• 한국의상디자인학회지
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• 제3권1호
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• pp.57-76
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• 2001

This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.

• 대순사상과 동아시아종교
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• 제2권2호
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• pp.73-99
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• 2023

The dragon is a special imaginary figure created by the people of East Asia. Its archetypes appeared primarily as totemic symbols of different tribes and groups in the region. The formation of early dynasties probably generated the molding of the dragon symbol. Dragon symbols carried deep imprints of nature. They concealed alternative messages of how ancient people at different locations dealt with or interacted with nature. Under pressure to standardize in the medieval and late imperial periods, the popular dragon had to transform physically and ideologically. It became imposed, unified, and framed, conveying ideas of caste classification and power, and losing itsecological implications. The dragon transitioned from a semi-ecological domain into a total social caste system. However, many people considered the "standardized" dragon as the symbol of the oppressor. Because of continuous orthopraxy and calls for imperial reverence, especially under orthopractic agenda and the surveillance of local elites, the popularized dragon was imbued within local artworks or hidden under the sanctity of Buddhas or popular gods in order to survive. Through disguise, the popular dragon partially maintained its ecological narratives. When the imperial dynasties ended in East Asia (1910 in Korea, 1911 in China, 1945 in Vietnam), the dragon was dramatically decentralized. However, trends of re-standardization and re-centralization have emerged recently in China, as the country rises in the global arena. In this newly-emerging "re-orthopraxy", the dragon has been superimposed with a more externally political discourse ("soft power" in international relations) rather than the old-style standardization for internal centralization in the late imperial period. In the contemporary world, science and technology have advanced humanity's ability to improve the world; however, it seems that people have abused science and technology to control nature, consequently damaging the environment (pollution, global warming, etc.). The dragon symbol needs to be re-defined, "re-molded", re-evaluated and reinterpreted accordingly, especially under the newly-emerging lens-the New Confucian "anthropocosmic" view.

• 복식
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• 제50권3호
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• pp.59-72
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• 2000

Dragon robe was defined as a robe on which the principal design consisted of dragon. Dragon patterns have been used on princess robes during T'and Dynasty. In Sung, Dragon-figured robes seem to have an Imperial prerogative. Yuan took over the use of robes with dragons patterns as a definite institition. Ming tried to reject all Yuan innovations, the dragon robe was retained as an unofficial court costume. The Emperor's semiformal robes which at first had four dragon medallions, later had twelve along with the 12 Symbols(십이장문). As Ch'ing dragon robes were only intended fro semiformal use. The Later Ch'ing robes date from after 1719, when the Ch'ien-lung(건륭) introduced 12 Symbols on Ch'ing robes. The Ch'ien-lung laws were disobeyed, notably the ones that specified the number of claws on the dragons. THe Emperor's dragon robe, lung-p'ao, (용포) was described as bright yellow in color, having four slits and horsefoof cuffs. The basic pattern consisted of nin dragons, in addition it had 12 Symbols. The elaborate textile techniques reached their peak in Ch'ing Dynasty-with its Weaving and Dyeing Office in Peking, and this factories at Hangchow(항주), Soochow(소주), and Naking(남경) -helps to explain why the decay of the Ch'ing bureaucracy hastended the decline of dragon robes. In the Ch'ing Dynasty tow terms were used for dragon robe, depending on the number of claws on the dragons. Those with five-clawed dragons were called lung-p'ao, while those with four-clawed dragons were called mang-p'ao(망포). The Court felt compelled to take corrective meausres. It decreeed that Ninisters of State and other officials, who had been bestowed five-clawed lung dragons, must take out one claw. Finally, the sale of ranks and the attendant privilege of wearing dragon robes gradually increased during the 18 th century, reaching its height in the 19 th century, Finally, after the Taiping Rebellion, when the Imperial Treasury was depleted by the wholesale destruction of revenue-producing lands, the Chinese government came to depend on such sales as an important source of revenue and the practice became even more widespread. The ensuing mass production of dragon robes, and the necessity of conforming to the fairly rigid basic pattern established in 1759, resulted in marked deterioration of workmanship, and a comparative monotony of decoration. The patterns on the dragon robes slight changes continued to be made in the ways of representign them. The li shui (입수) portion at the base of the robe become inreasingly wider throughout the 19th century. The background became cluttered with symbols of good fortune, scattered among the clouds and waves. As a result of all this extraneous decoration, the dragons were so crowded that they had to shrink back into the small size that they had originally occupied in the medallons. Kuang-hsu(광저) was a long one, allowing time for the manufacture of numerous robes. Also, it would seem likely that Occidental museums and collections would have a considerable number of his robes, in view of the widespread looting of his palaces during the Allied occupation of Peking in 1900, and the frequent sales of Late Ch'ing imperial textiles by destitute Manchu courtiers in the '20's.

