• The Mathematical Education
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• v.14 no.2
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• pp.17-22
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• 1976

• Journal of the Daesoon Academy of Sciences
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• v.17
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• pp.73-92
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• 2004

The present article deals with the concept 'ekayāna' as the spirit of the times in the period of Unifying War in Shilla, which is embodied in the thought of Wonhyo and Euisang. This article is divided into five sections. Section I introduces the background of research history regarding the spirit of the age during the Unifying War, and explaines the reason why we adopted two thinkers such as Wonhyo and Euisang, especially the concept 'ekayāna' of the two as a subject for inquiry. Section II discusses on the hermeneutical difference between the Chinese Faxiang sect and Wonhyo regarding the interpretation of one passage from Saṃdhinirmocana-Sūtra, in which the relation between ekayāna and triyāna is explained. It is noteworthy that Faxiang sect places emphasis on the differentiation of triyāna, but Wonhyo gives emphasis to equality of ekayāna. Section III refers to the hermeneutical horizons of Wonhyo which is connoted in the interpretation of Saṃdhinirmocana-Sūtra, especially focusing on the concept 'ekayāna'. Here we can make a conclusion as follows; Firstly, the 'ekayāna' in Wonhyo is immanent in 'triyāna' and at the same time transcendental from 'triyāna', so to speak 'com-transcendetal' with 'triyāna'. Secondly, there is inseparable and unmixable relation between 'ekayāna' and beings. In another words, 'ekayāna' is śūnyatā. Thirdly, 'ekayāna' is a kind of universal truth(普法 pŭ fă) in that it offers the benefit to open and develop the immanent buddhadhātu of all living lives. In addition to Wonhyo's thought on ekayāna, section IV refers to the concept 'ekayāna' of Euisang. On Euisang, 'ekayāna' is 'the perfect teaching(圓敎 yuán jiào)' and 'pratītyasamutpāda'. From this point of view, we can conclude that the thought on ekayāna between the two, Wonhyo and Euisang is not different, and completely coherent. As a result, as it is concluded in section V, it is also clear that ekayāna has 'com-transcendental' relation to triyāna. Therefore we can safely make a conclusion that the spirit of the times in the period of Unifying War in Shilla among the leading thinkers is the vision for 'com-transcendency'.

• Journal of Fashion Business
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• v.6 no.6
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• pp.56-67
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• 2002

Fashion designs reflect the trend of the times embedded within the cultural structures of eastern and western civilizations as well as the traditional styles. However, the motives in fashion designs fundamentally come from human beings' willingness for creation through deep understand of nature or using symbolism and artificial esthetic appreciation. Mankind has expressed their willingness for creation through speculation not with the attitude of conquering nature but by acknowledging the flow between their lives and nature. The purpose of this paper is to investigate human beings' transcendental and embracing attitude toward the natural environment and the human environment in fashion design. In natural environment factors, sublimity toward nature's marvelous powers and the transcending state of mind within happiness and delight or the extreme fear or unavoidable coerciveness and the consequential daunting feelings and smallness, and sorrow all stimulate the will of mental speculation and cause a transcending sublimity. A sublime state of mind does not exist in a superficial framework of enjoyment. It is rather an act of transcendence and embracement residing in a sublime object and leading man's spirit into a state of philosophical thought. Also, in man-made Environment factors, we found from magnanimity we were ability to see the true nature of an era's culture.

• Journal of Korean Academy of Nursing Administration
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• v.22 no.1
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• pp.99-108
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• 2016

Purpose: The purpose of this study was to develop a nursing workplace spirituality instrument. Methods: Using 44 preliminary items which were developed in a former study, a survey was done with 469 nurses working in 2 city general hospitals. Data were collected from September 19 to October 10, 2014 and were analyzed using statistical packages SPSS 18.0 and AMOS 18.0. Results: The finalized Nursing Workplace Spirituality instrument consisted of 32 items and 6 sub factors: meaning of nursing, relationship with colleagues, transcendency through nursing service, inner self, interaction between the workplace environments, and harmony between individual and organization. A seven-point Likert scale was employed, and achieving a higher score in a particular factor and sum of all scores indicated high factor and Nursing Workplace Spirituality. Conclusion: Findings indicate that with this instrument, it is possible to understand nursing organization's workplace spirituality. Therefore this instrument is recommended for use in hospitals.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.13-29
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• 2012

Art works reflect the spirit and aesthetic information of the times. More specially clothing shown in paintings indicates the phases of the times and contains the aesthetic values of the era. The purpose of this study is to examine the characteristics of German Romantic Era on male and female clothing style represented in Caspar David Friedrich's paintings. The study aims to highlight the following: First, German romanticism ironically gives conceptual importance but high value to freedom of inner self and imaginative sensitivity of human beings. Second, the paintings of Friedrich show the consistency with nature through human beings' inner self and transcendency ultimately expressing religious ideals paradoxically. Third, the characteristics of male and female clothing style shown in Friedrich's paintings are considered religious, contemplative, paradoxical, transcendental, conceptual, political, grass-roots oriented, and female liberating. Female clothing reflects simple empire-style, while male clothing shows romantic style of people's leaders, reflecting the political features in those days.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.134-141
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• 2005

