• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.14 no.1
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• pp.101-116
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• 2019

Technology-based start-up is important in that it encourages innovation, facilitates the development of new products and services, and contributes to job creation. Technology-based start-up activates entrepreneurship when appropriate support is provided within the ecosystem. Thus, understanding the technology-based start-up ecosystem is crucial. The purpose of this study is as follows. First, in Herrmann et al.'s(2015) study, we compare and analyze the ecosystem of each country by selecting representative regions such as Silicon Valley, Tel Aviv, London and Singapore which have the highest ranking in the start-up ecosystem. Second, we try to deeply understand the start-up ecosystem based on in-depth interviews with various stakeholders such as VC investors, start-ups, support organizations, and professors related to the Korean start-up ecosystem. Finally, based on the results of the study, we suggest development and activation of Korean technology-based start-up ecosystem. As a result, the Seoul start-up ecosystem showed a positive evaluation of government support compared to other advanced countries. In addition, it was confirmed that the ratio of tele-work and start-up company working experience of employees was higher than other countries. On the other hand, in Seoul, It was confirmed that overseas market performance, human resource diversity, attracting investment, hiring technological engineers, and the ratio of female entrepreneurs were lower than those of overseas advanced countries. In addition, according to the results of the interview analysis, Seoul was able to find that start-up ecosystems such as individual angel investors, accelerators, support institution, and media are developing thanks to the government's market-oriented policy support. However, in order for this development to continue, it is necessary to improve the continuous investment system, expansion of diversity, investment return system, and accessibility to the global market. A discussion on this issue is presented.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.1-18
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• 2011

This study has been examined characteristics of Yeoju Lee family, rich group at Miryang in the middle of the Joseon Dynasty, around Geumsidang(今是堂) Lee Gwang-jin remains as a cultural landscape appeared in pictures, poetry, and a strange story. Geumsidang Lee Gwang-jin returned to his old home abandoned the middle government post after the death of Moonjeong queen in socially confused stage and tried to manage an annex to a Geumsidang located in Baekgok of Eungchun riverside, and Geumsidang he managed was affected by his teacher and uncle Wolyoun Lee Tae of a view of nature, filial behavior, and nature management etc. Also, 'Painting of 12 landscapes to Geumsidang' is landscape painting with the actual view not like the '8 landscapes of So-Sang' or '8 landscapes of Sa-Si' which is abstract landscape and Lee Gyeong-hong drew 12 landscapes of Geumsidang that includes Angbong(鶯峰: nightingale peak), Yongdu mountain(龍頭山), Mubong Buddhist temple(舞鳳寺), Maam mountain(馬巖山), Wolyeon-dae(月淵臺), Saindang village(舍人堂村), Youngnam-ru(嶺南樓), Miryang eubseong(密陽邑城), Eyeonso(梨淵沼: pear tree deep water), Yullim(栗林: chestnut tree forest), Miryang river(密陽江), Sammundong fields(沙門野), land and government office owned by Yeoju Lee family as landscape objects. 'Poems of 12 landscapes to Geumsidang' by Lee Yong-gu 11th sons of Lee Gwang-jin was written based on 'Painting of 12 landscapes to Geumsidang', and sang for time, season, and changes of the weather. All 12 poems are all a quatrain with seven Chinese characters in each line consisted of all 28 words, but does not match completely with shown elements in pictures because it is not a simple description of pictures but it is recreated by writer's personality. Therefore these painting shows not only th meaning of filial behavior but also village owned by Yeoju Lee family rich group in Miryang, and these poem recreated the pictures by changing as certain scenic spot with the object of enforcing territory of Yeoju Lee family.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.