• Journal of Digital Convergence
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• v.17 no.9
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• pp.421-428
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• 2019

This study includes services that require six professional guides - health care, exhibition performance, restaurant, shopping, business and daily life - as well as a trip-based tour, along with solving existing problems that may occur on domestic and overseas trips, and proposes services that connect users with proven professional guides. As a result of previous research, the most needed services among overseas travel were air tickets, accommodation, transportation, and guides, but as Korea enters an aging society, professional guide services are expected to increase daily demand. Based on this, the service technology, user scenarios and brand development were presented. This Service Proposal provides users with a personalized guide to knowledge or experience that they have not previously known, providing them with a wealth of experience. In addition, guides can help develop new fields of expertise and help improve professional guides' capabilities. Finally, the platform service is meaningful in that it enables the creation of jobs by enabling everyone to engage in economic activities, as it allows users to provide services through their own capabilities while at the same time being convenient for them.

• Journal of Veterinary Clinics
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• v.27 no.5
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• pp.618-621
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• 2010

A giant grouper (Epinephelus lanceolatus) that was reared for public exhibition in a private commercial aquarium in Seoul, Korea, was recently found dead. The fish had evidenced symptoms including anorexia, lethargy, and depression persisting for two weeks. A bacterial pathogen from fish organs (kidney, liver, spleen) was cultured, identified and confirmed as Photobacterium damselae subsp. damselae, using a Vitek System 2, API 20E test, multiplex PCR, and 16S rRNA gene sequencing. In this paper, we have described the isolation and identification of Photobacterium damselae subsp. damselae from a giant grouper reared in a private aquarium in Korea.

• Korean Journal of Environment and Ecology
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• v.29 no.5
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• pp.651-680
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• 2015

In order to investigate vertical plant distribution on Namdeogyu of Mt. Deogyu National Park by temperature change, vascular plants of nine areas with 100-meter-high difference were surveyed from the Deogsangyo (650m alt.) to the Namdeogyusan (1,507m alt.). A total of 455 taxa belonging to 99 families, 280 genera, 402 species, 5 subspecies, 43 varieties, 4 forms and 1hybrid were vegetated on survey areas. Around 700 m high did species diversity of vascular plants decrease rapidly. The Detrended correspondence analysis (DCA) divided distribution of vascular plants into five groups; areas below 700m alt., 700~1,100m alt., 1,100~1,300m alt., and areas above 1,300m alt.. These results showed that vegetation of vascular plants on investigated areas has high correlation with climate elements of temperature. Vascular plants should be crowded within their own optimal ranges of vegetation. Climate change would result in shift of these distribution ranges, and thus vegetation shift will be happened accordingly.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2019.10a
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• pp.47-47
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• 2019