• 대한한의학원전학회지
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• 제33권1호
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• pp.1-16
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• 2020

Objectives : This study aims to organize the genealogy of the Ministerial Fire Theory in relation to Wangbing's Dragon Fire discourse through examining how Wang's Dragon Fire content first mentioned in the annotation of 『Suwen』 was included into the discourse of the Ministerial Fire Theory in explaining the concept of Ministerial Fire and its therapeutic application. Methods :First to examine the inclusion and application of the Dragon Fire concept into the Ministerial Fire Theory, Zhudanxi's theory and critiques on him were studied. Next the concept of Dragon Fire within the Ministerial Fire Theory was analyzed, followed by comparison between generations of doctors's therapeutic application of Ministerial Fire and Wangbing's Dragon Fire application. Conclusions & Results : Wangbing's dragon fire concept held an important position in discussing its characteristic as fire within water, which was adopted and differentiated by later doctors in aspects of pathology, deficiency and excessiveness, influenced by various theoretical elements of later periods. In the midst of expansion of the concept from combination of dragon fire and ministerial fire, the therapeutic aspect of it was maintained from Wangbing's original mentioning. This tendency manifested in either awkward combination of Wang's therapeutic methods and the new theory or modification of Wangbing's methods.

• 한국정보통신학회논문지
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• 제11권9호
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• pp.1702-1708
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• 2007

Dragon 스트림 암호 알고리즘은 현재 ECRYPT 프로젝트의 일부인 eSTREAM에 참여하여 소프트웨어 분야(Profile 1)의 Phase 1, 2단계를 통과하여 Phase 3단계에 등록된 상태이다. Dragon은 기존의 스트림 암호와 달리 한 개의 워드(32비트)단위의 NLFSR(non-linear feedback shift register)을 사용하고, 128/256 비트의 key와 IV(Initialization Vector)를 입력받아 64비트의 키 수열을 생성하는 키 수열 발생기(Keystream Generator)이다. 본 논문에서는 Dragon 스트림 암호 알고리즘을 Altera사의 Quartus II툴을 이용하여 Cyclone III FPGA 소자(EP2C35F672I8)에 구현 및 타이밍 시뮬레이션을 하였고, 그 결과 111MHz에서 7.1Gbps의 처리량을 보였다.

• 한국임상수의학회지
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• 제28권2호
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• pp.254-257
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• 2011

2년령 bearded dragon이 활력 감소 및 식욕 부진으로 충북대학교 동물의료센터에 내원하였다. 분변 검사 결과 다수의 세균과 함께 효모의 증식이 관찰되어 장염으로 진단되었다. 진균 배양 및 분자생물학적 진균 동정 결과 증식된 효모는 Pichia (P.) burtonii로 확인되었다. 치료는 ketoconazole과 trimethoprim/sulfamethoxazole을 3일간 경구 투여하였다. 치료 3일 후 분변 내 효모는 사라졌으며, 이후 환자는 회복되었다. 본 증례와 사람에서의 보고를 종합하면 P. burtonii 는 장염이 있는 bearded dragon의 기회성 병원체로 추정된다. 또한 본 증례는 bearded dragon에서의 P. burtonill의 과증식에 대한 최초의 보고이다.

• 한국정보통신학회논문지
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• 제11권8호
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• pp.1519-1527
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• 2007

센서 네트워크에서는 다양하고 폭 넓은 응용 프로그램을 위해서 경제적으로 실행 가능한 모니터링 솔루션을 제공한다. 대부분의 연구에서는 값싼 노드들을 겨냥해서 연구가 진행된다. 센서 네트워크들이 노출되는 보안위협들과 맞서기 위해서, 암호 프로토콜은 센서 노드들 사이에서 점대점 암호화 방식으로 암호화를 실행한다. 알려진 파괴와 속임 위협들은 전송시에 데이터를 암호화 하는 것과 동시에 데이터 소스를 인증하는 것에 의해서 막을 수 있다. 제한된 자원을 가진 노드들에서 저 전력 장치들에게 효과적이라고 알려진 대칭키 알고리즘이 사용된다. 데이터보호는 Dragon Stream Cipher 대칭키 암호화와 새롭게 디자인된 Dragon-MAC Message Authentication Code를 짜 넣는 것에 의한 방법에 의해서 완전하게 된다. 제안된 알고리즘은 MAC 알고리즘에 의해서 요구되는 동작 계산값을 최소화 하기 위한 목적으로써 Dragon Stream Cipher을 기초로 한 계산된 몇몇의 데이터를 사용하기 위해서 디자인 되었다. 빠른 키 스트림 생성을 가진 문자 기반의 Stream Cipher 인 Dragon을 목표로 하여, 한정된 환경에 적합하다. 무선센서 노드에서 권한 암호화의 이행을 통한 실제 인증과 메시지 인증을 겨냥해서 우리의 프로토콜은 계획되었다.

