• Journal of Distribution Science
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• v.4 no.1
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• pp.161-173
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• 2006

The most important two decision-makings which a retail store owner face require which place of the store should geographically be established and which stock should be properly placed on the shelves. The problem of geographic positioning is the decision-making for the store's positioning and stock arrangement within the retail store is the decision-making for the placement store. In order to determine the positioning, the expected area should be analyzed so that the analysis of commercial area can usually be implemented in accordance with retail marketing strategy and therefore the sized of the potential market for example each distric's clientele, competition and, a municipal community's regulations, could be evaluated. But I contend that with only the size of potential market does not give an adequate answer to the problem of a store's positioning. Through the estimation of commercial are in combination with feng-shui, the theory of divination based on topography, the store's position could be selected, taking a positive energy, Gi. This thesis is the starting point of these trials. In the long run, the actual analysis of the study should be continued in a more scientific, systematic, statistical way.

• Journal of the Korea Convergence Society
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• v.10 no.5
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• pp.149-156
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• 2019

This study adopts 'intersectionality' as a key concept of Sheila Levrant de Bretteville's design works. As a method of research, this research suggests the definition of intersectionality, from the idea of black feminism. Analysis of the features are such as 1) Typography of speech, 2) Collection of narrative, and 3) site specific installation. The inclusion of the various situations of the individuals reflected in the design throughout de Bretteville's works has made it possible to guarantee the intersectionality. De Bretteville overthrows the context of the power in which the design is placed, embracing forgotten or less illuminated positions. As a result, this research could derive three implications such as 1) visualization of invisibility, 2) subjectification of object, and 3) demarginalization of marginality. The perspective of the intersectionality are in line with the values of contemporary Korean society and might be an insight for researchers who want to establish a design philosophy.

• Journal of Digital Convergence
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• v.19 no.2
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• pp.463-469
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• 2021

The aesthetic value of Korea is rising in various fields through the use of designs using Korean materials. Korean materials contain oriental ideas and are widely used as materials for design development due to the uniqueness of its form. The purpose of this study is to present basic data of nail art design differentiated nail art designs required at the nail art industry site by producing nail works using Korean materials. Accordingly, We proceeded on the basis of theoretical consideration and empirical research for the development of nail art design, a field of beauty in this study, and made a Korean and unique nail art design work using the Four Gracious Plants. For this purpose, we considered theoretically the characteristics of nail art and the Gracious Plants, and made nail art design works derived from empirical research. The work was analyzed by color, texture, and design elements of form. Therefore, the mixed method of Nail Art and the Gracious Plants, which is the core of this study, is considered to be meaningful in laying the foundation for creative nail art design development.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.35-48
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• 2020

This study aims to find out the implications of the Chinese cultural industry by analyzing the successful factors of the IP acrobatic stage drama "Mongjiryeo," which was well received through internal and external performances by creating acrobatics repres enting traditional Chinese culture as a stage play that conforms to the trend of modern society. Th e findings are as follows. First, China's cultural industry grew and developed quantitatively and qualitatively based on the government's active promotion policy and the huge domestic market. Second, through challenges and changes to traditional culture such as acrobatics and costumes, creative standard presentation and practical experience were attempted as modern stage plays. Third, Oriental humanities ideas and emotions were introduced amid the reform and innovative changes of traditional culture. The results of this study will enable various free interpretation and expansion from a humanities perspective. And it could be used as a reference material for the study of the creation of new culture utilizing the analysis and approach of the traditional Chinese cultural archetype.

• Sijohaknonchong
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• v.30
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• pp.109-146
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• 2009

It is academically recognized that Jeong Wan-Young's sijo better represent Oriental ideas. The purpose of this study is to investigate Taoistic characteristics of Jeong Wan-Young's sijo. This is an effort to succeed and further deepen and extend previous relevant researches. For the purpose, this researcher categorized the poet's sijo in accordance with such characteristics as above mentioned. Findings of the study can be summarized as below. Pieces of Jeong Wan-Young's sijo which are based on Taoistic ideas are largely classified into three groups. First, some pieces of Jeong Wan-Young's sijo represents an orientation of return to hometown which is brought by the sense of loss. His sense of loss is attributed to the facts that his home is not what it was any longer and that he can't return to the old home. To overcome the sense, nevertheless, the poet is dreaming of return to home. The home found in Jeong Wan Young's sijo is something fundamental and original that he purposedly provided against the feeling of loss. It complies with the concept of 'Bokgwigigen(復歸基根)‘ a pursuit of Taoism. Second, other pieces of Jeong Wan-Young's sijo are seeking purity to retrieve childish innocence. Their subjects include the season of spring, dreams of childhood and longing for mother all of which represent the poet's strong desire for such retrieval as above mentioned. It may be said that pursued by that pieces are 'Purity, Feebleness and Smoothness' that are sought by Taoism. Third, other pieces of Jeong Wan-Young's sijo are considering human as a part of nature and seeking human life in harmony with nature. In other words, they are seeking union between human and nature which means going beyond discrimination between self and external objects, that is, 'Mulayangmang(物我兩忘)'. This may refer to return to nature which is the ultimate destination of Taoism.