미얀마 Indo-Burma 지역은 13,500종의 식물종이 분포하고 있는 생물다양성 핫스팟이다. 북부 산악지역에서 남부의 망그로브 지역에 이르는 다양한 특성의 생태계로 구성되어있다. 그러나, 풍부한 생물 다양성은 인간에 의해 인위적인 간섭, 개발, 모노크림 재배와 같은 지속적인 삼림 벌채로 위협 받고 있다. Dprovidedc와 Krupnick (2018년)은 123과 472종의 미얀마 약용식물을 학명, 영명, 미얀마 식물명 그리고 미얀마 현지에서 쓰이고 있는 약용식물의 활용 및 보존 상태를 종합적으로 정리했다. 이 중 약 13%가 보존 상태에 대한 평가를 받았으며 IUCN의 멸종 위기 종 목록(IUCN2017)에 등재되었다. 비록, 전국에 다양한 식물 및 생물 다양성이 분포되어 있지만, 미얀마는 여전히 지속 가능한 관리와 사용을 위한 인적자원과 시설이 부족하다. 국립수목원(KNA)은 2013년부터 미얀마 천연자원환경보전부(MINISTRY OF NATURAL RESOURCES AND ENVIRONMENTAL CONSERVATION, MONREC)와 미얀마 산림과학원(Forest Research Institute, FRI)과 함께 미얀마 보호지역 및 Saggaing 지역 내 식물 다양성 보존을 위한 공동 현장조사, 연구 및 출판 등의 협력사업을 진행하고 있다. 또한 국립수목원(KNA)는 약용으로 가치가 있는 미얀마 식물 생체를 수집, 현지외 보전 중이며 이중 65과 326종의 식물 생체를 국립수목원(KNA)에 있는 열대식물자원연구센터에 보존과 교육 목적으로 전시 중이다. 이 기증은 미얀마에서 식물생체를 국외로 반출한 첫 번째 사례이며 국립수목원(KNA)은 2008년 독일에서 열대식물을 기증받은 사례 다음으로 두 번째로 외국 정부의 공식적인 대량 식물 도입 사례이다. 도입한 식물 중 Santalum album L. 과 Amorphopallus paeoniifolius (Dennst.) Nicolson. 은 IUCN Red List of Threated Spiences (IUCN2017)에 취약(Vulnerable, VU), 관심필요(Least Concern, LC)로 분류되어 있다. 국립수목원 (KNA)는 2019년 6월 17일 개최된 "2019 아태지역 산림주간 및 28차 아태지역 산림위원회"에 참가하여 미얀마 도입식물 전시회를 개최 하였고, 국내 최초로 Amorphopallus paeoniifolius (Dennst.) Nicolson.의 Leaf Cycle을 타임랩스 촬영하여 국립수목원 웹진(10월 호) 과 YouTube에 연구성과를 홍보하고 있다. 또한 국립수목원 열대식물자원연구센터는 2,700여종의 미얀마, 라오스 등 무한한 가치를 지닌 열대식물의 수집 보전으로 기초 응용 연구기반을 구축하여 국민들에게 열대식물의 중요성과 잠재적인 자원가치를 알리는 역할을 하고 있다.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.

• The Korean Journal of Archival Studies
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• no.3
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• pp.91-113
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• 2001

History always be re-interpreted as the time flows. 'The Sillok', Which was registered in Memory of World of UNESCO in 1997, is comprehensive documents of the Chosun Dynasty, which had been compiled after kings' death, The Sillok encompasses 473 years of the reign in their 848 volumes(1,893 chapters). It was a history itself and has been main source in studying Korean history. Due to the rise of studies on the Sillok, time has come to explore the nature of the Sillok and to criticize the text, which would be called 'The Sillok-Study'. In this context, this paper examined three concepts that categorize the nature of the Sillok as historical materials ;Is it book or record?; The Sillok in register system in pre-modern society; And the Sillok as the National Archives. Korean historians, including myself, haven't yet examined the question whether the Sillok is the Book or Record in terms of archival science. At first, I regarded it as history book, and with this presupposition, wrote several papers on the characteristics of the Sillok. However, I recognized that the Sillok are close to record rather that history book as I examined the definition of glossary of librarian study, OED (Oxford English Dictionary) and Encyclopedia of Britannica, etc. Definitely, the Sillok was neither compiled and published to be read and sold publicly, nor meant to the works of literature or scholarship. one may say that the court-historians wrote comments on the facts and therefore it was just scholarly work. However, because the court-historians produced their comments on their own businesses, the outcome of 'their scholarly works' were also records conceptually, as were daily court-journalists in Rome. Its publication also had a absolutely different meaning from that of modern society. It was a method to preserve the important national records and distributed each edition of them to plural repositories for its safety and security. How can we explain its book-like shape and the procedure of compilation after a kings' death. The answer is as follows ; In pre-modern society, it was a common record-keeping system in the world to register records materials in order to arrange the materials of different sizes and to store them conveniently. And the lack of scientific preservation or conservation skill also encouraged them to register original records. Actually, the court-historians who participated in the compiling process called themselves "registering officers". On the other hand, similar to social hierarchy, there was a hierarchical system of records, and the Sillok was placed at the top of this hierarchy. In conclusion, the Sillok was a kind of registered records in the middle ages and the supreme records in the records-world. In addition to this we can also conceptualize the Sillok as archives. Through the compiling process, the most important and valuable records were selected to be the parts of Sillok. This process corresponds to the modem records appraisal. In the next step, it was preserved in the Four Archives(史庫) which located at remote site as archives and only accessible by the descendents in the future, who might be the people of the next dynasty. And nobody could access or read the documents at that time except the authorized court-historians who were archivists of the Chosun Dynasty. From this perspective, I conclude that Sillok was the supreme confidential archives in the register system. I work for the Government Archives as a historian and archivist. Whenever I entered the exhibition hall of the Government Archives and Records Service(GARS) and saw the replica of the Archives of Taebeak Mountain built during Chosun period, I always asked to myself a question whether the Sillok can be a symbol of the archival tradition of Korea and the GARS. Now, I can say, 'Yes!' definitely.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.58-69
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• 2018

