• 기록학연구
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• 제19호
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• pp.153-192
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• 2009

1894년 6월에 갑오정권이 새로 등장하면서 근대적 개혁정책을 실시해갔다. 기록관리제도에서도 이전과는 크게 달랐다. 정부의 각 부처에 독자적인 기록관리부서를 설치하고, 기록관리 프로세스를 규정한 법률안을 공포하였다. 또한 독자적 연호 표기 및 국한문 혼용을 포함하여 공문서 양식을 전면 변경하였으며, 공문서 원본의 보존을 확대하였다. 고종은 1897년 10월에 대한제국을 선포하고, 갑오정권기에 약화된 왕권을 강화하면서 자신이 구상하는 개혁정책을 실시해 갔다. 먼저 왕권을 제한하였던 내각을 폐지하고 의정부를 복설하였으며, 왕권 견제를 위해 왕실과 정부를 분리하면서 만들었던 궁내부를 한층 확대 강화해갔다. 아울러 황제권을 강화해가는 물리적 기반인 군대와 경찰 및 재정 등의 영역을 고종이 직접 장악해가는 정책을 실시하였다. 그리하여 원수부, 경부를 직접 창설하여 황제 직속으로 하였으며, 황제 산하의 재정적 기반을 구축하기 위해 궁내부 산하 내장원에서 국가의 여러 세금을 직접 징수하도록 하였다. 대한제국기의 기록관리제도는 갑오정권기의 그것을 계승하였다. 먼저 정부와 황제 직속의 권력기구에서는 기록관리부서를 설치하였다. 의정부와 정부 부서는 물론이고 황제권을 뒷받침하는 특별기구인 궁내부, 원수부, 경부, 통신원, 지계아문 등의 권력기관에서도 문서과와 기록과를 두어 기록관리를 독자적으로 행하도록 하였다. 정부 업무의 효율을 증가시키고 체계적으로 수행하기 위해서는 기록관리부서를 분립하는 것이 효과적이라고 여겼던 것이다. 다음으로 부서마다 약간 차이가 있지만, 현용기록과 비현용 기록을 관리하는 부서를 분립하였다. 대체로 문서과에서는 현용문서의 접수와 발송 및 기안을 담당하였으며, 기록과에서는 주요 문서 및 영구보존문서의 보존 및 편찬을 담당하도록 하였다. 이것은 기록의 생애주기(life cycle)를 고려하고, 기록물 평가를 염두에 두면서 기록관리를 행하고자 하는 인식이 근대적 형태로 발현되었던 것이다.

• 공연문화연구
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• 제40호
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• pp.71-109
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• 2020

일본의 대표적인 전통무용인 니혼부요(日本舞踊)는 가부키무용에서 출발하여 수많은 유파를 형성하였으며 이에모토 제도에 의해 운영되어왔다. 가업(家業)계승이라는 점에서 이에모토(家元)는 고대부터 존재해왔지만 근세봉건 시대에 제도로서 성립되었다. 특히 니혼부요에 있어 이에모토 제도는 근대 이후에 크게 발전하였다. 이에모토 제도(家元制度)는 일본사회의 한 특징으로 여겨져 왔으며 전통예술의 계승에도 크게 기여해왔다. 즉 이에모토 제도는 기본적으로 뛰어난 스승의 기예를 왜곡없이 온전하게 전승하는 것을 최고의 권위로 여긴다. 구체적으로는 분야나 유파에 따라 다양한 형태를 띠고 있지만 의제(擬制) 가족제도 내에서 이에모토를 정점으로 하는 조직 및 제도이다. 본고에서는 니혼부요의 성립과 배경을 검토하고 습명제도를 통해 이에모토의 명성과 권위를 이어가고 있음을 살펴보았다. 니혼부요계는 유파의 범람이라고 할 정도로 수많은 유파가 존재한다. 이러한 유파를 가부키배우계통, 안무가계통, 여성예인계통, 지우타마이(地唄舞)계통, 신무용계통으로 구분하여 각 유파의 성립배경과 특성을 통해 이에모토 제도의 양상을 살펴보았다. 전통계승이라는 긍정적인 측면이 있는 한편, 창의적이고 개인의 자유로운 표현을 중요시하는 예술계에 있어서 이에모토의 경직된 조직경영, 봉건사회의 산물, 권력화, 이에 따른 예술의 고착화 등 부정적인 비판의 목소리도 끊이지 않는다. 그러나 전통을 중시하는 일본사회에서 이에모토 제도는 쉽게 사라지지 않을 것이다. 오히려 다양한 예술장르가 공존하는 오늘날 전통예술에 대한 가치를 살리고자 이에모토 내부의 자성과 함께 젊은 무용가들의 도전이 시작되고 있다. 니혼부요계의 이에모토 제도에 대한 고찰을 통해 점차 형해화되어가고 있는 무형문화재에 대한 재인식의 계기가 되고자 한다.