• Journal of Korean Philosophical Society
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• v.117
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• pp.191-222
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• 2011

Traditionally, the origin of the Han River has been thought as Utongsu(于筒水) and Geumgangyeon(金剛淵). As both of these places are located in Odaesan(五臺山) the $Ma{\tilde{n}}ju{\acute{s}}ri$(文殊) Holy Place, we can well assume the possibility of Buddhist influence on them. In the Buddhist understanding on the origin of the Han River, what we should first notice are 'the recognition on the water of Buddhism' and 'the recognition on the river in Indian culture.' With the reviews, we may come to see by what standpoint these could become existed, if there were Buddhist influences on the recognition of Han River's origin. Based on these Buddhist and Indo-cultural view points, the author tries to make more dearly the definition of Utongsu and Geumgangyeon that are recognized as the origin of the Han River. Through it, we can check the relation of Buddhism and Indian culture in their influence on the concepts of Utongsu and Geumgangyeon. In Indian culture, what is noticed in relation with the origin of the river is Anavatapta, in which the sacredness of the water named the 8 virtuous waters is recorded. It is the materialistic sacredness which can be compared with the sacred feature of Utongsu that "its color and taste are far greater than other waters, and so is its weight. ${\cdots}$ Its color and taste do not change even after it flows into the Han River." Furthermore, both of Anavatapta and Utongsu have the same symbolism of dragon that the highest dragon king and a divine dragon were told to live in respective lakes. This similar structure found in the recognition of two rivers' origin may become an evidence of Buddhist influence on the recognition of the Han River's origin. The recognition of the Han River's origin is based on the traditional culture. Therefore, it may be natural that there is the Buddhist culture in it. At the same time, some viewpoints of Chinese culture can be found in it. So, the traditional recognition on the Han River's origin comprises diversity and complexity of Indian and Chinese cultures together.

• The Journal of Korean Philosophical History
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• no.32
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• pp.309-336
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• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

• (The)Study of the Eastern Classic
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• no.48
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• pp.91-116
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• 2012

Writing is a process and work of expressing one's own feelings and thoughts that are not contained in rigid forms; however, the literary trend and environment during the Late Joseon was not so tolerant. A revivalist approach to writing was dominant during this period, which was summarized in the expression that "Prose must be written in the style of Qin and Han; and Poetry in that of High Tang. "Hence, it was practically a taboo to express one's raw emotions and disregard the custom and regulations of writing. Nevertheless, literati, who got tired of the dogmatic rule of Neo-Confucianism at the time that refused to see the changing world and the pseudo-archaic writing that merely imitated the outside and was empty inside, attempted new styles of writing to escape from the model or example and what was familiar. Lee Yong-hyu, who was in the middle of such transformations, learned the trends of Late Ming and Early Qing through the newly imported Chinese books and created his own style that reflected his personality. His writings refused the Neo-Confucian system of thoughts, which was a dominant ideology of the time, paid attention to the human nature and emphasized the restoration of the self. His writing could be described as being anti-pseudo-archaic and criticized the pretentious trend of the time. He argued that in order to restore the true self, one must recover the innocent mind that was bestowed on human by heaven/nature (cheon-li, 天理), and for this purpose, one must straighten out one's mind (sim, 心). His argument is similar to that of "Yangming School of Mind," which could be represented by the phrase, "Mind is the Principle (心卽理)." Yangming School claimed that moral principle existed within one's mind; and this was in stark contrast with the Neo-Confucian idea that "principle (li)"was external and transcendent, and was spoken by the great Confucian masters and written down in Confucian Classics. By denying the externality of the principle and underscoring its immanence, the idea that centralized Confucian Classics and canons was dismantled. Lee Yong-hyu's writing styles that denied the model and emphasized the restoration of the self was influenced by such thoughts. However, one must neither hastily judge that he is an advocate of Yangming School of Mind, nor determine the anti-pseudo-archaic writers' ideological basis as the philosophy of Yangming School. Once it is rigidly defined, be it Zhu Xi's philosophy or Wang Yangming's philosophy, it becomes another model that one must abide by, and again the self disappears. Thus, Lee Yong-hyu defied any kind of model that claimed authenticity or precedence and wished that people would live independently as oneself, and left such claims and wishes in writing. That is the reason, after more than two hundred years later, we still read his writings.

