• 디자인학연구
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• 제15권3호
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• pp.53-62
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• 2002

본 논문은 인터랙션 디자인의 컨셉 설정단계에서 분석적이고 수량적인 측면에서의 접근만으로는, 인터랙션 디자인에서 요구되는 인간과 도구나 기기 사이의 적합하고, 올바른 관계의 설정을 위한 새롭고 창의적인 컨셉을 발상하기 부족하기에, 이를 보완하기 위해서 여러 학문 영역에서의 '관계'에 대한 다양한 관점의 고찰을 통하여, 그 접근 가능성을 탐구하는 연구이다. 연구의 내용으로는 먼저, 인터랙션 디자인에 대해서 고찰하며, 프로세스 상에서 이용되고 있는 방법론들을 통해 기존 학문에서의 접근 현황을 파악한다. 그 다음, 여러 학문 분야에서의 '관계'에 대한 연구를 알아봄으로써, 다양한 관점의 관계에 대해 접근한다. 이를, 인터랙션 디자인의 입장에서 여러 학문 분야의 다양한 관점을 수용하기 위해서, '객체'와 '관계성' 두 가지 요소로 나누어 관계의 개념을 설명하며, 이 두 가지 요소에 의한 설명을 바탕으로 하여, 인터랙션 디자인에서의 '관계'의 관점들을 '특성에 의한 분류', '영역에 의한 분류', '규모 및 수에 의한 분류'로 나누어 볼 수 있다. 이와 같은 분류를 통해서 인터랙션 디자인에서의 객체간의 존재하는 많은 관계에 대해서 접근할 수 있을 것이다.

• 동국한의학연구소논문집
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• 제1권
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• pp.161-191
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• 1992

The purpose of this study is how have the form and theory of the five element theory in the (黃帝內徑) by the investigation of the course of the course of the five element introduced the ancient oriental medicine from ancient oriental philosophy. The following results were obtained. 1. The five elements in (尙書) meaned the uses of water, fire, earth, wood, metal which were important in living. Because these had very important meaning in ancient political and economic society, emphasized to big law(洪範) 2. The five elements in (左傳) and (國語) mean the five uses too, and there are the phases of "five win metal"(火勝金) and "wather win fire"(水勝火), but these only meaned the physical interrelation. 3. In the five circulating factor theory made by Chu Yen(鄒衍) which have the attribute of the five elements, he more reasonably had argued human affairs like that a dynasty become different in step with the circulating five favors. There is the regular annual policy in the (呂氏春秋) which closely connected nature and human living, and attached the various colors, animals, visceras, flavors, sounds, the sexagenary cycle and so on to the five elements. 4. In the (春秋繁露) writed in fore-period of Han(漢) dynasty, the interactions of the five elements are concretely applicated to policy, Dong Jung Soe(童仲舒) had discrived the interactions of the five elements by Dong Lyu Sang Dong theory(同類相動說) and the misfortune theory(災異說), emphasized the sympathy of nature and human. Thought there is many content which are superstitious and contradictory, I concider which that affcted many effects in the formation of five element theory of oriental medicine. In the (淮南子) the order of matters were explained by the five element theory too, as the interrelations of the five elements were explained by the sexagenary ctcle, I assume that the bud of O-Un theory(五運理論). And there was not founded the fullscale intriduction of the five element theory in the Ma Wang Tye(馬王堆) excavated finds, the Mu Yyi medical writings formed the dynasty(武威漢代醫簡) and the documents about Pyun Jak(偏鵲) and Sun U Ie(淳于意). 5. The application of the five element theory in the (Whang Di Nei Qing) (黃帝內徑) is devided into the attachement to the five elements, the interelations of the five elments, and Un Gi theery(運氣論). In the attachment to the five elemeant theory, it made the attachment of the five viseras of (今文尙書) party a standard and attached the sections of a human body, the whole internal organs of sense, the five colors, the five flavors and the five sounds and so on to the five elements. It put to use by means of the apllivation of the interrelation of the five elements in the transferations of the diseases and the relative severeness of a disease in step with change of time and season. Un Gi theory(運氣論) which synthesized by the attachment to the five elements, the inter-relations of the five elements and the climate which observerd from ancient times systematically argued the effects of weather to human. 6. The application of the five elements theory in (黃帝內徑) have the significant what had get rid of irrational factors like that the emotion and action of human could to influense the weather, what had been formes more rational thingking by the obesrvation of human and nature. It is required more reserches about the possibility of the formation of the doctrinal faction bt the geographical effect of the Yon, Je(燕,薺) region, the application of the five element theory in other ancient medical books and the relationship of the five element theory and Yin Yang(陰陽)

