The four masters of Yuan dynasty (元四大家, from this out I’ll mark it as a Yuan-sadaega)” into landscape paintings during the late 18th to the first half of the 19th century. This study employs a comparative approach, analyzing paintings created during this period in Korea and China, particularly those featuring Yuan-sadaega, while also investigating written records. The understanding of the Yuan-sadaega and their paintings began through the early 17th century Gosi's painting manuals(顧氏畵譜). Through Heo Guseo (許九敍)'s works and literary records, It can be observed that the perception of Yuan sadaega's artworks and artistic aspects during at least the late 18th century was established within the art community. Notably, a distinct shift in the understanding of painters and the composition of Yuan-sadaega is observed in the trends of the late 18th and first half of the 19th century. In the late 18th century, the use of dwelling in the mountain(山居) image into landscapes in Yuan-sadaega compositions is evident, particularly in works by artists like Won Myeong-ung(元命雄) and Jeong Su-yeong(鄭遂榮). This trend is rooted in the contemporaneous significance of the art scene that produced a variety of paintings with the theme of ‘benevolence and daily life and in the shared understanding of the Yuan-sadaega as recluse(隱士) within the artistic community. This collective perception of the Yuan-sadaega seems to have been influenced by the influx of theories and writings on painting by Dong qi chang(董其昌) and by the circulation of painting manuals. The early 19th century, a new a new type of painting emerged alongside Bangjak(倣作, paintings of creative imitation) about the Yuan-sadaega, known as ‘Bangjak about Yuan dynasty painters(倣元人山水圖). Through the works of Kim Jeong-hee(金正喜) and Heo Ryeon(許鍊), it is noteworthy that various scenes are depicted under the same theme. This reflects the establishment of universal values and standards for literary painting within the art community. This process led to the term ‘Ni-hwang(倪黃, abbreviation of Ni zan and Hwang gong wang)’ emerging and the concept expanding under the term ‘Yuan-in’ (元人, the symbol of Yuan art scean). As a result, the desired artistic style pursued by the contemporary artistic community was encompassed under the universal concept of ‘Yuan-in,’ and ‘Bangjak about Yuan dynasty painters’ came to embody this comprehensive theme

Shoushili was the official calendrical method promulgated in 1280 CE by the Yuan dynasty. It contains a list of the angular spans in right ascensions for the 28 lunar lodges. They are known to have been measured by Guo Shoujing with his advanced instruments with an unprecedented precision or reading error of 5′. Such precise data are useful to determine their observational epoch with an error range which is narrow enough to pinpoint on which historical occasion they were observed. Using the precise SIMBAD data based on eDR3 of GAIA and carefully identified determinative stars and considering the precession of equinoxes and proper motions, we apply linear regression methods to those data and obtain the observational epoch of 1271 ± 16 CE and the measurement error of 4.1′. We also have polar distances corresponding to declinations written in another manuscript of the Ming dynasty. Since the two data sets have similar significant digits, they were suggested to have the same origin. However, we obtain their observational epoch of 1364±5 CE and the measurement error of 5.7′. They must have been measured with different instruments and on a different occasion from the observations related to Shoushili. We review the history of the calendrical reform during the 13th century in the Yuan dynasty. We conclude that the observational epoch obtained from lodge spans in Shoushili agrees with the period of observations led by Guo Shoujing or 1276–1279 CE, which is also supported by the fact that the ecliptic lodge span values listed in Shoushili were calculated from the equatorial lodge spans.

원대(元代)의 몽골 왕조는 한족의 전통문화를 적극적으로 보호하고 수용했다. 송대의 전통 지식체계였던 풍수지리는 원대의 수도 입지론으로 발전되었다. 원의 대도는 풍수지리 형기론을 바탕으로 길지로 판단되었다. 원과 대도 건립에 공헌한 한인(漢人) 유병충은 음양학에도 정통하여. 『옥척경(玉尺經)』을 남겼다. 『옥척경(玉尺經)』에서는 형기론, 이기론을 체용과 겸용의 관계로 상정했다. 『옥척경(玉尺經)』의 풍수론은 명청대 풍수론의 중심에 있었고, 조선시대 풍수학 관료들의 연구 학습서의 내용으로 이어졌다. 원대의 풍수지리는 수도입지론으로 활용되었고 음양학은 관학이 되었으며 음양학 과시서의 주요 내용은 풍수지리였다. 원대 음양학(陰陽學) 과시 시행 은 집현원(集賢院)에서 감독했고, 정식 학교를 설치하여 전문 음양학 관료들을 양성했다. 원대 과시서의 풍수이론은 형기론, 이기론, 선택론, 풍수 각론 등 다양했다. 풍수지리는 지배계층의 전폭적인 신뢰로 사회 전체에서 유행되었으며, 지나친 유행으로 폐단이 심해지자 정부에서는 법률을 제정하여 폐단을 엄금했다. 원대의 풍수지리 연구와 발전은 고려, 명, 청, 조선시대 풍수학 연구와 발전의 계기로 작용했으며, 풍수지리가 수도입지론, 도시계획으로 정착되는 계기를 마련했다. 원대의 풍수지리는 호한(胡漢) 문화의 성공적 융합 결과이며, 전통 지식체계의 확산은 동서남북 문화 교류가 촉진되는 발판으로 기능했다. 풍수지리는 대도를 거쳐 북경의 고궁으로 계승되어 현재 세계문화유산으로 귀속되어 있다.

The architectural influence from the Yuan had impact on the Goryeo Dynasty in earnest during Yuan intervention period in the 14th century. The representative examples which were influenced by the Yuan architecture are the Eungjinjeon in Seongbulsa(成佛寺) temple, the ten-story stone pagoda of Gyeoncheonsa(敬天寺) temple site, the Bogwangjeon in Simwonsa(心源寺) temple, the Hoeamsa(檜巖寺) temple and so on. Notwithstanding the changes of relationship between two countries, it can be comprehended that there was a selective acceptance of the Yuan architectural peculiarities in Goryeo Dynasty. It means that the adoption of foreign culture in Korea has not been inevitable from the unilateral demand, but been autonomous by perceiving as the advanced culture. This tendency was maintained even though the government had been changed.

The purpose of this study is to clarify the characteristics of the ancient architectures of the Yuan Dynasty(元代). The result is expected to efficient for a basic data to research history of the Koryo(高麗) architectures. This study was focused on the architecture of the Yuan dynasty in Hancheng city, because the buildings of the Yuan Dynasty were remained in Hancheng city(韓城) of Shanxi province(陝西) in the largest numbers through all China territory. And the study was especially analyzed in the angle of the system of wooden structures among various architectural points. It was looked into, in large, views of form of whole structure and, in detail, joining method of detail parts. As a result of the study, the characteristics of architectures of the Yuan Dynasty in Hancheng city were summarized as follow a reduction of the unit size, a shifting of columns, a removal of columns and a simplicity of ornaments. These are different with architecture of other empire periods. Also, these are the characteristics of the Korean tradition at architectures. This study of the Yuan's architectures of Hancheng is expected to be the basis of the advanced study about the relationship between Koryo(高麗) architectures and Yuan(元) architectures.