• 대한한의학원전학회지
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• 제31권1호
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• pp.15-28
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• 2018

Objectives : This study first acknowledges that cough, which is a light symptom, can act as a link that leads to more serious disease. With this acknowledgement, the study ponders upon how the people of the past, before the introduction of western medicine, attempted to cure the first sign of cough and how to stop it from developing. Methods : China's Eumsunjungyo and Sikgamboncho, and Chosun's Singnyochanyo and Donguibogam are used mainly to analyze the food cure that were used in relation to sea water, and to discover what types of ingredients and preparation forms were used, how they were taken, what types of food cure there were, and how they were used. Results : There was no ingredient used commonly in all of the four literatures. Eumsunjungyo utilized ingredients related to lamb. Singnyochanyo and Donguibogam were both used in Chosun, but some similarities with the Chinese literatures were discovered in terms of food cure since they were put together with their Chinese counterparts as references. Ingredients that were used commonly in two or more of the literatures were ginger, taoren, xingren, honey, pear, liyu, and pig lung. Conclusions : Some staple folk remedies that later becamce cultural cuisines included drinking the water from boiling pear and honey and boiling and eating pears with peppers stuck in them. The eating of ginger together with korean traditional taffy have taken its own form and became saenggang jeonggwa and pyeongang. The oriental food cure method has been continuing among the folk people in the form of traditional food with the food philosophy of edible homologous as its basis.

• 건축역사연구
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• 제7권4호
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• pp.29-47
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• 1998

The aim of this study is to understand the original methods of architectural composition in F. L. Wright's works, For this purpose, the principal thoughts based on his organic architecture was examined over all others, and the results of this study are as follows. 1. F. L. Wright knew Taoist Philosophy, especially Lao-tzu's thought about space based on traditional oriental arts included traditional japanese arts by his superior intuition. this is similar to Froebel Thought in the principal theory, that is, his own unique field of abstract architectural education with three-dimensional geometry learned through Froebel Gifts. 2. Space is reality ; such Lao-tzu's thought, reversed the sense of values, influenced F. L. Wright's way to accomplish his own continuous space. that is to say, he attempted taking precedence of spatial organization by the unit of three-dimensional module made the substance, Froebel Blocks (3, 4, 5, 6 Gifts) into non-substance, and trying to do the methods of continuous liberal composition in architecture. which is his original accomplishment, namely his mentioned 'democratic' because of judging the space and the mold of architecture as individualities. 3. F. L. Wright treated the space as a positive entity, so that he created his own architecture organically combined with spaces and forms. : This was the result that he comprehended both formative, physical worth in West and spatial, non-physical worth in East as equivalence. It is understood that F. L. Wright's works combined with East and West are the significance of his architecture and the progress of true internationalities and modernization in modern architecture. 4. From the analyses of his works, we knew the fact that F. L. Wright's architecture, especially in the spatial organization were performed by the reasonable methods with geometric system of Froebel Gifts. In the observation of our fundamental way of thinking on his architecture, this study shows the necessity to let us get out of preconceptions and conclusions that the organic architecture is mysterious and difficult, but to systematize and put his organic methods to practical use.

• 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.

• 동의생리병리학회지
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• 제21권4호
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• pp.822-834
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• 2007

This study searched the philosophical and medical thought of mutual understanding and human body. Mutual understanding is a fundamental problem in all branches of oriental studies. In other words, mutual understanding becomes the existential foundation of heaven-earth-human(三才). So human beings, heaven and the earth can't exist if there is no mutual understanding. It comes out the problem of self-consciousness in philosophy, and qi movement pattern like upward, downward, inward and outward movement in traditional korean medicine. Human beings have mutual understandings with heaven and the earth from a macroscopic standpoint, on the other side the human body from a microscopic standpoint. Qi movement is the mutual understanding and response of qi in human body, so with which the physiological functions and pathologic changes of viscera and bowels comes out. Therefore we want to present how to complete qi movement between viscera-bowels and organs to examine mutual understandings in human body closely. The results was summarized as follows; First, upbearing the clear yang and down bearing the turbid yin of spleen-stomach is main pivot of upward and downward of qi movement, and it is true form of mutual understandings between viscera and bowels, so upward, downward, inward and outward movement of whole viscera and bowels can be controlled by spleen-stomach. Second, by restraining relationships between downward heart fire and upward kidney water, heart fire and kidney water have close communications physiologically and pathologically as upper-lower, yin-yang and water-fire. Third, by restraining relationships between upbearing and effusion of liver and purification and down-sending of lung, liver and lung are outer circles of upward and downward movement, so they have antagonistic functions. Firth, by the relationships between upbearing the clear and down bearing the turbid of spleen-stomach and free coursing of liver, free coursing of liver-gallbladder is the essential requirement that it certify transportation and transformation of spleen-earth, so the disease of liver-gallbladder induce spleen-stomach disease pattern to affect its function of transportation and transformation. Fifth, by spleen and kidney, spleen yang is based on kidney yang, so the weakness of kidney yang can affect the function of transportation and transformation of spleen-stomach as it can't warm spleen earth. Sixth, by homogeny of liver-kidney, essence and blood of liver-kidney and ministerial fire of liver-kidney have mutal generation and limitation physiologically and they mutually are affected in pathologically.