• 동국한의학연구소논문집
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• 제10권
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• pp.119-145
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• 2008

Through a simple study of the medical classics in the '$\bar{A}yurveda$', we have summarized them as follows. 1) Traditional Indian medicine started in the Ganges river area at about 1500 B. C. E. and traces of medical science can be found in the "Rigveda" and "Atharvaveda". 2) The "Charaka(閣羅迦集)" and "$Su\acute{s}hruta$(妙聞集)", ancient texts from India, are not the work of one person, but the result of the work and errors of different doctors and philosophers. Due to the lack of historical records, the time of Charaka(閣羅迦) or $Su\acute{s}hruta$(妙聞)s' lives are not exactly known. So the completion of the "Charaka" is estimated at 1st$\sim$2nd century C. E. in northwestern India, and the "$Su\acute{s}hruta$" is estimated to have been completed in 3rd$\sim$4th century C. E. in central India. Also, the "Charaka" contains details on internal medicine, while the "$Su\acute{s}hruta$" contains more details on surgery by comparison. 3) '$V\bar{a}gbhata$', one of the revered Vriddha Trayi(triad of the ancients, 三醫聖) of the '$\bar{A}yurveda$', lived and worked in about the 7th century and wrote the "$Ast\bar{a}nga$ $Ast\bar{a}nga$ hrdaya $samhit\bar{a}$ $samhit\bar{a}$(八支集) and "$Ast\bar{a}nga$ Sangraha $samhit\bar{a}$(八心集)", where he tried to compromise and unify the "Charaka" and "$Su\acute{s}hruta$". The "$Ast\bar{a}nga$ Sangraha $samhit\bar{a}$" was translated into Tibetan and Arabic at about the 8th$\sim$9th century, and if we generalize the medicinal plants recorded in each the "Charaka", "$Su\acute{s}hruta$" and the "$Ast\bar{a}nga$ Sangraha $samhit\bar{a}$", there are 240, 370, 240 types each. 4) The 'Madhava' focused on one of the subjects of Indian medicine, '$Nid\bar{a}na$' ie meaning "the cause of diseases(病因論)", and in one of the copies found by Bower in 4th century C. E. we can see that it uses prescriptions from the "BuHaLaJi(布唅拉集)", "Charaka", "$Su\acute{s}hruta$". 5) According to the "Charaka", there were 8 branches of ancient medicine in India : treatment of the body(kayacikitsa), special surgery(salakya), removal of alien substances(salyapahartka), treatment of poison or mis-combined medicines(visagaravairodhikaprasamana), the study of ghosts(bhutavidya), pediatrics(kaumarabhrtya), perennial youth and long life(rasayana), and the strengthening of the essence of the body(vajikarana). 6) The '$\bar{A}yurveda$', which originated from ancient experience, was recorded in Sanskrit, which was a theorization of knowledge, and also was written in verses to make memorizing easy, and made medicine the exclusive possession of the Brahmin. The first annotations were 1060 for the "Charaka", 1200 for the "$Su\acute{s}hruta$", 1150 for the "$Ast\bar{a}nga$ Sangraha $samhit\bar{a}$", and 1100 for the "$Nid\bar{a}na$". The use of various mineral medicines in the "Charaka" or the use of mercury as internal medicine in the "$Ast\bar{a}nga$ Sangraha $samhit\bar{a}$", and the palpation of the pulse for diagnosing in the '$\bar{A}yurveda$' and 'XiZhang(西藏)' medicine are similar to TCM's pulse diagnostics. The coexistence with Arabian 'Unani' medicine, compromise with western medicine and the reactionism trend restored the '$\bar{A}yurveda$' today. 7) The "Charaka" is a book inclined to internal medicine that investigates the origin of human disease which used the dualism of the 'Samkhya', the natural philosophy of the 'Vaisesika' and the logic of the 'Nyaya' in medical theories, and its structure has 16 syllables per line, 2 lines per poem and is recorded in poetry and prose. Also, the "Charaka" can be summarized into the introduction, cause, judgement, body, sensory organs, treatment, pharmaceuticals, and end, and can be seen as a work that strongly reflects the moral code of Brahmin and Aryans. 8) In extracting bloody pus, the "Charaka" introduces a 'sharp tool' bloodletting treatment, while the "$Su\acute{s}hruta$" introduces many surgical methods such as the use of gourd dippers, horns, sucking the blood with leeches. Also the "$Su\acute{s}hruta$" has 19 chapters specializing in ophthalmology, and shows 76 types of eye diseases and their treatments. 9) Since anatomy did not develop in Indian medicine, the inner structure of the human body was not well known. The only exception is 'GuXiangXue(骨相學)' which developed from 'Atharvaveda' times and the "$Ast\bar{a}nga$ Sangraha $samhit\bar{a}$". In the "$Ast\bar{a}nga$ Sangraha $samhit\bar{a}$"'s 'ShenTiLun(身體論)' there is a thorough listing of the development of a child from pregnancy to birth. The '$\bar{A}yurveda$' is not just an ancient traditional medical system but is being called alternative medicine in the west because of its ability to supplement western medicine and, as its effects are being proved scientifically it is gaining attention worldwide. We would like to say that what we have researched is just a small fragment and a limited view, and would like to correct and supplement any insufficient parts through more research of new records.