• 서비스연구
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• 제11권1호
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• pp.1-20
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• 2021

본 연구는 패러다임 전환이 필요한 서비스경제시대를 맞이하여 인류가 지속가능한 삶을 영위할 수 있는 새로운 경제시스템 모델 도출을 위해 수행되었다. 지난 역사시대 5천여년간의 경제운용 경험을 토대로 새로운 장기 지속가능발전 모델 구축을 시도하였다. 현재 세계는 자본주의 경제시스템이 주류를 이루고 있으나 많은 문제점을 노정하고 있고, 과거에 공산주의 시스템을 운용하기도 하였으나 실패한 모델로서 지금은 사실상 사라졌다. 사회주의시스템 등을 시도하고 있으나 인류는 이상적인 경제운용시스템을 아직 찾아내지 못하고 있다. 현재 세계는 더 좋은 대안이 없다는 이유로 자본주의 시스템을 주된 경제시스템으로 운용하고 있는데, 제4차 산업혁명의 도래 등 변화되는 경제사회환경이 일자리 부족과 불평등 심화 등 자본주의 시스템의 문제를 심화시키고 있는 상황이므로 이를 개선하는 새로운 경제시스템 모델이 필요한 상황이다. 본 연구에서는 인류사회가 경험하였거나 경험하고 있는 경제운용시스템을 분석하고, 현대와 미래사회에 이상적이면서 장기적으로 지속가능할 수 있는 경제시스템 모델을 도출하였다. 장기 지속가능한 경제시스템의 조건을 먼저 제시하였다. 우선 현 경제시스템의 문제를 해결할 수 있는 모델이어야 한다. 현대경제사회의 특성과 경제 자체의 본질에 충실한 모델이어야 한다. 그리고 새로운 경제시스템은 인류를 위한 시스템이므로 인류사회의 공통원리에 기반해야 한다. 또한 장기간 지속적으로 인류경제를 발전시킬 수 있는 모델이어야 한다. 인류사회가 요구하는 평등과 자유 등 핵심 가치를 지속적으로 보장하는 모델이어야 한다. 현 경제시스템의 문제를 분석하고, 새로운 시스템에 요구되는 조건을 분석한 후, 새로운 경제시스템이 바탕을 두어야 하는 기본 공리를 제시하고, 이에 기반하여 바람직한 모델을 도출하였다. 도출된 모델의 구조와 구체적인 운용모델을 제시하였다. 향후 본 모델이 국가별로 상이한 환경에서 잘 정착될 수 있도록 운용모델을 구체화하는 연구가 필요하다. 특히 인간 이성의 한계를 보완하는 추가적인 연구가 필요하다.

