• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.113-127
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• 2005

From the ancient times, incense was used for various usages including a means of beauty expression with flavor, a medicine for disease treatment and a device for religious event or ritual. The period of T'ang was the times when cultural and material exchanges with foreign countries were very actively made under the political openness of the Chinese nation. Here the exchanges were made mainly through inland trade, called Silk Road(絲綢之路) and marine trade routes, Incense Road(香料之路). This indicates that incense was one of the main items actively traded at that time. In addition, literatures of the T'ang period show that in the Chinese nation, a wide range of classes from the imperial family to the public used incense for many different purposes. This suggests that the culture of incense was deeply prevailed and very socially significant in T'ang. This study investigated social factors that promoted the incense culture of T'ang and the applications and types of incense widely used in the period of T'ang. First, influential religions and the openness of sex culture were main social factors that made incense culture flourish in the period of T'ang. Above all, two main religions of the Chinese nation, Buddhism and Taoism became secularized under political protection by the imperial family. As Buddhism was popularized, the Buddhist ritual of incense burning made a contribution to making public incense culture. Providing its doctrines of eternal youth and eternal life, Taoism necessarily used incense to form a Taoistic climate. The flourishment of the foresaid religion in T'ang added more fuel to that of incense culture in the Chinese nation. The openness of sex culture brought about the Inauguration of the empress, improvement in female position and free relationships between man and woman. It was accelerated by sexology as a method of eternal youth provided by Taoism. The opened culture also developed the culture of kibang where female entertainers called kinyeo consumed lots of incense for decoration and sexual desire stimulation. These open climates of T'ang society made a great contribution to making incense culture, especially for decoration, prevailed throughout the Chinese nation. Second, types of incense prevailed and widely used in the period of T'ang included olive incense, germander(廣藿香), olibnum(乳香), myrrh Resinoid(沒藥), jia Xiang(甲香), clove(丁香) and Shen xian(沈香), all of which were imported from foreign nations and had various applications. Specifically, olive incense, germander(廣藿香), olibnum(乳香) and myrrh Resinoid(沒藥) were used for religious purposes while, jia Xiang(甲香), clove(丁香) and Shen xian(沈香) for the purposes of religion and decoration. In conclusion, a number of social factors including political, religious and medical purposes and the openness of sex culture set fundamentals on which the culture of incense was extensively developed and established as a social trend in T'ang. In the Chinese nation, incense culture was not just an option for taste, but a part of life style social members needed to know. People of T'ang not only enjoyed incense mainly for purposes of religion, pleasure and make-up, but also had the wisdom to know various effects of incense, curiosity about such new things and the will to imitate and pursue alien culture, resultantly flourishing incense culture. Thus the culture of incense represented many social aspects of T'ang.

• Journal of the Korean Society for Library and Information Science
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• v.25
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• pp.445-476
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• 1993

