• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.2
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• pp.14-23
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• 2008

Ran Gang is a huge, attractive river which meanders through Seoul, the capital of South Korea. However, during the modernization of Seoul, the river gradually lost its natural beauty and healthy condition. Han Gang Renaissance is a project to upgrade the look of the Seoul waterfront, by overcoming this disaster and reorganizing the surroundings of Han Gang. This research articulates the design strategies and description of the prizewinning work of the International Design Competition for Yeouido Riverside Park that was linked to the Han Gang Renaissance Project. There are three key points that basically speak to the identity of the new waterfront, Yeouido Riverside Park. First, the current day Yeouido was recreated as an artificial island through the rapid expansion of the city and the initiation of the shore protection works. However, because it is the only island still remaining that shows the history of Han Gang, the park was designed to be the place which preserves the lyric of sand island and the emotional memory of riverside. Secondly, among the six districts of the Han Gang Renaissance Project, the two districts that are facing each other, Yongsan and Yeouido, are the central areas promoting international finance and business. Despite Yongsan's complete urban image, the exquisite harmony of pastoral scenes and skyscrapers of the Yeouido waterfront is presented to develop an active mutual relation with Yongsan. Lastly, this design scheme re-establishes the relationship between this competition's site, Yeouido Riverside Park, and a neighboring site, Yeouido Park.

• Cross-Cultural Studies
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• v.25
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• pp.391-420
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• 2011

Christina Rossetti's novella Maude displays Tractarian influences in terms of Holy Eucharist, Puseyism, and the doctrine of Reserve. Tractarianism is High Church revival movement of nineteenth century. In the story a teenage girl, Maude went through hard time receiving Holy Eucharist due to self-consciousness and internal guilt according to Puseyism. She felt guilty when she enjoyed worldly things and outward beauty. Due to guilt Maude refused to receive Holy Communion, which is complete connection to God. Her cousin, Agnes suggested that in refusing Holy Communion Maude is following her own will not God's will. Later Maude overcame Puseyite thought of self-hatred and reconciled with her identity as a poet and a woman. Maude oscillates between concealing and revealing, secrecy and truth, sincerity and affectation, and modesty and display. Her marvelous poetic talent makes people praise her but she withholds private feelings and attempts to divert attention from herself. Like Maude herself, the meaning of her poems is at times reserved and withheld. This tendency goes with the doctrine of Reserve in Tractarianism. The doctrine of Reserve utilizes indirect methods to reveal divine attributes because finite human being can not accept infinite God. The doctrine of Reserve sees to it that the expression will be veiled, indirect, subdued and self-effacing. Rossetti adapts a poetic method of Reserve when Maude has anxiety over 'display and poetry' and generates the reticence, secrecy, mystery, renunciation, modesty and detachment. According to Mary Arseneau, by veiling and expressing herself through symbols she can rise above the self and employ the phenomenal to suggest a noumenal reality. Thus the poetry becomes an expression of longing for the divine. The poem "Three Nuns" exemplifies Maude's maturity and gradual progress in the relationship with God. Rossetti suggests the vision full of hopes and promises of reuniting with God. In conclusion, in some sense, authoritative and conservative Tractarianism affects Rossetti both ways. On the one hand, it makes Rossetti abnegate herself and leads her to asceticism, on the other hand, it makes Rossetti express her faith in God and write amazing devotional poems such as "Three Nuns". A poem within the poem has three voices that are in perfect harmony. In the poem the first and second nun show hesitation to fully commit to God's will and the desire for the world prevents them from having heavenly joy. Third nun reveals spiritual maturity and sings new life in God where their hopes and joys begin. Rossetti expresses the procedure of spiritual growth through the poem "Three Nuns". For Rossetti, self-abnegation and self-expression both are involved in the doctrine of Reserve, Puseyism and Holy Communion.

• Archives of design research
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• v.16 no.4
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• pp.395-404
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• 2003

Contemporary human beings have tendency to orient themselves to a natural environment while they have adapted themselves to artificial surroundings, which implies that a development of interior space where man, nature and space are in a sympathetic harmony with one another through overcoming non-naturalness and non-humanization is seriously needed. There are two methods in that; one concerns an introduction of environment-friendly expressions into the interior space as its natural factor, and the other involves expressing natural objects or beauties with orderly change commonly seen around in form of artificial design. On this study, the definition of ″Environment-friendliness″ and how it has evolved itself with time are first considered to search out for environment-friendly characteristics in the interior design. And then, among the characteristics of environment$.$friendly expressions widely observed in the interior space, the two aspects are studied for our purpose; an introduction of natural factors and an expression with artificial design. For the study, public facilities located in Ulsan were proposed since they accommodated lots of people. To meet the needs of the times that the development of environment-friendly space should reflect the factors of beauty and comfort enough to live in, relevant studies should be more activated and specialized. When there are a wide understanding of and a profound work upon introducing natural factors as well as ones of sound design into the interior space, a desirable environment-friendly expression could be created.

