• Archives of design research
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• v.14 no.4
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• pp.127-136
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• 2001

The decay of the Old Chinese Dynasty, Tang in the 10th century caused the collapse of the political order of Southeast Asia and the neighboring countries began to try to go their own way. Japan abolished the system called "Yudangsa" and nourished the culture of Japanese style. The fang age had a respect of the′Japanese Character Culture", in which when we expressed the sound, they developed the Japanese letters ,that is, reduced Chinese characters, and systematized them as linguistic symbols and developed them into one of letter design styles. The Japanese letters which was mainly the media of the expression of the female literature were delicately shaped ′as natural materials, which finally resulted in Japan′s oldest letter modeling, Asite Letter Design Style. The Japanese letters were blended with ′Reeds around the Lake", "Sea Birds", "Birds′flying", and "Rocks", mixed with the overall shapes of the objects and assimilated into one part, and became a means for the main entertainment of the nobility such as "Singing Festival", "Conference", and "Ceremonial Events" According to the relics, the Japanese feeling of a small cosmos was represented with the fabulous skills of artifacts. In audition, "Play Painting"in the countryside is also a kind of Asite the ordinary people accepted as wit and satire. What we will have to notice is about exchange of the Chinese letter designs, when the thought focused ′on the letter design, Jobcheso was popular. The letter design Jobcheso is -a kind of letter design which represents -natural objects and was popular at the time of Yukjo Dynasty, and there are some documents of that period left both in Japan and Korea. "Hyojedo" in Korea is supposed to have been influenced by the letter design. Asite- is also considered to have been "Japanese Letter Jobcheso." Therefore, the purpose of this study is to look into the origin of the letter designs in the Chinese character culture circle, in terms of the letter design of Jobcheso.

• The Journal of the Korea Contents Association
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• v.9 no.7
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• pp.171-183
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• 2009

The spiritual world of the ancient times has precious values which forms the origin of human thought. This study aims to reevaluate ancient people's particular views on man in their spiritual world reflected through gods' ornaments by studying the human race's fundamental spiritual world gradually disappearing due to science development from Egyptian gods' ornaments expressed symbolically in Ancient mythical components. Although evidently ornaments in Egypt served for decoration, the basic purpose was exorcism as amulets, a shamanistic purpose to be protected from mystical and hostile powers by carrying them on the vulnerable spots of the body. As this aspect indicates, the human race tried to solve their self-insoluble transcendental issues through the help of supernatural power, pursuing to lead their lives there within. As a result, Egyptian ornaments; First, the deity raised their value by deifying human-beings. Second, the nobility enhanced their dignity by having goddesses wear the same skirts as theirs. Thirds, all deities maintained their class society by wearing fpassiums, bracelets, and anklets. Fourth, the resurrection was symbolized through gods and goddesses in charge of the afterlife.

• Journal of architectural history
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• v.11 no.4 s.32
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• pp.71-86
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• 2002

Since Modern period which is characterized by the governing of technology and capitalism, the production and aesthetics of building became a main issue of architectural discourse. Morever, Modern architecture tends to be a kind of media in which the visual image of building plays a far more important role than building itself. Institutionalized discipline of Architecture in modern system set aside the dwelling aspect of building and destructed close relationship between dwelling and building. This study analyzes the essential meaning of dwelling with a viewpoint of building and vise virsa in order to have a deep reflection on contemporary architecture and modern crisis of dwelling. For this purpose this study first reviewed linguistic and mythical narratives on the origin of dwelling and building. Secondly, reviewed the thought of Heidegger on dwelling and building and his thinking on authenticity of dwelling. Thirdly, reviewed drastic change of idea and reality of dwelling recent days, especially from settlement to nomad. Lastly reviewed E. Levinas' thinking on bodily dwelling or primordial mode of dwelling before poetic dwelling of Heidegger. With these review we can figure out following things on dwelling and building. Physical building or its visual image can not take the place of dwelling in itself. Dwelling and Building happens simultaneously and understood as an event in life world. Today's alienation of dwelling from building reduced our conception of architecture to a physical setting and mere technique. Building must be a ontological and cultural phenomenon beyond physical building. Nomad in this age of information and globalization may be a new mode of dwelling. But it can not exclude traditional way of dwelling on concrete space, because human being as a physical being can not abandon dwelling place that gives a primordial comfort with and within our body.

