• Journal of Communication Design
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• v.66
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• pp.284-296
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• 2019

Thinking mode, as the condensation of the internal spirit of a nation, has been inherited till now through abundant historical precipitation, and is also a thinking tool for people to think and solve problems. Different from traditional styles and materials, the way of thinking not only has a more essential impact on design, but also makes traditional culture more vital in design. Taking the influence of Chinese mode of thinking on design thinking as the main research object, in the first place, this paper sorts out the concepts and development of thinking mode and design thinking, and summarizes three characteristics of Chinese mode of thinking: relational, collective and perceptive. Furthermore, it puts forward the influence of thinking mode on design thinking, mainly focusing on the definition of design problems, sub-problem sequencing and solution construction. Last but not least, through a series of Chinese design cases, this paper concretely analyzes how Chinese thinking mode provides national design language for Chinese design.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.429-436
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• 2023

Traditional Chinese music has a deep indigenous color and has its own unique way of thinking and characteristics. A consensus has already been formed that linear thinking is a major feature of traditional Chinese music, and it has been implemented in both traditional multi-tone and single-tone music. It is mainly expressed in the form of single-tone music or single-tone music. This linear thought of traditional Chinese music is formed by influencing factors in various fields. For example, it is related to national culture, geographical and natural environment, religious and philosophical background, traditional Chinese notation, individual characteristics of traditional musical instruments, Yulje, composition, and transmission methods. This thinking is different from Western classical music that pursues three-dimensional thinking, and Western music emphasizes the harmony of harmony, harmony of tone and texture, logic and identity of structure, and emphasizes the aspect of space. However, traditional Chinese music emphasizes the horizontal development of melody, the fluency of ancestors, and the continuity of structure. We aims to analyze the causes of linear thinking of traditional Chinese music so that it can be more useful in educational aspects and promote the succession and development of traditional music by transferring knowledge of ethnic music.

• The Journal of Korean Philosophical History
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• no.39
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• pp.221-235
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• 2013

Through the comparative analysisand inductive research on main creation styles of Chinese, American and Japanese animation films, a conclusion can be given out, which means that the animation film style of each country can hardly be formed without their own traditional painting art, aesthetics habits and ways of thinking. It is these characteristics that form their unique animation film style. America emphasizes realism art, development and utilization of new technology, Japan pays sepcial attention totraditional painting art and comic stories. In business aspect, they bring about different business models relying on the experience of satisfying the diverse needs of domestic and global entertainment markets. When it comes to the content field, they carry forward universal values and meet the individualistic heroismso that a variety of business animation films and art animation films find their ways into the global market and acquire great popularity among audiences from all over the world. Through the comparasion of American and Japanese animation films, a new view to analyze the animation films of China is created. Animation creation is largely based on the need of socialist ideology from 50s to 80s. Even though the purposes of animation film creations returned to satisfying the diverse requirements of commercial markets and audiences, the consequences, such as the break gap of creations and talents, the lack of diverse creative styles and commercial market operation mechanism, sitll affect China's animation films today. Japan found thier position from the American model and became successful. Nowadays, China need find our own creative style and position from American model and Japanese model. And the systematic reformings that are detailed in the government managements, industry standards, internationalized talents cultivation and accumulation are the essential point.

• The Bulletin of The Korean Astronomical Society
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• v.40 no.1
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• pp.86.1-86.1
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• 2015