• 교육시설 논문지
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• 제18권6호
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• pp.33-43
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• 2011

The Korean academics of classical learning, Seowon which from the middle of Joseon Dynasty was complexly reflected in "the illustration of Taiji(太極圖說)" Five-Elements school(陰陽五行說), "Zhou Yi(周易)" and a theory on spherical heaven and square ground(天圓地方) which based on orientalism. Also the theory of Xiangshu Xue(象數學) was a significant factor to decide the size(number of facade module) of Seowon architecture. So, in this study, how the oriental thought was adopted and reflected in existing 21 Seowon in South Korea. The size of Seowon architecture was adopted a theory of combination with heaven, earth and human(天地人三合論) that based on the theory of Xiangshu Xue on "the illustration of Taiji" and "Zhou Yi". "Zhou Yi" was the central thought of Confucian culture in Joseon Dynasty, with which Seowon space was divided into two, ancestral rites space and lecture space. It coincides with balance of yin(陰) and yang(陽), Five-Elements(五行) and four seasons(四季節). In lecture space, lecture hall is relevant with the water(水) and winter, and front tower structure or outer three-door is the fire(火) and summer. Also, central garden means the soil(土) and center. Thus, the size and spatial composition was planned with the philosophy, "the illustration of Taiji", Five-Elements school and a theory on spherical heaven and square ground. Yin and yang has an idea of the heaven and earth, and Five-Elements has an idea of direction and season with which spatial composition of Seowon could be set. And the numeral meaning on the theory of Xiangshu Xue established an ideal background for spatial composition of Seowon architecture.

• 대한한의학원전학회지
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• 제26권2호
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• pp.105-120
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• 2013

Objectives: Sasang Constitutional Medicine(SCM) is a Traditional Korean Medicine based on the natural human emotions of joy(喜), anger(怒), sorrow(哀), and pleasure(樂). Therefore, in this paper I would like to construct SCM as a Mind-Body Medicine by studying the relation between SCM and psychotherapy focusing on control of emotions. Methods : I have researched the psychological characteristics of the four human physical constitutions, as described by SCM, and psychotherapy with an emphasis on the natural human emotions of joy, anger, sorrow, and pleasure as discussed in the works of Lee Je-ma(李濟馬, 1837-1900). Results and Conclusions : The joy, anger, sorrow, and pleasure in SCM do not simply refer to human emotions. They have an inherent nature(性), emotion(情) and Qi(氣). They are tied to the psychological characteristics of the four human physical constitutions and the relationship between body and mind. The turning point in the transformation from Sasang philosophy to Sasang therapy lies in these emotions. Sasang Constitutional Medicine, which focuses on 'mind matter' and diagnosing illness, emphasizes medicine and food(藥餌), along with health maintenance(調養). In particular, health maintenance requires the following mental practices. First of all, through countinuous awarness(恒戒) and self-reflection(自反), one needs to practice moderation(中) and restraint(節) of the emotions of joy, anger, sorrow, and pleasure. Therefore, 'inward reflection while sitting(坐思)' is necessary. In SCM, this is very similar to meditation in that it enhances psychological self-control through mental training or practice.