• Journal of architectural history
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• v.13 no.2 s.38
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• pp.39-55
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• 2004

In terms of the way we perceive the world, the history of human beings might be said to be a history of two incompatible forces -'science' and 'myth.' Until today, both indispensable aspects have made human existence possible and characterized human culture. Nonetheless, an essential definition of myth has never been clearly explained. What is the general philosophical thought about myth? Current well known interpretations are so called Enlightenment and Romanticism of myth, which both has same criticism that they has not generally considered myth in terms of its technical function or specified contents. One who overcomes the limit of two current extreme beliefs on myth and also who concerned more with the ultimate origin of myth and its relation to the structure of poetry than the source of its vital accomplishments is philosopher Hans Blumenberg. For him myth is an artificial means and an answers to overcome the 'absolutism of reality.' On this point, the research concerns basically two issues. One is to investigate the functional and structural characters of myth through philosopher Hans Blumenberg's anthropological reflections. The other is to analyze architect Tadao Ando's works and thinking. The intention of the paper is not only to explore the relationship between philosophical theory of Blumenberg and Ando's architectural works, but also to suggest a new critical understanding on architecture from mythological point of view. I also expect that this research will suggests a concrete theoretical idea for constructing and construing artistic form and cultural space.

• The Journal of Korean Medical History
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• v.24 no.2
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• pp.77-86
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• 2011

This paper aims to find out the unique Oriental Medical characteristics of the prescription Gami-Bojeongsan(加味普正散), which can only be found in "Cheong-gang Euigam(晴崗醫鑑)" and the records of diagnosis by Kim Yeong Hoon. First, clues regarding Gami-Bojeongsan (加味普正散) in "Cheong-gang Euigam(晴崗醫鑑)" and the records of diagnosis by Kim Yeong Hoon have been collected, and then the origin of Gami-Bojeongsan(加味普正散) has been studied. Moreover, changes of prescriptions for common cold in East Asian Medicine have been looked into from historical perspective, and their connection to Gami-Bojeongsan(加味普正散) has also been researched. Lastly, connection of prescriptions for common cold found in royal records of the Chosun Dynasty to Gami-Bojeongsan(加味普正散) has been confirmed. The results are as follow: 1) Gami-Bojeongsan(加味普正散) is a most frequently used prescription in the records of diagnosis by Kim Yeong Hoon, and was used mostly in winter. It includes various modified versions. 2) Prescriptions that adopt Cyperi Rhizoma(香附子) as the sovereign medicinal, such as Gami-Bojeongsan(加味普正散), include Hyangsosan(香蘇散) of "Hejijufang(和劑局方)" and Hyang-gal-tang (香葛湯) of "Dexiaofang(得效方)". Hyang-gal-tang(香葛湯) is thought to have adopted Korean characteristics through "Dong-Eui-Bo-Gam (東醫寶鑑)" and "Je-Jung-Shin-Pyeon(濟衆新編)", and have continued its existence until it reached Gami-Bojeongsan(加味普正散). 3) These characteristics can be found in the royal records of the Chosun Dynasty, and also in Shin-Su-Tae-Eul-San(神授太乙散) of "Euibang-Yuchui (醫方類聚)".

• Economic and Environmental Geology
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• v.29 no.5
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• pp.561-573
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• 1996

The igneous rocks in the Goseong area, the southwestern part of the Gyeongsang basin, are composed of the volcanic rocks, Bulgugsa granites and intrusive andesites. The volcanic rocks are andesitic lapilli tuff, dacite and rhyolite. The granites are mainly of hornblende-biotite granite and intruded into the sedimentary basement and the volcanic rocks. The intrusion of andesitic dyke is thought to be the latest igneous activity in the area. In the variation diagrams of the major oxides, the three igneous rock types show different variational trends, indicating that they were from the different magmatic pulses. K-Ar radiometric ages suggest that the igneous activity in the Goseong area had occurred during late Cretaceous period. The ages of the volcanic rocks seem likely to have become younger due to the thermal effect by the granitic intrusion. The major element compositoinal variation of the granites from the Goseong area are compared with those from the Jindong, Geoje and Masan areas. By the comparison, it is easily understood that the Jindong granites are fairly different from the other three granites. On the other hand, the Goseong, Geoje and Masan granites generally show similar variational trends with each other, suggesting that they are of similar genetic origin. Combining the similarity of the geochemical features and the difference of the intruding ages between the Goseong and Masan granites, it seems like that the magma generation from the same source materials had occurred at a temporal interval.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.98-110
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• 2009