• 산업진흥연구
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• 제5권3호
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• pp.61-71
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• 2020

본 논문의 목적은 고법 명리학의 명리 이론들을 연구 정리하여 고법의 사주 모형을 재현하고 고법의 사주해석법과 신법의 사주해석법의 논리구조를 정리한 후 비교하는 연구를 진행함으로써 그 간명법을 논리적 체계를 재확인해 보는 것이다. 명리이론이 처음 세상에 등장한 것은 귀곡자와 낙록자를 시원으로 삼아 그들이 활동했던 전국시대라고 보는 이도 있고, 조금 더 시간이 흘러 동진의 곽박에 의해 '옥조경'이 쓰여진 것이 시원이라고 보는 이도 있다. 그 이후 원천강과 이허중 등에 의해 체계화되어 가던 명리이론은 송대 서자평에 이르러 크게 변혁을 겪게 되는데 이 시점을 기준으로 앞 세대의 명리이론을 고법, 그 이후 서자평으로부터 시작되는 명리이론을 신법이라고 후대인들은 칭한다. 명리학 고법과 신법의 논리구조 변화는 둘 사이의 큰 차이점과 단절 현상을 남겨놓고 있지만 명리학 고법과 신법 모두 음양오행과 천간지지라는 자연의 상징체계, 천지인 삼원에 투영된 천인 감응 사상, 연월일시의 궁위가 가진 세대와 시간의 개념, 천기의 생왕사절 유행 등의 자연법에 기인한 철학과 논리구조는 크게 달라지지 않았다는 점을 비교연구를 통해 확인할 수 있었다.