This paper is written to clarify the specific details of the Sabu-Songyu­Mongnok(사부송유목록). which is a reading list for recitation and appreciation of Chinese classics edited by Hong Suk-Chu(1774-1842) when he was 56 years old for the stimulation of his younger brother Hyun-Ju (1793-1865)'s reading life. In this study the catalogue's title interpretation. the time of the editing, the motive for the editing and the analysis of the contents are revealed as what they actually are. The main details are as followings. There is no date written on the Sabu-Songyu-Mongnok but the writer estimate it to be around 1829. After Hong Suk-Chu recognized the fact that although his younger brother Hyun-Ju was interested in reading but felt that he was a little too old to begin to read all the books of the whole classes. he selected the classic works from whole subjects, i.e. history, philosophy and anthology, that he thought which would best represent each subject. From these selected works he then picked out the most important chapters or parts of the works. Another motivation of the editing was for the stimulation of the reading life for Hong Suk-chu himself and for people like himself who were getting old and losing their vitality. The Sabu-Songyu-Mongnok consists of four categories. i.e. classics category, history category, philosophy category and anthology category, and in the catalogue, 26 different works are entered. The classics category has ten, the history category has six, the philosophy category has six and the anthology category has four. Each of the works are entered under the title of the book, and hen the chapter heading. The Sabu-Songyu-Mongnok was edited 19 years later than Hong-ssi toksorok(홍씨독서록) or an Annotated Bibliography of Korean and Chinese Books. Comparing each category of the catalogue with the Hong-ssi toksorok, the writer could catch the following characteristics. 1. Although there was no indication of the class heading, the sequence of the arrangement of the entries in the classics categories was the same as the sequence of the classes in the Hong-ssi toksorok. 2. The Zuo-shi Chun-qiu-zhuan(좌씨춘추전) is recorded in the class of Chunqiu of the classics category in the Hong-ssi toksorok, but in the Sabu-Songyu­Mongnok, it belongs to the history category. 3. In the philosophy category of the catalogue, Chuangtzu(장자) writings are included because it is so well written. 4. Unlike the categories of classics, history and anthology, the philosophy category is recorded under the author's name. This is fascinating because it unites with the conventional cataloguing practice of the west. 5. In the anthology category, the writings with the best styles from the Chuci(초사) or the poems of Chou, Wen-xuan(문선), wen-yuan-ying-hua(문여영화) are selected and classified into four parts: (1) poems, (2) proses of Han, Wei and Pre-Qin dynasties. (3) Si-liu-pian-li-wen(사육병려문), (4) classic style of writings of Tang and Song dynasties (당송고문). 6. There was an unusually large number of Han Yu's writings selected from the great eight poets of Tang and Song dynasty writings. (20 categories out of $43: 47\%)$ After comparing the entries of the Sabu-Songyu-Mongnok, it can be concluded that all the entries were also included in the Hong-ssi tokrorok. The fact that the sequence of the entries in the classics category and that the literary works were sequenced under the same subject by the year of editing or writing like as the Hong-ssi toksorok Also it is unusual that there was not even one literary work of a Korean in the catalogue. Anyhow this catalogue is the first recitation catalogue in our country that was edited for the people in the prime of life as well as for old people and is the only one existing today.

• Cartoon and Animation Studies
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• s.39
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• pp.261-295
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• 2015

Cyber singer appeared in the late 1990s has disappeared briefly appeared. although a few attempts in the 2000s, it did not show significant successes. cyber singer was born thanks to the technical development of the IT industry and the emergence of an idol training system in the music industry. It was developed by Vocaloid 'Seeyou' starting from 'Adam'. cyber singer that differenatiated typical digital characters in a cartoon or game may be subject to idolize to the music as a medium. They also feature forming a plurality of fandom. therefore, such attempts and repeated failures, this could be considered a fashion, but it flew content creation and ongoing attempts to take advantage of the new media, such as Vocaloid can see that there are expectations for a true Cyber-born singer. Early-Cyber singer is made only resemble human appearance, but 'Sciart' and 'Seeyou' has been evolving to becoming more like the human capabilities. in this paper, stylized cyber singer had disappeared in the past in the process of developing the technology to evolve into own artificial life does not end in failure cases, gradually led to a change in public perceptions of the image look looking machine was an attempt in that sense. With the direction of the evolution of the mechanical function to obtain a human, fun and human exchanges and mutual feelings. And it is equipped with an artificial life form that evolved with it only in appearance and function. in order to support this logic, I refer to the study of the coevolution of man and machine at every Bruce Mazlish. And, I have analyzed the evolution of cyber singer Bruce research from the perspective of the development process since the late 1990s, the planning of the eight singers who have appeared and design of the cyber character and important voices to be evaluated as a singer (vocal). The machine has been evolving coevolution with humans. cyber singer ambivalent development targets are recognized, but strive to become the new artificial creatures of horror idea of human desire and death continues. therefore, the new Cyber-organisms are likely to be the same style as 'Seeyou'. because, cartoon forms and whirring voice may not be in the form of a signifier is the real human desires, but this is because the contemporary public's desire to be desired and the technical development of this type can be created at the point where the cross-signifier.

• The Journal of Art Theory & Practice
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• no.8
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• pp.59-87
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• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.

