• 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.

• 프린팅코리아
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• s.54
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• pp.112-115
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• 2006

한국옥외광고협회와 코엑스가 주최한 제15회 한국국제사인.디자인전(KORSIGN 2006, 이하 코사인전)이 지난 11월 2일부터 5일까지 서울 코엑스 태평양홀과 인도양홀에서 개최됐다. 역대 최대 규모로 열린 이번 행사는 전시장 면적이 기존의 태평양홀에서 인도양홀까지 확대외었으며, 참여업체 규모도 180개사 650부스로 대폭 늘어나고 행사기간동안 국내외 바이어 참관객 1만5천여명이 다녀가는 등 국내를 대표하는 사인전시회로서의 면모를 유갑없이 보여주었다.

• SUVANNABHUMI
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• v.4 no.1
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• pp.1-26
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• 2012

아라칸(여카잉) 왕국은 1785년 버마족의 정복 이전 거의 2천년에 가까운 독립적인 역사를 전개해왔다. 특히, 앤서니 리드가 주창하는 상업적 시대(AD 1450-1680)에 있어서 아라칸 왕국은 인도양의 교역에 본격적으로 개입함에 따라 이슬람 전통과 접촉하였고, 이러한 양상으로 인하여 3백년 이상 동안 아라칸 정체와 사회의 형성에 지대한 영항을 받게 되었다. 이슬람의 영향은 문화적 측면에서 이 지역에 분명한 색채를 보여주고 있다. 따라서 본 연구는 이슬람의 문화적 영향력이 기존의 전통적인 종교 패턴에 어떻게 미쳤는지 살펴보고, 1666년 뱅갈만의 해상중심지였던 칫타공에 대한 통제력을 상실할 때까지의 아라칸 먀웃우 왕조의 정치, 경제, 사회 구조 형성에 어떠한 역할을 담당하였는지 논해볼 것이다.

• KLA journal
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• no.6
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• pp.1-4
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• 1957

• The Korean Publising Journal, Monthly
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• s.101
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• pp.20-20
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• 1992

• Journal of the Korean Society of Costume
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• v.21
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• pp.227-239
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• 1993

• The Korean Publising Journal, Monthly
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• s.64
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• pp.16-17
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• 1990

• The Korean Publising Journal, Monthly
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• s.271
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• pp.31-31
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• 2000

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.145-158
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• 2020

Dharavi, located in Mumbai, India, is the largest slum in the world, with over 700,000 people living in one area. The provincial government has selected a private business, and planning to promote Dharavi's redevelopment together. In addition, the Indian government announced three city development initiatives in 2015 and is promoting altogether the nationwide urban development in India, redevelopment projects in existing cities, and housing provision for slum residents. Through incorporating ongoing projects such as DMIC industrial corridor and smart city construction in India to the pharmaceutical industry that India has a comparative advantage over other industries, urban pharmaceutical research & production facility and residential complex is proposed in this paper, to be capable of supplying all occupants in the designated site, as a prototype for possible redevelopment directions.

• (The) Research of the performance art and culture
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• no.18
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• pp.223-255
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• 2009

This paper deals with the tradition and identity of physical expression(${\bar{a}}{\dot{n}}gika$ abhinaya) system in Indian traditional theatre and dance. The ${\bar{a}}{\dot{n}}gika$ abhinaya of Indian dance and theatre has been stylized through long terms and thereby defines their identity and peculiarity by its highly stylized expression techniques while following dramatic way($n{\bar{a}}tya$-dharmi). The ${\bar{a}}{\dot{n}}gika$ abhinaya is said to had been derived from the ritualistic practice of ancient Vedic period(B.C. 15th-B.C. 5th c.), which is most clearly exemplified in hand gesture(hasta mudra). In $N{\bar{a}}tya$ ${\acute{S}}astra$, ${\bar{a}}{\dot{n}}gika$ abhinaya is explained in detail. It is classified broadly into facial expression(mukhaja abhinaya), gesture expression(śārīra abhinaya), movement expression($cest{\bar{a}}krita$ abhinaya). Further, $N{\bar{a}}tya$ ${\acute{S}}astra$ divides their various usages by parts which include head, glance, eyes, nose, eyelid, cheek, lower lip, chin, mouth, hand, chest, waist, belly, hip. thigh, claf, foot. Besides, it explains diverse ways of foot movement($c{\bar{a}}ri$), standing poses(sthana), gait(gati) and their combined movements(mandala). Many forms of Indian traditional theatre and dance basically follows the rule of ${\bar{a}}{\dot{n}}gika$ abhinaya proposed in $N{\bar{a}}tya$ ${\acute{S}}astra$, which identifies their unique characteristics.