• Science of Emotion and Sensibility
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• v.21 no.1
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• pp.99-114
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• 2018

Saekdong is a unique Korean fabric that has been used since ancient times, and it is woven with the plain or satin weave so that vertical stripes appear by various colored warp threads of equal spacing. Saekdong means pleasure, joy, serenity, heavenly blessing, spirituality, wind, and abundance, expressing the optimistic and positive sentiment of Korea's forefathers. This study investigated how ancient Saekdong occurred with meanings. As a research method, this study used literature review and surfing newspapers and photographs, museum and internet search, even from other fields such as earthenware, bronze, and traditional dance. We collected Saekdong and the lifestyles of ethnic Koreans living in China, investigated the Asuka culture of Japan, and the tomb murals of Takamatsu-Chong, which are Baekje and Goguryeo settlement areas. The results are as follows: First, it expresses happy occasion, pleasure, and joy, and expresses a desire for good things to be repeated and lasting. Second, it symbolizes simple beauty, order, equality and harmony of many tribes. Third, Saekdong is life and power which represent a sacred, heavenly, mysterious bird. Fourth, it symbolizes abundance and wealth, rain, wind or fields. Finally, this study showed the brilliance and pride of Korean hanbok through Saekdong. The significance of this study is to examine the symbolism and inherent aesthetic characteristics of Saekdong and to show the unique value and spiritual heritage of the Korean people.

• Journal of Sasang Constitutional Medicine
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• v.11 no.2
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• pp.39-50
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• 1999

The Chinese poems written by Je-Ma Yi may be categorized into two different facets: one is about a broad spectrum of a man's feelings covering from delight to sorrow; and the other is about self-caution. He has been known to be a warrior having strong self-respect and a man of tough personality reluctant to compromise with others. As a result of analyzing his poems, however, it was confirmed that he was an ordinary person who got along with his neighborhood, took a pleasure in appreciating natural beauty and wandered around in agonies of pain. The literary features reflected in his self-caution poems are compatible with his own philosophical thought. Through these poems, he revealed his autonomous perception of life, and its ultimate goal was placed on the fulfillment of moral obligation, the highest value that a man should achieve as an individual. Je-Ma Yi's Chinese poems are in full harmony with the general tendency shown in the area of poetic literature during the late Yi dynasty. As pointed out above, particular qualities are represented in his poems, and thereby, from comparative perspectives with his unique literariness, future research activities should be directed to a well-defined study on other contemporary writers.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.11
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• pp.44-52
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• 2020

This study was conducted to investigate the effect on Brain Quotient from inhalation of blended oils. The subjects of the study were 64 people aged 20 to 59 years, with 32 in the experimental group and 32 in the control group. Blended oil with six aromas (Lavender, Bergamot, Mandarin, Lemon, Cedarwood, Roman Chamomile) was given to the experimental group, and Jojoba oil was given to the control group, for 30 minutes. Before and after the experiment, BQ tests (SRQ, BRQ, ATQ, ACQ, EQ, ASQ, CQ, and BQ) from the experimental group and the control group were compared and analyzed using a brain-training machine (NeuroHarmony S). There was a significant difference between the experimental group and the control group in three out of the eight tests analyzed ATQ (p<.05), ACQ (p<.05), BQ (p<.05). In other words, aromatherapy improves concentration and memory by increasing attention, and helps to maintain mental activity, thinking ability, and behavioral balance. BQ also represents a comprehensive brain function, and aromatherapy is a good way to maintain human mental and physical health.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.1-12
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• 2019

