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東醫寶鑑의 저자, 허준은 누구인가? ‘벽역신방’, ‘언해구급방’ 등 많은 의서 저술 임진왜란 때 御醫 활약, 세계 의학사 큰 인물 인정 
동의보감’이 세계기록유산으로 선정됐다. ‘동의보감’이 갖는 세계사적 가치가 집중 조명받고 있다. 그렇다면 ‘동의보감’을 민족의학으로 집대성한 허준(許浚), 그는 누구인가? 허준(許浚·1539~1615)은 양천허씨 시조 허선문(許宣文)의 20세손이다. 아버지는 종성부사를 지낸 론이다. 자는 청원(淸源)이며, 호는 구암(龜巖)이다. 허준은 임진왜란 때 어의(御醫)로서 왕을 호종, 1604년 호성공신(扈聖功臣)이 되었으며, 1606년에 양평군(陽平君)에 봉해졌다. 무엇보다 의성 허준은 애민정신을 바탕으로 한 인술 실천과 더불어 한국 의학사의 큰 획을 긋는 대표적인 의서를 저술해 당시의 의학지식은 물론 문화·역사·과학·인문 등 전 분야에 걸친 시대상을 연구하는데 크게 기여했다. 대표적인 저서는 역시 ‘동의보감(東醫寶鑑)’이다. 이 책은 내경편(內景篇) 6권, 외형편(外形篇) 4권, 잡병편(雜病篇) 11권, 탕액편(湯液篇) 3권, 침구편(鍼灸篇) 1권 등 모두 25권 25책으로 구성된 당대 최고의 의학백과사전이다. 선생이 최초로 편찬한 책은 ‘찬도방론맥결집성’이다. 이 책은 당대 저명한 의원들의 학설과 각종 의서를 참고하여 편찬한 진맥서다. 또한 1613년에 왕명을 받아 지은 ‘벽역신방’은 전염병 치료를 위한 의서이다. 또 ‘신찬벽온방’은 1612년(광해군 4)에 관북지방에서 전염병이 발생하여 전국에 번지자 이를 예방하고 치료하기 위한 온역(瘟疫) 즉, 전염병 치료에 관한 전문의서다. ‘언해구급방(諺解救急方)’은 1607년(선조 40)에 저술한 구급의학 전문서다. 이 책은 임진왜란 이후 전후복구 과정에 구급의서의 필요성이 증대하여 ‘구급방(救急方)’이라는 서적을 개편하고 이것을 한글로 풀이해 구급질환에 대한 새로운 치료법을 담았다. ‘언해두창집요(諺解痘瘡集要)’는 1601년(선조 34)에 2권2책의 목판본으로 편찬한 두창(痘瘡)에 관한 의서다. 특히 이 책에 나오는 처방의 어휘, 약초면, 한자음표기 등은 17세기 국어연구에 중요한 자료로 활용되고 있다. ‘언해태산집요(諺解胎産集要)’는 1608년(선조 41)에 편찬한 산부인과 전문서이다. ‘동의보감’에 앞서 간행되었기 때문에 산부인과 부문에 대한 훌륭한 전범(典範)으로 평가받고 있다. ‘내의선생안(內醫先生安)’은 조선시대 내의원에서 근무하며 어약을 관장했던 왕실 의원들의 인적사항을 기록한 명부이다. 따라서 ‘동의보감’의 세계기록유산 등재를 계기로 허준의 다른 의학서에 대한 면밀한 연구가 진행된다면 의성(醫聖) 허준(許浚)의 진정한 가치를 새롭게 재발견할 수 있는 기회가 될 것으로 판단된다.
Etymology Yangban literally means "two branches" of administration; one is the munban (문반, 文班) which comprises civil administrators, and the other is muban (무반, 武班) that comprises martial office holders. The term yangban first appeared sometime during the late Goryeo dynasty, but only gained wider usage during the Joseon dynasty. From sixteenth century onward yangban came to include family members and descendents of the government officials, thus begetting a semantic change of the word from simply designating certain branches of officials to a ruling class or order of society. As more and more part of the population aspired to become yangban and gradually succeeded in doing so during the late Joseon period the privileges and splendor the term had inspired slowly vanished and it even gained a diminunitive connotation. 