• 공연문화연구
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• 제22호
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• pp.371-411
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• 2011

빠르게 변화하는 21세기의 문화 흐름에 있어 공연예술은 그 고유의 정체성을 확립하는 동시에 상상력과 창의력을 바탕으로 한 새로운 표현양식을 필요로 하고 있다. 현대의 변화된 테크놀로지 환경은 최첨단 기술력을 뒷받침으로, 새로운 경험에 의한 사유의 확장을 가져오고 있는 것이다. 특히 예술표현에 대한 디지털 매체의 직접적인 개입은 공연 예술 주체인 인간의 신체성을 확장시키고 있다. 디지털에 의해 가상화된 신체는 물리적 한계를 벗어나 시공간의 경계를 넘나들며, 관객으로 하여금 새로운 상호 작용의 가능성을 제시하는 것이다. 본 논문에서는 세계 최초의 전문 로봇 배우인 '에버'를 중심으로 탈신체화 된 공연예술의 표현주체와 디지털화된 움직임에 대해 살펴보려 한다. 디지털 신체라는 새로운 표현 매체의 변화에 따라 등장한 로봇 배우는 테크놀로지적 가치 뿐 만 아니라, 문화 예술적 활용 가능성에 대한 연구가 필요하기 때문이다. 이를 위하여 이론적 배경으로 '에버'의 개발과정과 기능을 조사하고, 세계 최초라는 타이틀이 지니는 역사적 중요성과 함께 인간을 대신한 배우로서의 역할을 어떠한 방식으로 수행하는지 살펴볼 것이다. 그리고 구체적 사례연구로 공연예술 분야의 판소리 극 "에버가 기가 막혀(2009)"와 어린이 연극 "로봇공주와 일곱 난쟁이(2009)"를 조사하고, 그 외 다양한 활동분야에서의 활약을 통해 배우로서의 가능성을 살펴본다. 이를 통하여 로봇 배우의 발전적인 진화 방향 탐구와 공연예술에 미칠 영향력을 예상하고, 적극적인 문화 콘텐츠화 방안 추진으로 나아가 로봇 배우의 대중화와 활성화를 통한 고부가가치를 창출할 수 있는 방안 모색을 그 목적으로 한다. 로봇 테크놀로지가 융합된 공연은 예술적 실험의 한 형태로, 인간신체와 기계인간이 어우러져 기술적 상상력을 현실화시키며 미래형 공연예술의 변화를 초래할 것이다. 본 연구를 통해 공연예술과 로봇 테크놀로지와의 만남이 현 시대가 추구하는 하나의 총체적 문화 현상으로 공연예술 활성화에 긍정적인 영향을 미치며, 나아가 다양한 영역으로의 확장을 향한 계기가 되기를 기대한다.

• 지적과 국토정보
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• 제54권1호
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• pp.63-74
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• 2024

문화자원을 활성화하고 콘텐츠를 개발하는 그 기본은 국가유산(문화재)으로 국가유산에서 문화유산은 역사와 전통의 고유성, 정체성, 생활 변화를 나타내는 유형의 문화적 유산이다. 박물관의 경우 소장품(소장한 문화유산)이 그 기관에 대한 고유 특성을 나타낸다. 우리나라는 문화유산을 학문, 산업, 행정에 연계하여 관리·활용할 수 있도록 박물관 소장품을 문화유산표준관리시스템에 등록하여 사용하도록 권장하고 있다. 하지만 근·현대 유산에 대한 인식 부족으로 시스템의 주제 분류 편년이 조선시대 이전 위주로 설정되어 있어, 국토정보에 맞는 문화유산 분류체계가 이루어지지 않았다. 이에 본 연구에서는 '지적' 용어가 처음 사용된 근대를 기점으로 한국국토정보공사 LX국토정보박물관에 소장된 지적 문화유산 소장품을 중심으로 지적 문화유산에 대한 분류체계를 제시하였다. 지적 문화유산은 전문적인 기술 분야이면서도 특정 인물만이 지적을 측량하거나 결과물을 제작하지 않는다는 점, 제작에는 전문적이면서도 사용 시 교육적 측면이 많다는 점을 특징으로 한다. 따라서 다른 전문 박물관 소장품이 제작 방법과 사용 의도, 제작자 등 용도의 기능적인 측면으로 분류한 것과는 다르게 분류 방법을 지적 사용품과 산출물에 따른 특성별 구분하고 문화유산표준관리시스템의 항목을 참고하여 대, 중, 소의 3단계로 분류하였다. 이러한 분류는 개념을 범주화하고 자료의 주제를 일련의 순서로 구분하여 체계화하는 것으로 지식의 효과적인 이용을 목적으로 한다. 직접적으로는 지적 문화유산의 안전한 보존관리 환경을 구축할 수 있으며, 활용도에서는 소장품에 대한 학술적·사회문화적 해석을 가능하게 한다. 또한 국토정보 연구 자료 검색, 전시 기획, 교육 자료 등 박물관뿐만 아니라 국토정보 분야에서 다양한 문화자원 콘텐츠 활용의 기반이 될 것으로 기대된다.