• 사상체질의학회지
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• 제11권1호
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• pp.15-23
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• 1999

연구목적(硏究目的) 이제마(李濟馬)의 철학(哲學)과 의학(醫學)은 사상(四象)을 기초로 형성되어 있다. 그러나 그의 철학(哲學)을 이해함에 있어 태극(太極)(심(心)), 양의(兩義)(심신(心身)), 사상(四象)(사심신물(事心身物))을 반드시 함께 논해야 할 것이다. 본 연구(硏究)에서는 이제마(李濟馬)는 우주발생론적 입장에서 태극(太極) 양의(兩義) 사상(四象)을 어떻게 정의하고, 이제마(李濟馬) 철학(哲學)과 형상관(形象觀)의 궁극적 목적이 어디에 있는지 논하여 본다. 연구방법(硏究方法) 및 연구내용(硏究內容) 동무(東武) 이제마(李濟馬)의 저서(著書)로 확인되거나 추정되는 "격치고(格致藁)", "제중신편(濟衆新編)", "동의수세보원(東醫壽世保元)", "동무유고(東武遺藁)", "동의수세보원사상초본권(東醫壽世保元四象草本卷)" 등에서 발췌하였다. 연구결과(硏究結果) 1. 이제마(李濟馬)는 만물의 근원을 심(心)이라 하여 태극(太極)이라고 정의하였다. 또한 태극(太趣)은 통체-태극(統體-太極)(지예의인(智禮義仁)과 일물-태극(一物-太極)(결각행지(決覺行止))의 두가지 의미를 갖는다. 2. 이제마(李濟馬)는 심신(心身)을 양의(兩儀)라고 정의하였다 또한 심신(心身)은 지행(知行)이다. 3. 이제마(李濟馬)는 사심신물(事心身物)을 사상(四象)이라고 정의하였다. 사상(四象)은 서로 다른 네가지 단위를 합한 것이 아니라 상호관계가 있는 두가지 페러다임을 결합하여 드러난 존재(存在) (=현상(現狀))을 설명하는 도구이다. 그 안에는 태극(太極)과 양의(兩儀)를 모두 함축하고 있다. 4. 이제마(李濟馬) 철학(哲學) 및 형상관(形象觀)의 궁극적 목적은 지행(知行)으로 지인정기(知人正己)에 있다. 학문(學問)(${\Rightarrow}$독서(讀書))을 통한 격물(格物)은 성심(誠心)의 방법이고, 사변(思辯)(${\Rightarrow}$찰용(察容)) 을 통한 신독(愼獨)은 경신(敬身)의 방법이다. 5. 이제마(李濟馬)의 사상철학(四象哲學)은 현상(現象)을 사심신물(事心身物)의 사상(四象)으로 요약하여 이것의 모순(我)을 극복하기 위하여 지행(知行)(심신(心身))을 외재된 형식 즉 양의(兩儀)로 제시하고, 심(心)을 내재된 원리 즉 태극(太極)으로 정의하였다.

• Korean Journal of Acupuncture
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• 제23권4호
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• pp.15-25
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• 2006

Objectives : ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$ is a medical literature dealing deeply with the theory of internal organs thought to be the core of theories in Chinese medicine. The aim of this study was to explorer on the formation and the organization of ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$. Methods : We investigated the process of the formation of ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$ and analyzed the organization of ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$ on the medical-historical points of view. Results : As a result from studies. Main contents include 11 pieces of pictures about the positions of the regions of acupuncture and moxibustion as well as the internal organs, in addition to descriptions in detail regarding each disease in the internal organs, problems occurred among them, obstinate diseases, etc. Conclusions : A published book in Ming Dynasty and another transcribed by someone in Qing Dynasty as the xylographic books of this literature in China, which turned out to books referred considerably to contents of YangGae's ${\ulcorner}JonJinDo{\lrcorner}$, a famous doctor in Northern Song Dynasty in China. Moreover, the main contents of ${\ulcorner}HuaTaHyunMunNeJoDo{\lrcorner}$ greatly affected the theories of the internal organs for the following generations as they were quoted in Yicheon's ${\ulcorner}UiHakYipMun{\lrcorner}$ in Ming Dynasty in China.

