• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.53-62
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• 2019

In recent years, South Korean has made a globally acknowledged achievement in movie industry. In terms of Art, films produced in South Korea obtained lots of awards in international movie festivals; in the business field, Korean movies are swiftly occupying the Asian or even the world film market. Extraordinary films with good reputations and high box office records are frequently launched and induced to a trend, which then forms into a cultural phenomenon and attributes to an important, major force in the so-called "Hallyu" culture. This, in part, benefits from the massive support of Korean government's cultural policies, and is also a product of the high degree of cultural consciousness of Korean movie producers. The Korean cultures, customs, and the underlying cultural elements of the East, that are presented in these movies, satisfy the audience and appeal their fondness. The Princess and the Matchmaker is a South Korean period romantic comedy film directed by Hong Chang-pyo and starred Shim Eun-kyung and Lee Seung-gi. The movie was presented on Feb 28th, 2018. It tells a story of Seo Do-yoon, the most proficient saju (fortune-teller) expert of the Joseon Era who selected a husband for Princess Song-Hwa based on her "fortune eight letters" (specifically, the time, day, month and year of her and her husbands' birth, normally in eight letters), in a hope of alleviating the rage of people following years of drought, and thus to resolve a national crisis. This paper takes The Princess and the Matchmaker as an example, from the aspects of cultural state, system, behavior and mentality, to analyze the traditional customs such as "fortune eight letters", "marriage by match" and the cultural concepts behind these phenomena, in order to explore the ways and methods of traditional culture in the modern cultural and artistic form of film.

• Journal of the Korean Home Economics Association
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• v.31 no.1
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• pp.225-239
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• 1993

The purpose of this study is to look for the basic formative elements of housekeeping space of our cultural life which are worthy to succeed and develop by revaluating in modern view and to reveal what we should maintain form the women's view of the housework in those days. In this study, out look on Chosun Dynasty housekeeping is based on the norm of the women in those days. The research on the housekeeping space for norm of the women in those days. the research on the housekeeping space for Chosun Dynasty upperclass is focused on the house built from early till late Chosun Dynasty, which is now a cultural asset. As a result, norm of Chosun Dynasty have created a social wide atmosphere for women to devote herselves to the housekeeping. Moreover the constructions of Chosun Dynasty's upperclass are affected by Korea's natural environment and socio-cultural environment. Primary factors for natural environment are building materials and the change of seasons. Because of changeable seasons, there were places for storing massive commodities. The other primary factors for socio-cultural environment affecting housekeeping space were social positions, and extended family system, worshipping the ancestors standard of living, the theory of“Poong Soo”(風水, a kind of geomancy) and thought of“Yin and Yang, Five Elements”(陰陽五行) and popular belief of that time. Affected by these two environments, the characteristics of housekeeping space for Chosun Dynasty are ; the main building of the house was used as a diverted area for women to work, and was reconstructed for household affairs. There were inefficient points in the housekeeping space of that time and the space remained stagnant because of the restricted sex and the social position of housekeeping doer. But you could find some points that are efficient and functional to adjust in those living conditions. The storehouse, storage barn, shed and soyjar terrace are the specialized storing place, according to the kinds and characteristics of the commodities. the kitchen, for example, is the combinations of many abilities. It is not only for cooking or heating the room, but also for storing drinking water. The hall which was the storing place, housekeeping place and also the place for family events are used as a diverted place. The linked arrangement of kitchen, store house, boudoir and the other rooms. In addition, we can see that the construction of the kitchen for more than tow people could work in.

• Industry Promotion Research
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• v.9 no.1
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• pp.167-177
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• 2024

The purpose of this paper is to restore the academic status of Gungwi perception a little. The symbolism of Gungwi, or Year Month Day Hour, likened to Geun Myo Hwa Sil, is not just a technique of interpretation. Recognizing that it corresponds to Saju's most fundamental Mingli principle, the study was conducted to the effect that more academic research should be conducted in the future. The intrinsic idea that constitutes Saju is the yin-yang and the five elements, the letters recorded are twelve-dimensional, and the elements in charge of the space and time are Cheongan, Jeeji, and Gungwi, which are woven into four pillars. Through this consideration of Gungwi's perception, we presented the "spectrum of time" phenomenon that past time and information pass through the point of time, spread like a spectrum, and lead future time and action at the time when humans are born, that is, the energy of the universe is formatted throughout the brain and body. We discussed the change point of Eight Trigrams used by Lim Cheol Cho as a basis for explaining 'Won Hyong I Jeong' and the assumption that the time change or distortion of the two cones penetrating the present, which is assumed in parallel theory, one of the modern cosmologies, leaves an afterimage in the future universe as Gungwi's deductive basis.