A bridge is a structure constructed on water or in the air for convenient passage. Compared to other buildings, the building materials and structures of bridge required unique functions to cross the space. It depends on the productivity of the building, the level of science and technology, and the ecological environment of the building site. Also, it has important relationship with functions such as politics, military, economy, and life. Most of the academic research on bridges is focused on research in the field of bridge-building technology, so the study on the landscape aesthetics and history of bridges is lacking. Against this backdrop, the study will be valuable as a accumulation of both countries' understanding of bridge types, history and culture, as well as technical and aesthetic data, by analyzing the bridges located within the palaces of Korea and China. The research method is to analyze the bridge through field survey and literature analysis.. First, the bridges of royal palace of Korea and China are to be classified quantitatively as physical shapes, landscapes, and decorations by comparing the materials, forms, landscapes, and decorative culture of bridges. Second, characteristics, common points, and differences are extracted by classifying bridges of both countries. Also, the results are discussed based on the physical environment or cultural background. This would be worth cross-referencing in the building technology and aesthetics of the two countries. For the first important characteristics of result, main materials of Korean and Chinese palaces are stone. However, the bridge in China's royal palaces is also focused on wood. Second, in terms of form, the bridges in the royal gardens of Korea and China are all based on the beam bridge. However, the specific form, ratio, style of the beam bridge, and airspace of arched bridge are very different. Third, most of the connection methods are focused on the over bridge. It values the convergence with the surrounding landscape. Due to the difference in the area and location of water, the bridge in the Korean palace is more focused on the convergence of the surrounding buildings and plants, while the bridge in the Chinese palace is more concerned about the harmony of hydration. Fourth, the decoration places importance on the artistry and aesthetics of both the bridges in Korea and China. There is a difference in style in the same type of decoration due to culture.

• Journal of Science of Art and Design
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• v.10
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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.

• Journal of Physiology & Pathology in Korean Medicine
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• v.20 no.4
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• pp.766-783
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• 2006

This study describes philosophical background regarding '虛' in oriental medicine in an effort to understand the relationships among some of the Eastern philosophy in accordance with differentiated meanings in several resources by analyzing examples of '虛' in Huang Di Nei Jing. The various usages of '虛' used in Huang Di Nei Jing are as follows: naming; condition of pulse; emptiness; '太虛' which was referred universal space by Chinese ; insufficiency, lack or scarcity, deficiency ; and the description of vitality, mental faculties. 外丹修煉(training by external substances) had the attitude do that withdraw the death by taking external materials. The meaning of '虛'in 外丹修煉 is similar to that in oriental medicine in terms of deficiency. That is, both 外丹修煉 and the oriental medicine consider that the death and disease are caused by the deficiency of something. However, there also exists difference between 外丹修煉 and the oriental medicine. 外丹修煉 supplements through withdrawal prohibition due to the characteristic of unchangeability and stern or immortal while oriental medicine provides concrete object of deficiency. 精(essence of life), 氣(ki, functional activity), and fe(vitality) not only have been considered as basic component of human body, but they also have been an important subject of health preservation for longevity with health in Taoism and oriental medicine. In oriental medicine, 精 and 氣 have been perceived as physical basis of human body and 神 as controller. 內丹修煉(Training of internal active substances) 掠nds to return to '虛', the early state of life through individual training, and attempts to withdraw death through continuous recurrence. The oriental medicine and 內丹修煉 held great value of 神 among health preservation of 精, 氣, and 神. They seek theoretical basis from philosophical Taoism. However, '虛' in Taoism is different from that in training by internal substances and oriental medicine: '虛' in philosophical Taoism has metaphysical concept which refers overcome of life and death, but '虛' in 內丹修煉 and oriental medicine have empirical concept. '太虛' is considered as formless space where it is emp Dut filled with 氣. It is conceptualized with the premise of the relevant adaptation of human body to natural environment theory referring that the interaction between the heaven and the earth makes changes; all creation is originated , and human is affected by the interaction of the heaven and the earth. Furthermore, in $\ulcorner$運氣七篇$\lrcorner$ (Seven chapters described about the five circuit phases and the six atmospheric influences), the expression that the earth is in the center of '太虛' and huge amount of 氣 supports it proves that $\ulcorner$運氣七篇$\lrcorner$ adapts '渾天設'(Chaotic universe thee). In Taoism, '虛' is the grounds where all creation is generated in the optimal condition of Tao. As regards the aspect of mentality, it is the condition in which one can free from the dualistic concepts such as right and wrong, beauty and ugliness, life and death, and so on. Although the ultimate goal of oriental medicine, the achievement of longevity without sickness, might contrast with the Taoist belief that perceives life and death as the natural phenomena or the flowing of the 氣, and eliminates all international, the idea of Taoism that one should live substantial life with naivety, and make Harmony with the nature might be influential to the oriental medicine.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.