• 미술자료
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• 제100권
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• pp.50-80
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• 2021

본고는 원각사탑에 대한 지난 백 년간의 근대 학설사를 층수에 초점을 맞추어 비판적으로 성찰하였다. 먼저 제II장에서는 근대 개항기에 조선을 여행한 서양인들이 종래 한성의 '비미(非美)'내지는 흉물로 간주되던 원각사탑을 한성의 '기관(奇觀)'내지 '위관(偉觀)'으로 재발견하는 역동적인 과정을 추적하였다. 이들은 불탑에 관한 예비지식이 거의 없는 서양 출신이었기 때문에, 역설적으로 원각사탑에 대하여 객관적인 견문기를 남길 수 있었는바, 그들이 접촉한 조선 지식인들을 통하여 대체로 13층설을 받아들였다. 이어서 제III장에서는 대한제국 선포 이후 일인 관변학자들이 원각사탑을 본격적으로 학술 조사하고, 일제식민기 동안 조선총독부가 원각사탑을 문화재로서 관리하는 과정 및 그 문제점을 언급하였다. 특히 지난 100여 년 동안 원각사탑 층수 문제에 관하여 가장 큰 영향력을 행사한 세키노 타다시(關野 貞)의 학설이 10층설에서 13층설로, 다시 다층설로 변하는 문제를 집중 조명하였다. 마지막으로 제IV장에서는 해방 이후부터 1962년까지 원각사탑에 대한 인식이 다층설에서 10층설로 바뀐 경과를 정리하되, 선행하는 일제식민기 조선 지식인들의 인식이 13층설 일변도였음을 특기해두었다. 다만 1962년 이후 지금까지 원각사탑에 관련하여 중요한 연구성과가 적지않이 발표되었지만, 층수에 관한 한 대부분 1962년에 확정된 10층설을 전제로 하였기 때문에, 본고에서는 따로 정리하지 않았다. 학설사 검토의 결과, 원각사탑이 13층탑으로서 건립되었다는 근거가 명백함에도 불구하고, 일제시기는 물론 해방 이후 지금까지 백 년이 넘도록 13층설은 단 한 번도 공인받지 못하였으며, 학계에서 층수 문제가 본격적으로 다루어지지도 않았음을 확인할 수 있었다. 원각사탑과 경천사탑이 10층탑이라는 현재의 통설은, 백 년 전에 세키노 타다시(關野 貞)가 최초로 주창하였다. 세키노는 원각사에 남아있는 「원각사비」가 글자를 거의 판독할 수 없을 정도로 마멸이 심하였기 때문에 원각사탑의 현상만 건축학의 관점에서 고찰하고 10층탑이라고 주장하였다. 공교롭게도 그 직후에 발견된 『속동문선』에 실린 「원각사비」에서 '탑 13층을 세웠다.'라는 구절이 확인되었다. 또한 15세기 후반 왕명으로 『동국여지승람』을 편찬한 편찬자들도 원각사탑의 모범인 경천사탑 또한 '13층탑'임을 분명히 인식하고 있었다. 특히 원각사탑 건립 직후 왕명으로 건립된 「원각사비」는 세키노의 10층설이 전제에 오류가 있음을 명백히 보여준다. 세키노는, '3층의 기단 위에 탑신 10층이 올려져 있어서, 세상 사람들이 13층탑이라고 불렀다.'라고 하였는데, 「원각사비」는 세조가 처음부터 13층탑으로서 원각사탑을 건립하였음을 생생하게 증언한다. 다만 이례적이게도 13층탑을 3층의 기단 위에 탑신 10층을 올린 형태로 조성하였을 따름이다. 그렇다면 세조는 왜 13층탑을 세웠으며, 왜 그것을 3층의 기단 위에 탑신 10층이라는 이례적인 형태로 구현하였는가? 세조가 원각사13층탑을 건립한 의도를 온전히 이해하려면, 먼저 원각사탑의 정체를 파악해야 하는바, 그 첫 단추는 원래의 명칭을 회복하는 데 있다. 필자는 전제의 오류 위에 구축된 세키노의 10층설-나아가 절충적인 다층설-은 이제 폐기하고, 「원각사비」에서 말하는 13층설을 복원할 것을 촉구한다.