The purpose of this study was to present specific standards for landscape planning and construction applicable to landscaping areas in various historical sites. The results are as follows: First, the types of historical sites are classified according to their preservation status and processing techniques, and the classification according to their status is divided into those that have been buried underground, such as those that have been exposed to the ground, such as buildings and structures, and those that have a reputation or a record of the sites. The classification according to the wartime processing technique was classified by such techniques as closures that isolate the site, penetration that can be seen on the site, and overlays where a separate protection facility is installed on the site. Second, the principles of landscape planning for display of historical sites are divided into the items that make up the historical site, surface treatment of the sites, tree planting, and installation of facilities. If the site is not a circular space, the area separating the space by different materials between the components is required. In the event that preservation of the historical site is required, it is deemed desirable to use the soil, and to do so, the use of grasses and shrubs is effectively considered to be effective. The introduction of plants and plants should be considered according to the nature of the space. Depending on the area and nature of the monument, the facility is required to take a cautious approach by reviewing its influence on the landscape and the additional excavation of the monument. Third, the readjustment method derived as a result of looking at the landscaping principle in the historical site space was classified as conservation of status, installation of protection facilities, burial, restoration, relocation, and reproduction. Preservation of the status quo is essential for limited landscape planning and should not affect the prototype of existing relics. The protection facility shall be installed where necessary to protect the relics, and when the soil is formed, the surface treatment shall be required to remove trees that could damage the site and prevent soil and soil oil from being lost after the site. The restoration shall establish a landscaping plan according to the circular preservation based on the clues to the circle. The transfer requires a landscaping plan to create an environment similar to the outer space of an existing site and should be able to highlight the value or location of the original site. The reenactment should have a landscaping plan to revive the landscape and atmosphere of the past for the now-defunct remains. Fourth, landscaping can simultaneously satisfy the preservation of excavation sites and the increase in exhibition effects. In order to protect the traces of the past and vitalize the site of the ruins today, specific measures are required, the creation of a park for historical sites that preserve the functions and value of the relics, and the formation of a shape of linked contents can be suggested as alternatives.

• Korean Journal of Heritage: History & Science
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• v.36
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• pp.347-377
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• 2003

China is a country with large agricultural areas and subject to frequent calamities. Drought is the top of them. It has been a key problem for development of agriculture in the country. In the long struggle against drought, Chinese have accumulated many rational and irrational experiences. The Dragon Kings Belief, which is popular in North China and discussed in a thesis, is one of their irrational experiences. The belief was passed together with Buddhism from India to China in the Tang Dynasty. After it settled down, it was incorporated with the local five dragons belief and a set of beliefs in dragon kings came into existence. The emergence of the dragon kings belief ended the history that the title of rain got was not clear in China and Dragon kings finally got the status. Irrigation is the lifeblood of agriculture in China. In a Chinese mind, Dragon kings are the most important gods who take charge of rain and thus offer the lifeblood. In understanding the nature and characteristics of Chinese traditional culture, it is important for us to make clear the origin and evolution of the belief, find out its nature, function and operation. In the every year beginning of February of the Fanzhuang calendar in the people of Hebeisheng Zhaoxian, would all hold a festival to offer sacrifices to the $^{{\circ}TM}^{\prime}longpai$. Longpai was regarded as the core of the temple fair, thus the native sons came to call this festival; "longpaihui". In this region the'Fanzhuang longpaihui'developed into a well knownand grand temple fair. It was able to attract numerous pilgrims with its special magic power, occupying a place in $China^{{\circ}TM}$ 'eryueer'festival with festive dragon activities. The dragon is a common totem among Chinese nationals. The belief worship of the dragon dates from the start time of primitive societies. Dragon oneself the ancients worship's thunder lightning. In the worship of the great universe, at first afterwards this belief with the tribe's totem worships to combine to become the animal spirit. In ancient myths legends, along with folk religion and beliefs all hold a very important position. The longpaihui is a temple fair without a temple; this characteristic is a distinction between longpaihui and other temple fairs. As for longpaihui must of the early historical records are unclear. The originator of a huitou system has a kind of organized form of the special features rather, originator of a huitou not fix constant, everything follows voluntarily principle, can become member with the freedom, also can back at any time the meeting. There is a longpaihui for 'dangjiaren', is total representative director in the originator of a huitou will. 'banghui' scope particularly for extensive, come apparently every kind of buildup that help can return into the banghui, where is the person of this village or outside village of, the general cent in banghui work is clear and definite, for longpaihui would various businesses open smoothly the exhibition provides to guarantees powerfully. Fanzhuang longpaihui from the beginning of February to beginning six proceed six days totally. The longpai is used as the ancestry absolute being to exsits with the community absolute being at the same time in fanzhuang first took civil faith, in reality is a kind of method to support social machine in native folks realize together that local community that important function, it provided a space, a kind of a view to take with a relation, rising contact, communication, solidify the community contents small village, formation with fanzhuang. The fanzhuang is used as supplies for gathering town, by luck too is this local community trade exchanges center at the same time therefore can say the faith of the longpai, in addition to its people's custom, religious meaning, still have got the important and social function. Moreover matter worthy of mentioning, Longpai would in organize process, from prepare and plan the producing of meeting every kind of meeting a longpeng of the matter do, all letting person feeling is to adjust the popular support of, get the mass approbation with positive participate. Apart from the originator of a huitou excluding, those although not originator of a huitou, however enthusiasm participate the banghui of its business, also is too much for the number.