• 한국패션뷰티학회지
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• 제6권1호
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• pp.39-47
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• 2008

Korean embroidery is the long historical industrial arts of real life and has handed down Korean sentiment up to now. Korean traditional embroidered pattern is designed to wish someone's health and luck, who uses the embroidery on the clothes and the goods in real life. Especially, the ten longevity symbols' design is represented as 10 which means perfection in oriental philosophy, the sun, mountain, cloud, water, crane, rock, turtle, pine tree, the elixir of life and deer; these 10 symbols show how ancient Korean believe and wish perpetual youth. However, fiber material used embroidery relic has difficulty in preserving for long period compared to other relic descended from historical events for long time and their preserved state isn't so good owing to have been used directly in the real life. Therefore, it is essentially embossed to preserve the embroidery relic and pattern, and make DB for the data. With preservation of the pictures about the handicraft, it's necessary to preserve embroidery technique and make DB through digital imagination. Through the process, we can apply Korean embroidery image to cul-duct package and digital image related field, and it will be helpful to make the tradition popular. In this study, through the research for the embroidery technique applied pattern on the embroidery relic of ten longevity symbols, we'll establish the cultural identification of Korean embroidery image and then develop a worldwide Korean image.

• 조형예술학연구
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• 제8권
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• pp.63-94
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• 2005

ChangSayng-Do in the late Chosun dynasty was a kind of traditional painting which sublimated the philosophy and emotion of everyday life into an aesthetic consciousness through a long history of Korean people . It would represent a human wish and desire to live a long and healthy life, which was implicated by way of Taoism. The major themes of ChangSayng-Do - mountains, the sun, cloud, water, rock, deer, tortoises, cranes, pine trees, bamboos, peaches, and herbs of eternal youth - were all symbols used. to wish for a long-life and immortality in real world. All or some of these items were represented in paintings, which resulted in the various kinds of ChangSayng-Do. The main concern of this thesis will be centered around the naturalistic subjects shown in ChangSayng-Do. This thesis consists of four chapters. The first chapter describes the purpose of and need for the research, and its method and scope. The second chapter deals with the origin and style of ChangSayng-Do, and the background of its formation. It is found out that the formative characteristic of ChangSayng-Do lies in the archetype, the unity of man and nature following the traditional view of nature. It is also found out that ChangSayng-Do implied the notions of Supernatural Being, Yin-Yang and Five Elements, Taoism, and Confucianism as well as Korean shamanism. Third chapter is largely about an analytic investigation into symbolic visualization of ChangSayng-Do. Firstly, the subject matters shown in ChangSayng-Do consist of items of wishful omen for long-life and good luck, and any motif in a picture implies a symbolism of eternal youth and long-life. Secondly, the view of colors shown in ChangSayng-Do is closely connected to Five Elements and Five Direction, a traditional oriental philosophy of universe, and these symbolic colors are based on shamanism and Yin/Yang-Five Elements. According to an iconological analysis, it is confirmed that these viewpoints are consistent with formative principles and expressive methods of ChangSayng-Do to some extent. The fourth chapter is one of the most important elements for visualization of ChangSayng-Do. The symbolic meaning of long life and good luck is the major source of its popularity inside the palace as well as among the people in general. The fact that ChangSayng-Do was used to ornament the palace was documented in $\lceil$UiGuey(documents about Chosun dynasty$\rfloor$. Also during the late period of Chosun dynasty, the appreciators of arts had begun to spread from high level class to lower level class, and many pictures represented in $\lceil$Hanyang-Ga$\rfloor$ were the ones produced and circulated for those increased consumers. As for the folk-artistic characteristics, the anonymity and arbitrary naturalness of ChangSayng-Do demonstrates that the folk-artistic elements were fully soaked into the life styles of people in general. ChangSayng-Do further shows that a human being is located in the center of the universe, and that all the natural phenomena and ecology are observed to happen around human beings, and that the results of those happenings are connected to man's course of life. It is discovered that the subject matters of ChangSayng-Do in the late Chosun dynasty imply another idea inside metaphors and symbols. With regard to the arrangement of time and space, the unity or oneness of oneself with the world is more highly regarded than one's individual subjectivity: there exist multiple times and spaces in a single picture This reveals a wholistic view of oneness which does not permit the division between phenomenon and substance. To conclude, this thesis inquired into ChangSayng-Do in the late Chosun dynasty focusing on the expression of archetype-symbols. And through the analysis and demonstration, this thesis re-established constructional principles and formative characteristics of ChangSayng-Do and then settled a new phase of ChangSayng-Do, with a deep under-standing of fundamental thoughts of Korean people underlying ChangSayng-Do.

• 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.

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.