• 복식
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• 제4권
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.

• 대한한의학방제학회지
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• 제15권1호
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• pp.185-197
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• 2007

Objective : This study was conducted to investigate the effects of Hwangryunhaedok-Tang and Geongangbuja-Tang on the change of interleukin-6 (IL-6) and tumor necrosis $factor-{\alpha}$ ($TNF-{\alpha}$) level induced by LPS I.C.V. injection in mice. Method : We devided group into 6 mice and 6 mice were assingned to each group. In the normal group only saline was administered intragastrically, and in the control group LPS was injected intracerebroventricularly 1 hr after intragastric administration of saline. In the experiment groups Hwangryunhaedok-Tang(0.5g/kg, 1.0g/kg, 3.0g/kg) was administered intragastrically to mice 1 hr prior to LPS(100mg/mouse) I.C.V. injection.. Also Geongangbuja-Tang (0.5g/kg, 1.0g/kg, 3.0g/kg) was administered intragastrically to mice 1 hr prior to LPS(100mg/mouse) I.C.V. injection. To measure the plasma IL-6 and $TNF-{\alpha}$ level of mice, their blood samples were collected from retro-orbital plexus, immediately centrifuged at $4^{\circ}C$, and plasma was removed and stored frozen at $-83^{\circ}C$ for later determination of IL-6 and $TNF-{\alpha}$. The level of IL-6 and $TNF-{\alpha}$ production was measured by enzyme-linked immunosorbent assay in the plasma. Result : Regarding IL-6 level, The 0.5g/kg and the 1g/kg groups of Geongangbuja-Tang decreased IL-6 level. Especially the 3g/kg control group decreased IL-6 level significantly than the normal group(p<0.01). Regarding $TNF-{\alpha}$ level, the 3g/kg group of Geongangbuja-Tang decreased it significantly(p<0.05). Conclusion : These data revealed that Hwangryunhaedok-Tang might not have the anti imflammatory effect and Geongangbuja-Tang(3g/kg)might have the anti imflammatory effect by reducing the plasma IL-6 and $TNF-{\alpha}$ level in mice LPS Injection.EIM (Eighteen Incompatible Medicaments) is an important component in Oriental pharmacology and is directly related to clinical prescriptions. Medical practitioners argued that the definite cause and meaning of EIM was ambiguous and therefore debated the issue of clinical application of the EIM. This study conducted an in-depth literary research on the origin, meaning and contents of EIM with the purpose to contribute in its efforts to be used clinically. Even after thousands of years have past since establishment of Oriental medicine, EIM is still tabooed and was an obstacle that hindered ideologies. Modern herbal medicine texts claim that the use of EIM can reduce treatment effects and promote poisoning and side effects. However, since long ago, there has been medical practitioners who reject this as false. Recently, poisoning caused by EIM has been claimed to be from the toxicity of the drug itself, rather than the result of interaction between the drugs, and therefore they suggest that EIM is not a forbidden domain. In addition, EIM showed a difference in number depending on the era. However, this can be understood not as a definite number, but instead as a warning to be careful during combination of drugs for use as clinical medicine. Historically, there were very few cases in which EIM was used for clinical tests and thus, the clinical value is not, while others applied EIM directly to their bodies, which showed signs for the usefulness and potential of EIM for us. A more concrete and in-depth study must be made on EIM.