• Korean Journal of Plant Taxonomy
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• v.34 no.3
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• pp.221-244
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• 2004

Prunus sargentii complex of subgenus Cerasus is an Eastem Asiatic plant group that exhibits a broad range of morphological variation and includes P. takesimensis, P. yedosensis, P. verecunda, and P. sargentii. In this study, a morphological analysis was undertaken to determine whether the observed morphological variation was primarily attributable to morphological discontinuities among the taxa. P. sargentii, which distributed eastem area in Korea, northern area in Japan and far east Russia had umbel like inflorescence and additionally was characterized by sticky bud and leaf twigs, compared with P. serrulata complex. Also, P. verecunda in Korea and Japan was characterized by umbel like inflorescence and presence of hair in leaf, petiole and pedicel, and was treated as a variety of P. sargentii. Evidence obtained from multivariate morphometric analyses indicated that the entity of P. takesimensis formed a cohesive group somewhat distinct from P. sargenti.. Especially, P. takesimensis was characterized by relatively small flowers (26-32mm in diameter) and many flowers [(2)3-5] per umbel inflorescence, compared with P. sargentii (34-48mm and 2(3) per inflorescence) and should be recognized as an independent and endeImic taxon in Korea. Additionally, P. yedosensis, which was known to have umbel inflorescence (short peduncle type) with pubescent style based on the type specimen, was comprised of corymb inflorescence (long peduncle type) as well. The morphological differentiation between these two types of P. yedosensis was not considered sufficient to warrant recognition of specific status because of the putative hybrid origin, no distinctive geographical distribution pattern, and existence of various peduncle length on Island Jeju-do of Korea.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.20-55
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• 2016

Koguryo's tomb mural paintings in North Korea are our precious cultural heritage which have been designated as UNESCO World Heritage property receiving high praise in the following criterion, i) exceptional creativeness of human being, ii) representative value showing the stage of development in construction history of East-Asia, iii) aesthetic superiority iv) uniqueness of building construction including tombs' ceiling. Mural paintings have been found from almost 100 tombs of the Koguryo dynasty out of 130 which are scattered across Huanren County, Lianoning Province, Ji'an, Jilin Province in China and Pyongyang in North Korea. Especially, most of them are gathered in Pyongyang from 4th and 5th century. Peculiarly, some of them have been constructed before King Jangsu's transfer of the capital to Pyongyang(AD 427). It can be regarded that Pyongyang territory had been under control of Koguryo and to become a new capital in the near future. And dense emergence of such tombs since the capital transfer from Gungnae City to Pyongyang during the reign of Jangsu is linked closely to the construction of tombs for rulers under strengthen royal authority of Jangsu and centralized system of authoritarian rule. Tomb mural paintings describe the owner's figure pictorially based on the truth just as in his living years. General lifestyles of ruling powers and sovereigns can be seen from the wall paintings portraying several buildings with various styles, figures, manners of living, which are considered that the tomb owner had led politically and sociologically in his life. In spite of not enough proofs to approve figure of architectures or "Gong-Po" in wall paintings on the tombs as those of Koguryo, it is persuasive with consideration for painting and decoration inside the tomb like wooden building in real life for the purpose of reenacting and continuing the tomb owner's luxurious life after death. "Du-Gong-Po-Zak" had appeared in company with Koguryo tomb murals and it can be found in most of the murals. And the emergence of substantial "Gong-Po-Do" can be counted more than a century ahead of the figure in murals. It could be a reasonable assumption as regards Koguryo tomb murals time of appearance match up with production period of Gahyungmyunggi(家形明器) and Hwasangseok(畵像石) Hwasangjeon(畵像塼) Design in the Mural Painting of the East-Han(東漢) Ancient Tombs in China. On this study, architectural "Gong-Po"s described in Koguryo tomb murals are categorized largely in "Bi(non)-Po-Zak-kye", "Jun(semi)-Po-Zak-kye", and "Po-Zak-kye" based on presence of "Ju-Du", "Cheom-Cha", and "Cheom-Cha-Sal-Mi" with developmental aspect, and, "Po-zak" is subdivided as "Bi(non)-Cheul-Mok" and "Cheul-Mok" types.