• (The)Study of the Eastern Classic
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• no.55
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• pp.223-264
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• 2014

Yeoncheon Hong Seok-joo(淵泉 洪奭周: 1774-1842) faithfully followed a policy of restoration of literary style of king Jeongjo. He was an young vassal after 1794 and influenced by Jeongjo because Yeoncheon was around the king. Furthermore, he had comparatively favorable working period as a vassal(仕宦期, 1795-1836) after death of Jeongjo(1800) while establishing his own academic viewpoint. Therefore, a study about art theory of Yeoncheon Hong Seok-joo is one about logical system to accept various desires for change of then while not getting rid of scope of Neo-Confucianism after Jeongjo. It is catched that exchange of Hong Seok-joo and Jeong Yak-yong was made relating to study of Sangseo. Hong Seok-joo and Jeong Yak-yong absorbed in study of Sangseo, which is come from putting importance on 6 scriptures (經) among studies of scriptures by both of them. Through this, they aimed to re-discover ideology of original Confucian studies as one for cultivating oneself and governing people (修己治人之學). Dasan and Yeoncheon have something in common that they were young vassals who were cultivated as a guarding power for Jeongjo centered on Gyujanggak. They were largely fit to view of literature(文體觀) of Jeongjo. Hong Seok-joo distinguished function of prose(文) and poetry(詩) into teaching moral(明敎) and moving people(感人) in the category of Mun-yi-jae-do(文以載道) based on thoughts of 'literature is linguistic device for Taoism '(道本文末)' which is a core concept of literature theory based on Neo-Confucianism. He gave a careful attention on instructional and social function in prose while on emotional understanding that puts importance on temper and the secrets of nature in poetry. Hong Seok-joo regarded moral impression and edification through this as a core of artistic creation based on Segyoseol(世敎說). Furthermore, expressions such as 'Heunggwangunwon(興觀群怨)' or 'Yeohangguyo(閭巷謳謠) which are mentioned as important elements in his artistic works put importance on actual existence of objective things in artistic activity and this is connected to an attitude to require description fit to fact. So, it is assumed that such expression style aimed for features of genre painting in painting arts. Understanding of the study of ancient documents by Yeoncheon developed from critical perspective. He criticized the study of ancient documents, saying it as first, Pasoijisul(破碎之術), second, Dotaekjisul(塗澤之術), third, Hoimojisul(毁侮之術). Jeong Yak-yong criticized ' theory on the Odes' from viewpoint of theory of Mun-yi-jae-do(文以載道) based on Neo-Confucianism. He stressed political and social function of Sipeon and general poetry in "the Odes" and reinterprets discourses about poetry of Zhu Xi based on his own opinion. He says that poems of national fashion do political and social criticism. The theory of national fashion by Jeong Yak-yong clearly discloses his thoughts that stress practical role of noblemen in the social and political context.

• Journal of Sasang Constitutional Medicine
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• v.8 no.1
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• pp.295-317
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• 1996

It is researched to elucidate the effects of Taeumjowuitang(TE,太陰調胃湯), Sibimikwanjungtang(SE, 十二味寬中湯) and Yangkeogsanwhatang(SY,凉膈散火湯) on the obesity induced by gold thioglucose and the differentiation and growth of preadipocyte 3T3-L1 in the mouse. The result were as follows: 1. TE,SE and SY extracts improved the blood level of transaminase in the obese mouse induced by gold thioglucose. 2. TE,SE and SY extracts inhibited the increase of liver fat and body fat in the obese mouse induced by gold thioglucose. 3. TE,SE and SY extracts inhibited the increase of body weight in the obese mouse induced by gold thioglucose. 4. TE,SE and SY extracts inhibited the growth of undifferentiate preadipocyte 3T3-L1. 5. TE,SE and SY extracts showed inhibitory effect on the differentiation of preadipocyte 3T3-L1. The above results suggest that the TE,SE and SY extracts may be used on the obesity induced by the overgrowth and differentiation of adipocyte, and the accumulation of fat in liver and body.