• 수산경영론집
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• 제22권1호
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• pp.1-52
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• 1991

This study deals with the evolutional history of the holding and utilization of fisheries resources in Korea. Fisheries resources have the basic characteristics of the density dependent self-regulating renewable and common property resources, Irrational utilization of fisheries resources is mainly due to the unlimited access to the resources. The holding and utilization of fisheries resources in Koryo era was opened to everyone. But it was nationalized in the early Yi Dynasty. The purpose of its nationalization was to provent the paticular powered-man with their monoplized holding and to levy fisheries tax. Eoeop-peop, the first modern fisheries law in Korea, was enacted as a part of the invasion policy of Japan in 1908. With the japanese annexation of Korea in 1910, the Japanese Government established a new institutional system of fisheries as a part of an overall reformation of the institutional for an implementation of the colonial policy. It was very the new enacted Fisheries Law (Gyogyorei). Also the Government enacted compulsorily another new Fisheries Law (Chosen Gyogyorei) with its adjunct laws and regulations revise the institutional system of fisheries on May 1, 1930. After Eoeop-peop enactment, the fisheries resources in Korea could be used only under the license, permission, and statement. After Korea was from Japan in 1945, Korea Government at last enacted the new fisheries law (Susaneop-peop) in 1953. The goal of Susaneop-peop was to achive the general usage and protection of the fisheries resources, and to attain the development and democratization of the fishery in Korea. This law was amended 13 times until 1990. The license fishery have a legal right on the fishery, called a fishery rigt. This right means a right of exclusive occupation and utilization of a unit of the inshore fishing grounds. The main evolutional issues of license fishery are as the following : 1) the foundation of the exclusive usable fishery right(1911, Gyogyorei), 2) the deletion of the settled U9space lift net and settled space sein net fishery, and the expansion of the cooperative fishery-No.1, 2, and 3 type cooperative fishery-(3rd amendment, 1963), 3) the deletion of the No.2 and 3 type cooperative fishery, and the separation of the culturing fishery in No.1 and 2 type culturing fishery (13th amendment, 1990). The effective period of the license fishery was amended as the following : 1) 1908(Eoeop-peop) : within 10 years, renovation system, 2) 1929(Chosen Gyogyorei) : within 10 years, unlimited extension system, 3) 1971. 7th amendment : 10 years, renovation system, 4) 1972. 8th amendment : 10 years, only 1 extension system, 5) 1975. 9th amendment : 5-10 years, only 1 extension system, 6) 1990.13th amendment : 10 years, within 10 years of total extensional years. The priority order of the fishery license was established in 1953 (Susaneop-peop). The amendment of it is as follows : 1) 1953. enactment \circled1 the fishing grounds that the fishery right is extablished 1st order : the existing fishery right man, unlimited renovation 2nd order : the corporate that the regional fisherfolk organized 3rd order : the rest experienced fishermen \circled2 new fishing grounds 1st order : the corporate that the regional fisherfolk organized 2nd order : the rest experienced fishermen 2) 1971. 9th amendment \circled1 the fishing grounds that the fishery right is established 1st order : the existing fishery right man, unlimited renovation 2nd order : the Eochongye that the regional fisherfolk organized 3rd order : the regional fishery cooperative that the regional fisherfolk organized 4th order : the rest experienced fishermen \circled2 new fishing grounds 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd order : the rest experienced fishermen 3) 1981. 10th amendment \circled1 the inside of No.1 type cooperative fishing grounds 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd orer : the rest experienced fishermen 4) 1990. 13th amendment \circled1 No.1 type cultural fishery 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd order : the rest experienced fishermen \circled2 No.2 type cultural and settle fisher : general priority order The effective period of the permission fishery was amended 6 timed. First, it was within 5 years and renovation system (Eoeop-peop). Now it is 5 years and renovation system. The effective period of the statement fishery was amended 4 times. First, it was within 5 years, and then was amended within 3 years(Chonsen Gyogyorei). Now it is 5 years.

• 복식
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• 제30권
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.