• Science of Emotion and Sensibility
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• v.22 no.1
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• pp.23-34
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• 2019

The U-Healthcare era has evolved with the development of the Internet of things (IoT) in the early stages of being connected as a society. Already, many changes such as increased well-being and the extension of human life are becoming evident across cultures. Korea entered the growing group of aging societies in 2017, and its silver industry is expected to grow rapidly by adopting the IoT of a super-connected society. In particular, the senior shift phenomenon has resulted in increased interest in the promotion of the health and well-being of the emergent silver generation which, unlike the existing silver generation, is highly active and wields great economic power. This study conducted in-depth interviews to investigate the characteristics of the new silver generation, and to develop the design for a wearable serious game that intends to boost the interest of the elderly in exercise and fitness activities according to their personalized physical training regimes as prescribed by the U-Hospital service. The usage scenario of this wearable serious game for the 'U-silver generation' is derived from social necessity. Medical professionals can utilize this technology to conduct health examinations and to monitor the rehabilitation of senior patients. The elderly can also use this tool to request checkups or to interface with their healthcare providers. The wearable serious game is further aimed at mitigating concerns about the deterioration of the physical functions of the silver generation by applying personalized exercise prescriptions. The present investigation revealed that it is necessary to merge the on / off line community activities to meet the silver generation's daily needs for connection and friendship. Further, the sustainability of the serious game must be enhanced through the inculcation of a sense of accomplishment as a player rises through the levels of the game. The proposed wearable serious game is designed specifically for the silver generation that is inexperienced in using digital devices: simple game rules are applied to a familiar interface grounded on the gourmet travels preferred by the target players to increase usability.

• The Journal of Korean Society for School & Community Health Education
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• v.3
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• pp.111-140
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• 2002