Life of leisure: a yangban man resting during a hunt,early 19th century. wikipedia http://answers.yahoo.com/question/index?qid=20110111080430AAsRyqk 
A story of a street by a stream 계변가화 (溪邊街話) '혜원풍속도첩 (蕙園風俗圖帖)' 중에서, 서울 성북구 간송미술관 소장. 길 지나가던 나그네가 여인들의 목욕을 지켜보고 있음을 묘사하였다. 弓を持っている貴族（両班）は、水浴びや洗濯をするキーセン（妓生）の裸を覗き見してますよ。 Aristocracy Yangban who has a bow takes a peek of naked Kiaeng bathing and washing. Can someone explain Yangban in Korea? http://www.international.ucla.edu/korea/events/showevent.asp?eventid=7944 A Yangban family's striving for the solidarity of kinsmen and its failure in Late Choson--A focus on the Yus of Sun-san's case By Joo Hee Choi, Korea University/ CKS Post Doc and Visiting Scholars Colloquium Series Tuesday, February 23, 2010 12:30 PM - 2:00 PM 11377 Bunche Hall UCLA 조선후기 어느 양반가(兩班家)의 친족(親族)결집 노력과 내적 균열양상: 담양(潭陽)지역 선산 유씨가(善山 柳氏家)를 중심으로 "미암일기(眉巖日記)" 저자로 잘 알려진 유희춘은 16세기 중앙관료이자 경학자로서 선조(宣祖, 1567~1608)의 신임을 받는 위치에 있으면서도 담양지역 양반 사회에 편입하기 위해 만년까지 정치적 노력을 지속하였다. 그럼에도 불구하고 유희춘 사후(死後) 담양지역의 선산 유씨들은 현달한 인물을 배출하지 못한 채, 유학(幼學)이라는 직역을 유지하는 수준에서 가세(家勢)를 유지해갔다. 이에 신분적 특권을 보장하는 국가적 시스템이 점차 이완되어가던 19세기 시점에 이르러서야 담양지역 선산 류씨들은‘호남화족(湖南華族)’혹은‘명현의 후손’이라는 신분의식을 유지하기 위해 보다 넓은 친족 결집을 도모하였으며, 한편으로 선조인 유희춘의 문집 간행에 심혈을 기울였다. 그러나 선산 유씨들의 친족 결집이 강화되던 19세기 당대에 오히려 친족 간의 갈등이 첨예하게 불거져 나왔다. 오늘날 우리가 접하고 있는 "미암집(眉巖集)" 은 이처럼 친족 간의 균열이 가장 분명하게 드러나던 19세기에 문중을 상징하는 매개체로서 친족공동체에 의해‘만들어진 유산(invented heritage)’이었다. Joo-Hee Choi Researcher, Research Institute of Korean Studies in Korea University 고려대학교 한국사학과에서 조선후기 경제사를 전공으로 박사학위를 준비하고 있으며, 민족문화연구원 산하 HK한국학연구단 연구원으로 재직 중이다. 조선후기 재정운영과 유통 시스템을 통해 전근대 경제구조의 특질을 밝히는 데 주목하고 있으며, 동아시아 국가들 간의 비교사적 관점과 이론에도 관심을 가지고 있다. http://www.metmuseum.org/toah/hd/yang/hd_yang.htm Yangban: The Cultural Life of the Joseon Literati Thematic Essays By Category By Geographical Region & Time Period VIEW SLIDESHOW Alongside the king, a class of men known collectively as the yangban governed society during the Joseon dynasty (1392–1910). The term yangban refers to members of the "two orders" of civil or military officialdom. Whether his post was civil or military (the former was considered more prestigious than the latter), a yangban was, essentially, a literati. The yangban was expected to hold public office, follow the Confucian doctrine through study and self-cultivation, and help cultivate the moral standards of Joseon society. As an elite class, the yangban enjoyed many privileges and actively sought to preserve the purity and exclusivity of their group—for instance, through marriage only among members of the yangban class. It was not a monolithic group, however. There were numerous internal distinctions, and the yangban strove to maintain a hierarchical order among themselves. Toward the end of the Joseon dynasty, the grievances and protests of large numbers of discontented or "fallen" yangban, especially those residing outside of the capital city of Hanyang (present-day Seoul), would erode the core of yangban society. A defining characteristic of the Joseon yangban was his scholarly knowledge and pursuits, specifically of the Confucian classics and Neo-Confucian thought. A defining characteristic of the Joseon yangban was his scholarly knowledge and pursuits, specifically of the Confucian classics and Neo-Confucian thought. Numerous texts authored by members of the yangban class provide insight into the ancient and contemporary texts they studied, the new ideas they developed, how they discoursed among themselves, and how they developed government policies. Their work was invariably written in Classical Chinese, the preferred mode of writing by learned men, even after the creation