• 대한한의학원전학회지
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• 제26권3호
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• pp.53-73
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• 2013

Objective : This study will analyze the constitution of Danxihuqianwan(丹溪虎潛丸) with the dragon-tiger and lead-mercury theory of Su Shi(蘇軾). It would help understand more the usage of Danxihuqianwan over the scope of Sa-nam and bo-buk(瀉南補北) theory that has been well known until now. Methods : This study tried to analyze the explanation about Danxihuqianwan in Yixuerumen(醫學入門) that had used the dragon-tiger and lead-mercury concept with the theory of this kind that appears in Sushenliangfang(蘇沈良方). Results & Conclusion: Based on the internal alchemy theory, Su Shi proclaimed that dragon[龍] corresponds to mercury[汞] Jeong(精) Hyul(血), and tiger[虎] corresponds to lead[鉛] Qi(氣). It is said to be in good position that dragon appears from fire and tiger is hidden in water. Su Shi also expalined the relation between dragon and tiger as the relation of water[水] and fire[火] between heart and kidney. As Li Yan(李梴) did, the dragon-tiger theory could be applied to the analysis about Danxihuqianwan, and it explains well the effect of this prescription that makes tiger hidden in water and thus help cure the diseases such as atrophy syndrome.

• Acta Via Serica
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• 제3권1호
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• pp.119-138
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• 2018

The dragon of the East was an object of worship and an authority to make rain, unlike the West. The dragon image, one of the positively accepted Chinese motifs with the blue-and-white porcelain of the Ming dynasty by the Ottoman Empire in the 16th century, was combined with gigantic saw-edged leaves to create a genre in Saz style. By combining Eastern dragons with plant motifs instead of clouds, dragons were no longer accepted as authority and nobility but as symbols of life and longevity. Unlike Iran and other countries, the image of dragons in Turkish miniature paintings has evolved into a unique style using Turkish calligraphy. The stylistic feature is that a thick black line that gives the impression of calligraphy forms the dragon's back or a huge saz leaf stalk and forms the axis of the screen. Most of the work was black ink drawing, not painting, and partly lightly painted. In the development stage, the dragon appears as a protagonist on the screen of the early works, but the dragon retreats to the latter half and the saz leaves play a leading role on the screen. A common feature in all paintings, whether early or late, is that they have a militant character and create tension on the screen. From the viewpoint of comparative culture, Turkish dragon miniature drawings of the 16thcentury Ottoman period and the Joseon dynasty are somewhat similar in that they are based on calligraphic character and desire for longevity and loyalty, and are drawn according to certain iconic principles.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2009년도 춘계 종합학술대회 논문집
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• pp.221-226
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• 2009

중국 MMORPG 게임에서 용의 캐릭터 디자인은 서양 게임의 용 캐릭터 영향을 받아 정체성이 결여 되어 있다. 서양 용 이미지가 너무 강해서 중국인들이 게임에서 그 용의 이미지를 받아 들이기에는 이질감이 너무 크다. 이러한 이유로 인해 중국전통 용의 디자인을 게임에 표현할 용 캐릭터디자인 분석이 필요하다. 우선 문화적 측면과 디자인적 측면을 고려하여 스타일 표현 특징을 설명하고 현재 MMORPG 게임에서 용 캐릭터로 사용되고 있는 용의 표현 분석을 통해 그 차이성을 살펴보고, 또한 동서양 융합을 모색할 수 있는 방향을 제안하고자 한다. 이를 위해 동양을 대표하는 중국 명대(明代)의 용과 서양 중세의 용의 비교 분석을 통해 용합하고 MMORPG에서 중국 게임 콘텐츠 디자인에 응용 가능한 용 캐릭터 프로토타입을 제작하고자 한다.