• Journal of the Korean Society of Costume
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• v.26
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• pp.175-206
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• 1995

The costume culture of China is as old and varied as her long history. As China is a multiracial nation and consists of fifty-six min-ority races including Han race, there are not only fifty-six different costumes in China but each races' costume habit is very different. Therefore, Chinese penninsula can be considered an enor-mous exhibition center of the costumes. This study undertook on the assumption that the costumes' mainstream of Korea and east-northern Asia as well as that of China could be examined by investigating the minority races' costumes in the east-and west-northern areas of China. The process of evolution of the costume of a particular people, country or area is subject not only to constraints related to geography such as climate, topography or local products but is also affected by numorous environmental influences including cultural, economic, social and even pol-itical ones in terms of the selection of material, styling, color and standard of tailoring. In other words, things like philosophy of life, religious be-lief, aesthetic outlook, moral code, class system, degree of affluence, and cultural exchange will all be reflected directly or indirectly by features of a people's or country's style costume. Of course, there are several factors affecting to the style of costume of the minority people in China. However, the only three factors-geo-graphical and environmental, production method, and religious belef-will be touched in this study. First of all, the geograghical and eenviron-mental factor would be the decisive one because the costume should be designed to overcome the constraints of climate and geographical environ-ments. Accordingly, each race has an unique style of costume. The costume of the minority races in the northern parts are loose and wide, and made of warm furs. For instance, Mongolian robe has the quality of anti-wind, anti-cold and warmness, and the width of a sleeve is narrow and long. Secondly, the costume style can be said to be limited by the production pattern, when the geo-graphical environment was affected to decide the costume style, the production pattern was together affected to it . In case of Mongolian robe, they should satisfy the dual condition as the practical function. One is the condition that they should be fitted to the climate, and the other is the condition that they should be suit-able to the nomadic life. Mongolian robes are suitable to the nomadic peoples because they are designed for not only overcoming the cold wind and weather but being used as the bedquit at night. The costumes of Hoche people was made of the skin of the fish and wild animals because of their main means of living being fishing and hunting. Accordingly, their costumes are dur-able, warm and water-proof. Finally, the style of the costume is affected by the religious belief. In other words, the pattern in fashion is closely related with the religious be-lief or ancestor worship and nature worship. Ac-cordingly, the symbols of these worship are often emerged in the decoration of the costume. The design of costume of the people in the northern areas of China is very simple. It is related with their monotheism. On the other hand, the costumes of twen쇼 minority races in the east-northern parts of China can be devided into three racial groups such as the long robes of Man people and Mongols, Tunics of the peoples in the west-northern areas, and the pants and jackets of Hoche people. The minorority races all has not only the unique costume habit but their costumes are also related with their living style and production means.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.