Performance art is an integrated genre of different art areas, and make-up is a visual art area to give lively effects to the performance art, which makes actors and actresses changed into the characters of plays. It can be said to be a kind of deliverer of idea to help effectively understand the contents of the performance. When we are in the world abundant in various cultures and innumerable styles of expression of different countries, we should rediscover the value of the beauty of our traditional masks that have represented the emotion and thought of Han nation, which we can find in play culture of our ancestors that has kept our ancestors' value system. That's the way we can get continuous life force and competitive power of our traditional culture. The Korean traditional masks haven't only been for the prevention of bad luck and the prayer of fortune, but also well expressed Korean people's looks, features and personalities according to the roles. They are excellent artistic works in themselves, and many studies have been performed on the analyses and uses of the features of the masks in various fields due to their good expression of different cultural aspects, while the studies in the light of make-up are rarely performed. Therefore, this article aims to analyze the features of the Korean traditional masks and, by using this analysis, to present effective make-up designs in outdoor performances through a stage performance. In addition, this article also tries to present the orientation of make-up as an expression of artistic image, and to expand the expression area of make-up by using the Korean traditional masks in the light of make-up. For this purpose, I examined the related literature and the precedent study materials to find the origin and kinds of the Korean traditional masks, and analyzed the features of the masks. Furthermore, I established the make-up design plan using the material features of the Korean traditional masks by analyzing the characters in actual performance works, and presented the photos of works actually performed.

• Clinical and Experimental Pediatrics
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• v.63 no.8
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• pp.301-309
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• 2020

Human breast milk (HBM) is essential for the infant's growth and development right after birth and is an irreplaceable source of nutrition for early human survival. Various infant formulas have many similarities to HBM in many components, but there is no perfect substitute for HBM. Recently, various breast milk components and their roles have been studied according to the development of various analysis techniques. As is already well known, HBM contains about 87%-88% water, and 124-g/L solid components as macronutrients, including about 7% (60-70 g/L) carbohydrates, 1% (8-10 g/L) protein, and 3.8% (35-40 g/L) fat. The composition may vary depending on the environmental factors, including maternal diet. Colostrum is low in fat but high in protein and relatively rich in immuneprotective components. Although HBM contains enough vitamins to ensure normal growth of the infant, vitamins D and K may be insufficient, and the infant may require their supplementation. Growth factors in HBM also serve as various bioactive proteins and peptides on the intestinal tract, vasculature, nervous system, and endocrine system. In the past, HBM of a healthy mother was thought to be sterile. However, several subsequent studies have confirmed the presence of rich and diverse microbial communities in HBM. Some studies suggested that the genera Staphylococcus and Streptococcus may be universally predominant in HBM, but the origin of microbiota still remains controversial. Lastly, milk is the one of most abundant body fluid of microRNAs, which are known to play a role in various functions, such as immunoprotection and developmental programming, through delivering from HBM and absorption by intestinal epithelial cells. In conclusion, HBM is the most important source of nutrition for infants and includes microbiomes and miRNAs for growth, development, and immunity.

• The Journal of Art Theory & Practice
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• no.7
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• Journal of Korean Medical classics
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• v.19 no.2 s.33
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• pp.30-45
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• 2006

Analyzed the subject of ‘To heart' meridian system(向心服系), and 'Circulating' meridian system(備環服系), and considered relativity between the circulating pattern of the channels, the collaterals and the circulating distinction YoungGi (營氣), WiGi(衛氣). The subject of 'To heart' meridian system is WiGi, and this system is similiar to the moving pattern of the fifteen major collaterals(十五絡服). The subject of 'Circulating' meridian system is YoungGi, and this system is same with the moving pattern of the twelve regular channels(十二經脈). YoungGi and WiGi have the same origin, and they are intrinsic one thing with functional ambivalency. It is WiGi, the subject of the movement of Collateral, because it is identical the moving pattern of Collaterals(絡服) and that of WiGi as the subject of the movement of Collateral. It is YoungGi, the subject of movement of Channel because it is identical the moving pattern of Channels(經服) and that of YoungGi. It can be defined that Wigi as the subject of the movement of Collateral, also YoungGi as the subject of movement of Channel, but that is from i 염 function and action, there's no need to be separated within the framework of going through Meridian. YoungSuBosa(迎隨補鴻) in acupuncture, defines its basis not only on the moving direction of YoungGi, but on combinated difference between the directions, moments, and sex. Until now it is under discussion the rights and wrongs, It's not contradictory concept between two basis of YoungSuBoSa, from the thought the distinct movement of WiGi and the circulation pattern of Collaterals have no specified directions.