• 미술이론과 현장
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• 제1호
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• 대한한의학원전학회지
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• 제20권4호
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• pp.91-117
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• 2007

Through a simple study of the medical classics in the '$\bar{A}yurveda$', we have summarized them as follows. 1) Traditional Indian medicine started in the Ganges river area at about 1500 B. C. E. and traces of medical science can be found in the "Rigveda" and "Atharvaveda". 2) The "Charaka" and "$Su\acute{s}hruta$(妙聞集)", ancient texts from India, are not the work of one person, but the result of the work and errors of different doctors and philosophers. Due to the lack of historical records, the time of Charaka or $Su\acute{s}hruta$(妙聞)s' lives are not exactly known. So the completion of the "Charaka" is estimated at 1st${\sim}$2nd century C. E. in northwestern India, and the "$Su\acute{s}hruta$" is estimated to have been completed in 3rd${\sim}$4th century C. E. in central India. Also, the "Charaka" contains details on internal medicine, while the "$Su\acute{s}hruta$" contains more details on surgery by comparison. 3) '$V\bar{a}gbhata$', one of the revered Vriddha Trayi(triad of the ancients, 三醫聖) of the '$\bar{A}yurveda$', lived and worked in about the 7th century and wrote the "$A\d{s}\d{t}\bar{a}nga$ $A\d{s}\d{t}\bar{a}nga$ $h\d{r}daya$ $sa\d{m}hit\bar{a}$ $samhit\bar{a}$(八支集)" and "$A\d{s}\d{t}\bar{a}nga$ Sangraha $samhit\bar{a}$(八心集)", where he tried to compromise and unify the "Charaka" and "$Su\acute{s}hruta$". The "$A\d{s}\d{t}\bar{a}nga$ Sangraha $samhit\bar{a}$" was translated into Tibetan and Arabic at about the 8th${\sim}$9th century, and if we generalize the medicinal plants recorded in each the "Charaka", "$Su\acute{s}hruta$" and the "$A\d{s}\d{t}\bar{a}nga$ Sangraha $samhit\bar{a}$", there are 240, 370, 240 types each. 4) The 'Madhava' focused on one of the subjects of Indian medicine, '$Nid\bar{a}na$' ie meaning "the cause of diseases(病因論)", and in one of the copies found by Bower in 4th century C. E. we can see that it uses prescriptions from the "BuHaLaJi(布哈拉集)", "Charaka", "$Su\acute{s}hruta$". 5) According to the "Charaka", there were 8 branches of ancient medicine in India : treatment of the body(kayacikitsa), special surgery(salakya), removal of alien substances(salyapahartka), treatment of poison or mis-combined medicines(visagaravairodhikaprasamana), the study of ghosts(bhutavidya), pediatrics(kaumarabhrtya), perennial youth and long life(rasayana), and the strengthening of the essence of the body(vajikarana). 6) The '$\bar{A}yurveda$', which originated from ancient experience, was recorded in Sanskrit, which was a theorization of knowledge, and also was written in verses to make memorizing easy, and made medicine the exclusive possession of the Brahmin. The first annotations were 1060 for the "Charaka", 1200 for the "$Su\acute{s}hruta$", 1150 for the "$A\d{s}\d{t}\bar{a}nga$ Sangraha $samhit\bar{a}$", and 1100 for the "$Nid\bar{a}na$", The use of various mineral medicines in the "Charaka" or the use of mercury as internal medicine in the "$A\d{s}\d{t}\bar{a}nga$ Sangraha $samhit\bar{a}$", and the palpation of the pulse for diagnosing in the '$\bar{A}yurveda$' and 'XiZhang(西藏)' medicine are similar to TCM's pulse diagnostics. The coexistence with Arabian 'Unani' medicine, compromise with western medicine and the reactionism trend restored the '$\bar{A}yurveda$' today. 7) The "Charaka" is a book inclined to internal medicine that investigates the origin of human disease which used the dualism of the 'Samkhya', the natural philosophy of the 'Vaisesika' and the logic of the 'Nyaya' in medical theories, and its structure has 16 syllables per line, 2 lines per poem and is recorded in poetry and prose. Also, the "Charaka" can be summarized into the introduction, cause, judgement, body, sensory organs, treatment, pharmaceuticals, and end, and can be seen as a work that strongly reflects the moral code of Brahmin and Aryans. 8) In extracting bloody pus, the "Charaka" introduces a 'sharp tool' bloodletting treatment, while the "$Su\scute{s}hruta$" introduces many surgical methods such as the use of gourd dippers, horns, sucking the blood with leeches. Also the "$Su\acute{s}hruta$" has 19 chapters specializing in ophthalmology, and shows 76 types of eye diseases and their treatments. 9) Since anatomy did not develop in Indian medicine, the inner structure of the human body was not well known. The only exception is 'GuXiangXue(骨相學)' which developed from 'Atharvaveda' times and the "$A\d{s}\d{t}\bar{a}nga$ Sangraha $samhit\bar{a}$". In the "$A\d{s}\d{t}\bar{a}nga$ Sangraha $samhit\bar{a}$"'s 'ShenTiLun(身體論)' there is a thorough listing of the development of a child from pregnancy to birth. The '$\bar{A}yurveda$' is not just an ancient traditional medical system but is being called alternative medicine in the west because of its ability to supplement western medicine and, as its effects are being proved scientifically it is gaining attention worldwide. We would like to say that what we have researched is just a small fragment and a limited view, and would like to correct and supplement any insufficient parts through more research of new records.