• Herbal Formula Science
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• v.11 no.1
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• pp.57-90
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• 2003

The result of Bibliographic studies on the pathological mechanism of the sudden coma, we got the conclusion like this. 1. The sudden coma is an acute syndrome that refers to be a sudden fainting, an unconsciousness, an aphasia or a cold clammy limb, and immediately awakes or dies, and awakes in a short time, and if we awake, it doesn't leave over and above a sequela. 2. The clinical presentation of the sudden coma can be summarized as follows : The 1st is a disease raising the sudden death due to unconsciousness accompanied by wry mouth & sudden syncope with coma. The 2nd is simply the state of cold limbs. The 3rd is the meaning of the physique and symptomes of the six meridians. The last is the ancient method of expression in contrast of the beriberi. 3. The pathological mechanism of the sudden coma consists of the toxoid from outside, Qi and Xie, fatigue, damp phegm, the damage from seven emotions and the damage from five mental elements, especially the mental disorder due to the angry energy, causes the problems when the fleming-up of liver fire and the depressed of liver qi raise the physiological disorder. 4. Therapeutic methods of sudden coma are soothing the liver and remove stasis, soothing depression and circulating of the qi, calming the liver and suppressing yang. When that is early stage, at first, we must checking upward adverse flow of the qi after promoting the circulation of qi and awakening, and then, we must regulate excessive deficiency of yin yang by therapy that is based on differentiated in symptoms according to heat & cold, deficiency & excess, and use invigorating herb medicine for supporting vigour.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.332-344
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• 2019

Based on the life of the furniture is to reflect a region and the important basis of ideological and cultural characteristics of The Times culture form the traditional concept of directly determine the style and features of furniture. Due to the geographical location, China and the Korean peninsula have a long history of cultural exchanges. Through long-term exchanges, Chinese traditional culture has penetrated into the daily life of the ancestors of the Korean peninsula in various ways. As one of the traditional Chinese cultures, Taoism began to spread in The Three Kingdoms period on the Korean peninsula. With the integration and development of Taoism on the Korean peninsula, Taoism culture with unique characteristics of the peninsula was formed and became part of the traditional ideological and cultural life of the ancestors on the peninsula. In the historical development of furniture on the Korean peninsula, Taoist theories such as yin-yang theory and five-element theory and geomantic geography theory have exerted an important influence on the use, shape, material and pattern of traditional furniture on the Korean peninsula. The late period of the joseon dynasty was the heyday of the handicraft industry on the Korean peninsula. During this period, the categories of furniture increased, and a large number of furniture with distinctive Taoist characteristics, beautiful shape, excellent design and different uses appeared. Through the study on the modeling, materials, patterns, seals and designs of furniture in the late period of joseon dynasty, this study confirms that Taoist thoughts are one of the main factors affecting the development of Korean traditional furniture forms and patterns. Using patterns of various natural objects or plants and animals for furniture design, it is to pray for family members to avoid disasters and disasters. Thus it can be seen that praying for blessings from heaven is the main Taoist thought.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.119-129
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• 2012

Yongdoseo and Guimunwon are described in "Bokgeo(卜居, fixabode)" of "Sanlimkyengje(山林經濟)" written by Manseon Hong. This record is a unique garden conceptual idea applying the principles of Hetu(河圖) and Luoshu(洛書), fanciful gardens which have not been actually constructed. Here, two garden types were concretely described respectively, however the underlying meaning therein cannot be apprehended without exact understanding about Sangsu studies. Therefore, the purpose of this study is to illuminate the meaning contained in Garden illustration and the historical meaning of landscape therein through considering this text. To achieve the purpose of this study, the writer and the compiler who are the background of this writing and the outline of Sangsu studies were investigated. Also, the principles of Saengsu(生數), Seongsu(成數), Yin Yang(陰陽), Four Bodies(四象), Palgwedo(八卦圖), etc. which are in Hetu and Luoshu were considered. The result of this study went through this research process is summarized as follows. First, Hetu Luoshu are conceptual definitions which wholly abstracted the basic propositions of Sangsu philosophy such as the universe change principle, etc., while Yongdoseo and Guimunwon can be said to be operational definitions which apply those as garden composition principle, enabling to experience the meaning contained therein concretely and explain it in a replicable way. This attempt is a unique example, unprecedented in Chinaas well. Second, as a livingspace, garden was selected as a means to concretize operational definitions about the meaning of Hetu Luoshu, and as the property to reproduce the bearings concept, the location and the number, etc. of Hetu Luoshu, Taegukjeong(太極亭), Shipjagak(十字閣), Dondae(墩臺), well, pond as well as various kinds of trees were used. Third, the main motif of Yongdoseo and Guimunwon is the relation between Apriority(先天) and Posterior(後天), and the relation between Constitution(體) and Use(用) of Hetu and Luoshu respectively. That is, Yongdoseo planted evergreen trees such as Shipjangcheong(十長靑) in order to symbolize the universe creation principle which Hetu stands for, i.e. silent, harmonious, orderly and win-win image. In Guimunwon, flowering trees(花木) and fruit trees(果木) were planted freely to express the change of Posterior which Luoshu stands for, thatis, dynamic, disharmonious, disorderly, incompatible(相剋) and changing image. The effects intended to be attained through such planting were, 'freshness and cheerfulness(淸爽)' of Yongdoseo and 'splendidness' of Guimunwon respectively. Sangsu studies based on Hetu and Luoshu is a unique thinking system to the Orient which came from the accumulated wisdom of several scholars from various schools through a long period since ancient times. Therefore, the concept and the theory thereof are profound and huge, and its viewpoints of interpretation are diverse. It is a limit of this study that more in-depth and various consideration was not performed. As a further research project, more empirical study of Orientalism such as Sangsu studies, etc. inherent in Traditional Garden is necessary.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Journal of Korean Academy of Nursing
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• v.30 no.6
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• pp.1467-1478
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• 2000