고대 천문학의 대표적인 관측기기로 혼의가 있다. 중국도 일찍 혼의가 도입되어 천체 관측에 활용된 것으로 보인다. 중국 고대의 선기옥형이라는 기기가 한(漢) 대에 접어 들어 서양에서 도입된 혼천설의 영향을 받아 혼의로 발전하였다. 초창기 혼의에는 주천도수와 24방위의 눈금을 새겼고, 원주율을 3으로 적용하였다. 한말(漢末)에 혼천설에 따라 혼의 안에 지구를 만들고 혼천의 또는 혼천상이라고 불렀다. 혼천설의 구조를 적용하기 위해 비교적 자세한 원주율의 값이 알려지면서 혼의의 정밀한 눈금을 제작하는 계기를 마련하였다. 더불어 수 개의 환을 혼의에 추가하여 2층 구조의 혼의를 개발하였다. 당(唐) 대에 이르러 육합의, 삼신의, 사유의로 구성된 혼의의 3층 구조가 완성되었다. 송(宋) 대에는 혼의와 혼상에 수격식 자동운행장치를 도입하여 혼천의라고 하고, 이전의 관측용 혼의를 동후의(銅候儀)라고 불렀다. 조선 세종 대에 제작한 혼천의는 송(宋) 대의 자동운행이 결합된 혼의였고, 동후의의 관측기능을 대신하여 간의를 사용하였다. 그 재원은 각각 오징의 "서찬언"과 "원사"에서 빌려왔고, 이를 "제가역상집"에 정리하였다. 혼의의 환에는 한 개의 원주에 주천도수, 12시백각, 24방위 중 한 종류의 눈금을 그렸다. 그러나 간의에서는 한 개의 원주에 두 개의 눈금을 그리는 방법이 시작되었다. 이러한 눈금제작 방식은 조선에서 새롭게 개발된 일성정시의에 적용되었다.

• (The)Study of the Eastern Classic
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• no.71
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• pp.99-128
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• 2018

Zhōuyì周易 is intended to explain the affairs of human beings by observing the images and works of all things in the universe, abstracting them into the $b{\bar{a}}gu{\grave{a}}$八卦, calculating the process and inducing the outcome by the method of stalk divination, in which this paper finds the origin of natural scientific thought of Zhōuyì. The way of Zhōuyì's thought on the natural science is distinguished from that of the Western's. In the West, people dismantled the objects into the parts until they reached the atom and analyzed them by the principle of causality to draw an axiomatic truth. In the meantime Zhōuyì observed and studied the dynamic functions and changes of all things for the convergence of the whole. While the way of Zhōuyì's thinking could have not contributed to the development of modern scientific development, that of the West overwhelmed Asian development passing through the period of enlightenment during 16-17 century. This paper tries to articulate the points where Zhōuyì can share its theory with the contemporary science by finding the traces of scientific thoughts in Zhōuyì. It encounters its ground from the methodology of natural science and scientific statements proposed by Zhōuyì. The essential concepts of Zhōuyì are induced from all things in nature. This can be considered as the idea of '法自然'(emulating the patterns and examples from nature). Also they observed the images and changes seen by the habits of animals, plants and human beings to sense and perceive their laws. These are regarded as the methodology of natural science in Zhōuyì. As a book of divination, the way of stalk divination is designed to calculate the future by using the system of 'numbers'. 'tàijí太極', ' yīnyáng陰陽', 'four symbols四象', '$b{\bar{a}}gu{\grave{a}}$八卦' and 'wǔxíng五行' are the essential concepts of Zhōuyì to represents the dynamic phenomena and changes of the natural order. Among them '$b{\bar{a}}gu{\grave{a}}$八卦' is a presentment to explain the structure of the world not by the individual analysis of things but by the unification of the whole through the contradictions and interchanges among them to reach the new orders. As of now, the studies of Zhōuyì in Korea have focused on the traditional perspectives, such as political and ethical philosophy. Some of recent studies, having interpreted Zhōuyì with scientific inclination have generated controversy 'Can Zhōuyì be a science?', for which scholars have hard time to reach the agreement. This paper tries to find the headwaters of the contemporary natural science by elaborating the methodology of natural science stated in Zhōuyì.