• 대한한의학원전학회지
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• 제12권2호
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• pp.92-109
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• 1999

They say Y$\breve{o}$k'ak(易學) is the root of Oriental studies. This means philosophy, astronamy, geography, medicine, music, numbers are all based on Yin-Yang, and Five phases theory of Y$\breve{o}$k'ak. Nowadays studies are very much specialized but as we go back to old times, we cannot dearly set these studies apart. All the studies can be comprehensively understood with Y$\breve{o}$k'ak(易學). The original purpose of Y$\breve{o}$k'ak is to predict future with highly symbolized signs, Sang-Su(象數). However you cannot fully understand Y$\breve{o}$k'ak without knowing the principle of change in Sang-Su itself. We have to keep thinking about how we should further study Y$\breve{o}$k'ak, treat diseases with Sang-Su, and how Sang-Su can be used in medicine. As a previous step to this process, I will consider relationship of Y$\breve{o}$k'ak and medicine in this paper. This study will help us to set the goal and method in studying medicine. Conclusions of this paper are following: 1. The purpose of understanding a subject is to understand the principle of the subject. The principle of every subject can be turned into principle of changes in the universe. This principle is not affected by time nor space. It is only seen through the changes of subjects. 2. The reason we cannot easily understand the principle is that we have biased mind. How we should overcome this is through developing virtue, and by keep inspecting things over and over. 3. We see the outcome of changes inside but we should not neglect the principle. Therefore we see the principle through Sang. Sang is in between Principle(理) and Things(物), thereby has characteristics of both. Which means it is much like Principle but specific Things is related and it is much like Things but it is not easily understood. 4. There are various kinds of Sang. Mind-Sang(心象) is an image that comes before expressing it with symbols or words. When it is expressed in symbols or words, it is no longer considered as same Sang. Sang in symbol are Kwaesang(卦象), Hyosang(爻象) and Sang in words is Kyesa(卦辭). The characteristic of all these Sang is that it cannot be explained through the logics. 5. If we call Sanghak as the study with Sang, the method is same as that of understanding the principle. The fundamental purpose of Sanghak is to understand the principle of things and then apply this principle to the practical world so that the world can be a better place. So I would say Sanghak is the study of a saint and a ruler. 6. Since the object of medicine is human being who are the mixture of Principle and Ki, we can use Sang which is also related to both Principle and Ki. Actually terms we use in Oriental medicine are not easily understood without the knowledge of Sanghak. 7. When we diagnose a patient, we are looking for Sang that comes from the body inside. When we do the treatment, we cannot neglect the original change that's happening in our body. Therefore studying Sang is a necessary step to do the full diagnosis and treatment. 8. The method of studying medicine is first to get rid of biased mind, taking right Sang from various classics and then apply those Sang to actual situations.

• 미술이론과 현장
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• 제4호
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.