Ludwig Mies van der Rohe, one of the influential modernist architects in early 20th century, had an great effort to found the modern architecture through various kinds of works. Conceptually he tried to develop the trans-temporal architecture language by involving a reintegration of countermanding principles in both ideas and practices for designing buildings. The model for his striving to find such a synthesis or a dynamic form was the neo-classicism of K. F Schinkel, inasmuch as Schinkel endeavored to combine the classical rationalistic order with the creative act of construction and to make these two melt into his age. In the same horizon with that Mies van der Rohe attempted to express the industrialized civilization of his time as a given fact, though this phenomenal substance was the only authentic form that has been conceivable to the people. For him the modern technology was regarded as the manifestation of rationalistic transcendency, which can be interpreted always consequentially. Here In this context this study is purposed to consider through the analysis of the ground ideas of architecture and the designed chairs, how commensurable the tectonic value (in the architecture) that is constantly evident in his works and the various autonomous drives toward deformalization (in the furniture design) that is concerned with his interest for cultural situation and materiality of form are with each other. And then it will be tried to prove, that on the ground of the trans-temporal achitecture language the furniture design of Mies van der Rohe, which emphasizes curves as individual forms, could correspond to his architecture that lays priority to space and construction

• Journal of Science of Art and Design
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• v.2
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• pp.193-221
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• 2000

The postmodern culture since the later 20C breaks downa tradition a relation between the reality and languages or sign images expressing it. It develops in the way to review the meaning on the object's imitation or the representation to have been followed since Plato and represent the new state and concept of expressed things. Also, The visual art leads an change of paradigm by images giving up the visual resemblance or the function of representation and endowing them with the new sense. This essay has a purpose to study an important discussion about this change centered on Baudrillard and Lacan. A sociologist Baudrillard promotes the concept of 'simulation' through detecting the reality and the social and historical state of the image. Studying on the course of this change, he calls the step that the image escapes from the stage to reflect the reality and become the pure imitation by itself simulation. The image in the stage of simulation is called 'hyperreality' because it doesn't have any an indicator or a substitute and happens by models without the original or the reality. So he asserts that art is not to contain some absoluteness or transcendency as the past, but to be as the spectacle with characteristics of meaningless, emptiness, contingency. Lacan dismantles the concept of the absolute Cogito to have become the center of the western ideology, and creates the concept of 'Other'. He concludes also the reality exists but can't be captured, and it's impossible for the thinking subject can reach it. The concept of new image which can be thought as the Symbolic in Lacan is 'Signifier without Signified' since it isn't possible to be the transcendent Signifier fixing the meaning finally in it. His 'Gaze' theory is which to be emitted in other's area determines the subject. Equally Baudrillard and Lacan sets up the new state of the image through the end of representation system As for Baudrillard, art intends to the worthlessness and is nothing but imagination. But in Lacan a picture represents the subject being in process by the dialectic of desire.

• The Journal of Korean Philosophical History
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• no.30
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• pp.37-57
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• 2010

Su-un 'sicheonju' is emphasised transcendency of god that it is sincerity, earnestness and belief in the practice ethics. But he is exhibited the ancient sage-kings of ancient propriety and humanity, righteousness, propriety and wisdom. Su-un 'sicheonju' change 'insicheon' of Hae-wol at immanence of god the emphasis. He is exhibited 'sainyeocheon' in the practice ethics. Eu-am is changed 'Innaecheon' more immanence of god the emphasis. He exhibit good the subject of human. It's the change cause research Su-un. He exhibit Confucianism ethics at the same time as point out Confucianism because Hae-wol and Eu-am is changed the emphasis at the subject of human. It is influenced pantheism and the theory of social evolution.

• Journal of the Korean Society of Costume
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• v.18
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• pp.291-306
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• 1992

From the mid-1980s '91s, remarkable Ethnicism and Primitivism in the Europe fashion trend could be represented as an exotic taste longing for secenery and emotion of non-europe area in the West. These phenomenon could be found out in connection with Acculturation, which means when two different cultures or more were contacted they were identified or merged in process of diffusion and change of them. This point of view was the culture anthropologic one that make a comparison and analysis of sameness and difference between cultures. The purpose of this study was to illuminate exotic taste represented in costume in the cluture-anthroplogic aspect, to compare with beauty of costume that each culture of costume and the meaning of the times due to those differences. an aspect of the exotic taste and character in the western costume that was inspected by dividing into 'Primitivism', 'Oriental element' and 'the element of a national costume in the East European bloc ' were as follows; First, Primitivism had something in common with what was pursued in the trend of Modern Art, through the late 19th century to the early 20th century. In fashion fettered by technique, the creation expressed in a free was and showed simple beauty of costume. At the same time, pure emotion expression, creative power and witty strong expression give the cognition of transcendency breaking the routine and the cognition of complexity of an included conception. Those are garments showing not only the primitive thought and mysticism but a fancy, an abstraction, and a life. Colors and accessaries which described nature and matched simple costume composition to the expression of various material or patterns transmitted the image of the primitive strongly. Second, "Drental element" which had an effect on western custome historically in a long time had outstanding luxurios adornmental beauty of custome. Extending from the Arab stated India, China, Korea, Japan, each national costume with a gay national culture became one of motif. Various ornamental factors expressed on Trapez Line, Sime Line and Drape, or Raied style, which did not restrict the body. Those were not only functional Easy Look, but were also satisfying human's ornamental desire. Third, national factors in the East European bloc are theme that begins to be embossed in the late 80's. In view of a political change and cultural situation with a double character of Europe and Orient, it was estimated that national factors have great importance in fashion. Item concerned with new concern appeared at Autumn & Winter collection. It shows elegant and graceful beauty of costume by adding a fur or jewel to simple form. These national factors in the East European bloc are simple form, but shows the difference in more cubic formation than form expressed in Primitivism or Oriental factors Exotic taste appeared form 80's to 91's, is thought to create an forgotten romantic emotion and traditional fashion