The purpose of this study was to develop a curriculum for the oriental clinical nurse specialist program based on the understanding of Korean human beings so as to develop nursing as a profession and promote the client's health. The design of this study was based on literature review and nominal group study. The research was managed by East-West Nursing Research Institute of nursing science college at Kyung Hee University. The research team was composed of 17 professors of nursing departments of oriental medical colleges. We obtained opinions from Oriental Nurses Association, Oriental Nursing Research Association, and professors in oriental medical college. We reviewed articles, curriculums of other clinical nurse specialist programs, medical laws and the curriculum development plan for the oriental clinical nurse specialist program from Korean Nurses Association. We discussed a curriculum thoroughly in numerous meetings. We developed a following curriculum: 1. Educational philosophy was founded on the oriental human view which was based on Chun-In union theory. It was founded on the oriental health view which recognized health being in harmony with nature and the balance of body function with the harmony of Yin-Yang in the five elements. In addition, it was founded on oriental nursing view to promote these health states. 2. Educational goals were to train oriental clinical nurse specialists, oriental nursing educators and oriental nursing researchers who developed knowledge of oriental nursing theory, nursing practice and created a leadership. 3. Curriculum consisted of 48 credits, of which 36 credits are based on lectures and laboratory classes and 12 credits are based on clinical practice. 36 credits consisted of 5 general subject credits and 31 core subject credits. General subjects consisted of nursing theory, nursing research, law and ethics. Students who had earned master's degrees are not required to take the general subjects. Core subjects consisted of 11 subjects such as advanced physical examination and laboratory, oriental nursing theory, original text of oriental nursing, oriental medical nursing, oriental pediatric nursing, oriental gynecologic nursing, oriental gerontologic nursing, oriental pharmacology, oriental constitutional nursing, advanced nursing of channels and acupuncture points and laboratory and oriental rehabilitation nursing and laboratory. In addition, clinical practice in a hospital ward, out patient department, herb prepation room, department of physical therapy and health promotion center in oriental medical hospitals for 12 weeks. To admit this program, students should complete prerequisites of introduction to oriental nursing and nursing of channels and acupuncture points. 4. Course contents of each subjects were developed to include the course's goal and objectives and specific items. 5. Evaluation involved lecture, laboratory and in field practice. We applied various evaluation systems and methods that were based on both knowledge and skills of the students to ensure full credibility and validity.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Industry Promotion Research
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• v.9 no.1
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• pp.203-212
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• 2024

The purpose of this study is to examine the validity of Hidden Stems (支藏干) in the Four Pillars of Destiny with regard to the use of human governance periods in the hidden stems (人元用事). First, there is a theory of assigning period of governance for designated constituents (司令論) in the Hidden Stems of the Earthly Branch. Second, there is a theory that determines the structure of the Four Pillars by the Exposed Constituent from the Hidden Stems (透出論) in the Month Earthly Branch. Since these two theories conflict with each other and cause confusions, this study examined the theory of Hidden Stems in the Four Pillars Classics and examined the historical development of governance period for constituent hidden stems and their validity. The results of the study are as follows: Firstly, the number of dates assigned to respective constituents does not correspond to the calendarical principle, and the assignment of the governance dates for each constituent does not correspond to the principles proposed in ancient books of Four Pillars. Second, though it is said in the Classics that 72 days are equally assigned to each of the Five Elements, actual distributed days for the five elements was 65 days for Wood, 55 days for Fire, 100 days for Earth, 65 days for Metal, and 65 days for Water. Third, though it is said that 7 days should be designated to Yang Earth Mu for the months of Tiger 寅, Monkey, Snake, and Pig, it is logically more legitimate to assign those days to Yin Earth Ki since the month before Tiger is Ox, and the month before Monkey is Goat. Lastly, rationale behind assigning Ki Earth only to Horse Oh as constituting Hidden Stem while disregarding months of Rat, Rabbit, and Rooster is considered not reasonable. Looking at these results comprehensively, it is concluded that the Exposed Constituent theory is logically more appropriate than Assigned Governance theory.