This study was conducted from April 1 through April 30, 2002 in order to figure out the relationship between physical health status and life style and the factors influencing physical health. Subjects were selected from among the residents older than 20 years old by probability scheme of one out of 2000. Three thousand people were interviewed by questionnaires, and 2,742(91.4%) respondents were used for analysis, and the results are as follows: 1. Ridit(Relatives to an identified distribution it) of category one by sex was 0.26 in man, and 0.25 in woman. Ridit of category two was 0.57 in man and 0.53 in woman, those of category three was 0.72 in man and 0.65 in woman. That of category four was 0.86 in man and 0.85 in woman, that of category five was 0.95 in man and 0.97 in woman, and that of category six was 0.98 in man and 0.99 in woman. The ridits and health related categories by sex were r=.954 in man and r=.966 in woman(p<0.01) 2. Ridits of healthy behavior 2-1. The ridit of males who slept for less than 6 hrs was 0.71, that of those who slept for $7{\sim}8$ hrs was 0.24, and that of those who slept for more than 9 hours was 0.96. The ridit of females who slept for less than 6 was 0.80, that of those who slept for $7{\sim}8$ hrs was 0.32, and that of those who slept for more than 9 hrs was 0.97. 2-2. The ridit of male, who ate breakfast everyday was 0.30, that of those who ate one to four breakfast per week was 0.87, and that of those who never ate breakfasts was 0.96. The ridit of females who ate breakfast everyday was 0.32, that of those who ate breakfast one to four times a week was 0.75, and that of those who never ate breakfast was 0.99. 2-3. The ridit of males whose body weights were 10% lower than normal body weight was 0.45, that of those with $5{\sim}9.9%$ less than normal body weight was 0.28, that of those with ${\pm}4.9%$ of normal body weight was 0.12, that of those whose body weights were $5{\sim}9.9%$ heavier than normal was 0.40, that of those whose body weights were $10{\sim}19.9%$ heavier than normal was 0.74, that of those with $20{\sim}29.9%$ heavier than normal body weights was 0.78 and that of those with 30% heavier than normal body weight was 0.87. That of females with 10% less than normal body weight was 0.53, that of those with $5{\sim}99%$ less than normal body weight was 0.32, that of 4.9% those with ${\pm}f$ normal body weight was 0.14, that of those with 5.0 to 9.9% heavier body weights was 0.43, that of those with 10 to 19.9% heavier body weight was 0.65, that of those with $20{\sim}29.9%$ heavier body weight was 0.94 and that of those with more than 30% of normal body weight was 0.94. 2-4. The ridit of males who exercised everyday was 0.11, that of those who exercised three to four times a week was 0.25, that of those exercising once or twice a week was 0.48, and that of those who never exercised was 0.80. The ridit of females exercising everyday was 0.08, that of those exercising three to four times a week was 0.21, that of those exercising one to two times was 0.35 and that of those who never exercised was 0.72. 2-5. The ridit of males who did not drink at all was 0.14, that of those who drank one or two cups of hard liquor(Soju) was 0.39, that of those who drank a half bottle of Soju was 0.56, that of those who darnk a bottle of Soju was 0.73 and that of those who drank two bottles of Soju was 0.96. The ridit of females who did not drink at all was 0.30, that of those who drank one or two cups of Soju was 0.70, that of those who drank a half bottle of Soju was 0.84, that of those who drank a bottle of Soju was 0.97 and that of those who drank more than two bottles of Soju was 0.99. 2-6 The ridit of males who did not smoke was 0.20, that of those who smoked one or two cigarettes was 0.44, that of those who smoked about ten cigarettes was 0.58, and that of those who smoked more than a pack of cigarettes was 0.85. The ridit of females who did not smoke at all was 0.90, that of those who smokes one or two cigarettes was 0.91, that of those who smoked about the cigarettes was 0.93 and that of those who smoked more than a pack of cigarettes was 0.96 3. The ridit of males who had healthy behavior in six categories was 0.43 and the average age of them was 45, that of those who had healthy behavior in five categories was 0.47 and the average age was 45, that of those who had healthy behavior in three categories was 0.50 and the average age was 43, that of those who had heathy behavior in two categories was 0.60 and the average age was 40, that of those who had healthy behavior in one category was 0.68 and the average age was 38, and that of those who did not have healthy behavior at all in six categories was 0.79 and the average age was 41. The ridit of females who had heathy behavior in six categories was 0.38 and the average age was 45, that of those who had healthy behavior in five categories was 0.40 and the average age was 44, that of those who had healthy behavior in four categories was 0.46 and the average age was 43, that of those who had healthy behavior in three categories was 0.52 and the average age was 44, that of those who had healthy behavior in two categories was 0.57 and the average age was 41, that of those who the healthy behavior in one category was 0.62 and the average age was 40, and that those who did not have healthy behavior in six categories was 0.79 and the average age was 43. 4. The health statues of the persons who the healthy behavior were better than those who did not have healthy behavior. If the people have healthy behavior in young age and they have healthy education continuously, they can live healthier lives.

• Journal of agricultural medicine and community health
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• v.23 no.2
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• pp.157-174
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• 1998

A survey was conducted to study the influence of socia-demographic factors on health-related behaviors. from June 1 to July 31, 1996. The study population was 1,903 adults in Kyongju City. A questionnaire method was used to collect data. Health-related behaviors included 24 items for men and 26 items for women. The followings are summaries of findings : The compliance of health promotion activities was higher when the age was older in men, when married, when having no religion and when the education level was higher than the other groups. And it was significantly higher when the income was lower in men and higher in women, in the residents living in apartment, in white collar workers, in the chronic ill people and when the body weight was lower than the other groups. Notable differences were found in the composition of health behavior factors for socio-demographic characteristics. Men used more tobacco, coffee and tea, salt and alcohol than women. However, the practice rates of regular exercise and physical examination were higher in men than women. On the other hand, the practice rates of fruit/vegetable intake, milk drinking and regular tooth brushing were higher in women than men. When the age was old, the amount of fruit/vegetable intake, the frequency of physician visit and health check-up, and regularity of meal were increased. When the income was high, the use rate of seat-belts, the amount of coffee, milk, fruit/vegetable and red meat intake were increased. The frequency of regular exercise. tooth brushing, health check-up, pap test and breast self examination were higher in the rich than the poor. When the education level was high, the frequency of regular exercise and tooth brushing, and the use rate of seat belts were increased, and the amount of alcohol consumption and salt intake were decreased. These findings suggest that socio-demographic factors are significantly associated with the patterns of health behaviors. In conclusion public health programs and individual counseling efforts should be multifaceted and behavior-specific to encourage to practice healthy life-style.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.217-253
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• 2020