of the Korean alphabet (hangeul) in 1443. Besides written documents, some of the objects most associated with, and revealing of, the cultural life of the yangban are those related to writing. In addition to the inkstone (which would be ground with water to make ink), brushes, and paper, a proper literati was expected to have an assortment of simple yet beautiful instruments, such as porcelain or wooden brush holders (11.142.1) and porcelain water droppers. These small accessories, along with refined yet unostentatious wooden furniture, would be displayed (and used) in the sarangbang, which functioned as both a study and guest-receiving room. Following strict Confucian principles, the typical elite house had separate male and female quarters; the sarangbang was the most important part of the male domain and, therefore, of the entire home. As Confucian scholar-officials, the yangban considered themselves custodians of proper Confucian mores. An important aspect of the Confucian life was the rigorous observance of rites and rituals, particularly the four rites of capping, wedding, funeral, and ancestor worship. Different degrees of ceremony existed depending on one's social class and whether the rites were private or official. Objects used by the court or yangban in rites and rituals—such as ancestor portraits or porcelain ritual vessels—have come down to us as art and as tangible representations of the philosophies and performances of Confucian ceremonies. Many in the yangban class were accomplished artists, practicing calligraphy and ink painting, traditionally the two media considered most appropriate for literati. Ink monochrome paintings of bamboo, orchid, plum blossom, and chrysanthemum were especially popular among the yangban; originally associated with the four seasons, these motifs came to represent the Confucian scholar. In the latter half of the Joseon dynasty, as new and innovative modes of painting developed—including the so-called "true-view" (jingyeong) landscape and works incorporating Western techniques—the yangban became enthusiastic participants and patrons of art beyond the established monochrome inks. Beyond their proper, tradition-bound life, the leisure activities of the yangban were prominently captured in genre painting, a type of art that flourished during the eighteenth century. Tantalizing works by artists like Sin Yunbok (ca. 1758–after 1813), showing beautified images of the yangban frolicking with courtesans (gisaeng), provide a glimpse into a life not evidenced in the written records on Confucian ethics and mores. Soyoung Lee Department of Asian Art, The Metropolitan Museum of Art Citation Lee, Soyoung. "Yangban: The Cultural Life of the Joseon Literati". In Heilbrunn Timeline of Art History. New York: The Metropolitan 
Approach to Yeongtong-dong: From Album of a Journey to Songdo, Joseon dynasty (1392–1910), ca. 1757 Gang Sehwang (Korean, 1713–1791) One leaf from an album of 16 leaves; ink and light color on paper; Each 12 7/8 x 21 1/4 in. (32.8 x 54 cm) The National Museum of Korea, Seoul 
Water dropper in the shape of a peach, Joseon dynasty (1392–1910), 19th century Korea Porcelain with underglaze cobalt blue and copper-red decoration Ewha Womans University Museum, Seoul 
Ink Bamboo, Joseon dynasty (1392–1910) Yi Jeong (Korean, 1541–1622) Hanging scroll; ink on silk; 115.6 x 53.3 cm Mary and Jackson Burke Foundation 
Inkstone table, Joseon dynasty (1392–1910), 19th century Korea Persimmon wood; H. 8 3/4 in. (22.1 cm), L. 11 7/8 in. (30.3 cm), W. 7 1/2 in. (19 cm) The National Museum of Korea, Seoul
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