• (The)Study of the Eastern Classic
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• no.50
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• pp.89-120
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• 2013

The concept of virtue seems to be one of the rare cases where the European and the Chinese traditions coincide. The meaning of the Latin word virtus and of Greek $aret{\acute{e}}$ seems to be similar to the Chinese $d{\acute{e}}$德. Most striking in virtue is that it is a capacity for self-realisation through action which is unique to man. On the other hand, there is something physical about it. It is the strength to do something. This strength overcomes the resistance of what is naturally given, it transforms the world, turns the natural world into a human one. In the Chinese tradition, $d{\acute{e}}$ 德, i.e. virtue, is therefore always connected with $da{\grave{o}}$ 道, the totality of natural forces. In the Chinese tradition, as opposed to the European one, virtue is itself considered to be a natural force that is present in man. This force sustains man's connectedness, unity and harmony with the surrounding world. Things exist through the unity of principle理 and ether氣. But the knowledge of this unity is due to principle. Moral and legal norms are shifted totally to the sphere of principle. Therefore their have found the final dissolution from a heroic models. Above all the classical Confucians, but also the other schools, would reply to this that there is nothing more precise than a concrete successful action. Its result fits the world perfectly. The difference is due to the differing interest of ethical thought. In the case of the Confucians the path is more direct. The actor establishes a precise pattern for other actions. Education therefore lies in detailed knowledge about forms of behaviour, not so much in conceptual differentiation. It is quite possible that generalisation may be a methodical prerequisite for success in this endeavour. That problem, too, is discussed. But the success of conceptualisation lies in the successful performance of individual actions, not in shaping actions in accordance with normative concepts.

• International Commerce and Information Review
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• v.17 no.2
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• pp.201-223
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• 2015

Concerning post-verification which is after the application of FTA preferential tariffs, in cases such as Korea-EFTA and Korea-ASEAN, the growing trend of post-verifications was restricted and there was no active research concerning this; whereas with Korea-EU FTA which adopted indirect verification for post-verification, the demand for post-verification has been rising constantly each year; and for Korea-US FTA which has adopted direct verification, a new approach to post-verification research is needed as it began genuine post-verification regarding many national enterprises only after a year and a half since the agreement. This study will consider the counter measures that can be taken for post-verification, through case of studies on the factors influencing violation of determining the country of origin for export company regarding verification of FTA. Result of this case study regarding the determining a violation of origin, The main cause of the violation factors on the essential & general principles(goods wholly obtained, value added criteria) are lack of understanding agreement & manpower. but Violation of the parties to a transaction & the origin certification are lack of advanced preparation and effected violation of principle of good faith. Finally, In this study help countermeasures of export company through the Detailed analysis of the type & implications deriving from verification of origin.

• (The)Study of the Eastern Classic
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• no.55
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• pp.115-145
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• 2014

In this paper, the transition of the status of Chinese novels and the change of the knowledge field in the modern times from the end of 19th century to the early 20th century, the transition period between the tradition and the modern times, have been investigated based on Liang Qichao's assertion of the Revolution of the Novel World. How the traditional novels have been evaluated, how modern novels enlightened a people and changed the political society, and what role novels acted in the change of the knowledge field are investigated. Especially I looked into the accumulations of knowledge and changes inside China which were overlooked in the previous researches which focused on the inflow of the Western culture and its impact on Chinese culture. Firstly the evaluation and classification of the traditional novels are considered. Because the transition of the status of novels and the classification method of the catalog of books are tightly coupled with the change of academic ideologies. Later I tried to understand novels as a way of thinking the modern times with a discussion on the changes of modern knowledge society and the consideration of Liang Qichao's Revolution of the Novel World in the two viewpoints, i.e. the relationship between novels and political society, and novels and the style of writing. Liang Qichao raised novels to the topmost position of literature. He pushed the traditional poetry off the top position and replaced it with popular novels. As the outside impact of Western culture made Chinese novels a tool for enlightening the ignorant people and the medium of propagating the knowledge, the status of novels was elevated to the highest level which novels had never reached in the past. With the limitation that the valuation was not based on the aesthetic appreciation of art but based on the value for politics and society, novel was a discourse of life and death to save the country and a container of knowledge to rebuild the people's mind and convert the crisis of the national ruin.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.