This study analyzes the principles of the 'Earthly Paradise' (仙境, the realm of immortals), 'Virtuous Concordance of Yin and Yang' (陰陽合德), and the 'Reordering Works of Heaven and Earth' (天地公事) while combining them with Joseon art. Therefore, this study aims to discover the context wherein the concept of Taiji in 'Daesoon Truth,' deeply penetrates into Joseon art. Doing so reveals how 'Daesoon Thought' is embedded in the lives and customs of the Korean people. In addition, this study follows a review of the sentiments and intellectual traditions of the Korean people based on 'Daesoon Thought' and creative works. Moreover, 'Daesoon Thought' brings all of this to the forefront in academics and art at the cosmological level. The purpose of this research is to vividly reveal the core of 'Daesoon Thought' as a visual image. Through this, the combination of 'Daesoon Thought' and Joseon art will secure both data and reality at the same time. As part of this, this study deals with the world of 'Daesoon Thought' as a cosmological Taiji principle. This concept is revealed in Joseon art, which is analyzed and examined from the viewpoint of art philosophy. First, as a way to make use of 'Daesoon Thought,' 'Daesoon Truth' was developed and directly applied to Joseon art. In this way, reflections on Korean life within 'Daesoon Thought' can be revealed. In this regard, the selection of Joseon art used in this study highlights creative works that have been deeply ingrained into people's lives. For example, as 'Daesoon Thought' appears to focus on the genre painting, folk painting, and landscape painting of the Joseon Dynasty, attention is given to verifying these cases. This study analyzes 'Daesoon Thought,' which borrows from Joseon art, from the perspective of art philosophy. Accordingly, attempts are made to find examples of the 'Virtuous Concordance of Yin and Yang' and Tai-Ji in Joseon art which became a basis by which 'Daesoon Thought' was communicated to people. In addition, appreciating 'Daesoon Thought' in Joseon art is an opportunity to vividly examine not only the Joseon art style but also the life, consciousness, and mental world of the Korean people. As part of this, Chapter 2 made several findings related to the formation of 'Daesoon Thought.' In Chapter 3, the structures of the ideas of 'Earthly Paradise' and 'Virtuous Concordance of Yin and Yang' were likewise found to have support. And 'The Reordering Works of Heaven and Earth' and Tai-Ji were found in depictions of metaphysical laws. To this end, the laws of 'The Reordering Works of Heaven and Earth' and the structure of Tai-Ji were combined. In chapter 4, we analyzed the 'Daesoon Thought' in the life and work of the Korean people at the level of the convergence of 'Daeesoon Thought' and Joseon art. The analysis of works provides a glimpse into the precise identity of 'Daesoon Thought' as observable in Joseon art, as doing so is useful for generating empirical data. For example, works such as Tai-Jido, Ssanggeum Daemu, Jusachaebujeokdo, Hwajogi Myeonghwabundo, and Gyeongdodo are objects that inspired descriptions of 'Earthly Paradise', 'Virtuous Concordance of Yin and Yang,' and 'The Reordering Works of Heaven and Earth.' As a result, Tai-Ji which appears in 'Daesoon Thought', proved the status of people in Joseon art. Given all of these statements, the Tai-Ji idea pursued by Daesoon Thought is a providence that follows change as all things are mutually created. In other words, it was derived that Tai-Ji ideology sits profoundly in the lives of the Korean people and responds mutually to the providence that converges with 'Mutual Beneficence.'