• Journal of Integrative Natural Science
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• v.14 no.1
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• pp.11-20
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• 2021

On November 17, 2019, an infectious disease with symptoms of pneumonia, called the Wuhan virus at the time, occurred in Wuhan, China. Since then, the name has been changed to COVID-19, and the virus has spread all over the world, and the WHO has declared the highest warning level for infectious diseases, "Pandemic". The coronavirus has also caused great confusion in South Korea. This resulted in large infected people.The first confirmed cases occurred on January 20, 2020, and the number of infected patients is steadily increasing after experiencing several waves, and many corona confirmed cases are also occurring in 2021 after the year. As the whole world enters a pandemic, walls are created between people and people, companies and businesses, and countries and countries, and all growth stops or declines, including human relationships, domestic companies and industries, and foreign industries. As a result, society in general is experiencing a lot of stagnation. Among them, small and medium-sized enterprises (SMEs), which are the basis of all growth in Korea, and youth who are trying to contribute to the national development by entering society, are struggling to find jobs. Even before the coronavirus outbreak, the difficulty of job hunting and the prospect of small and medium-sized businesses were not very good. In this situation, as the country's overall economic situation is poor, the vitality of SMEs has decreased a lot, the prospects are not good, so jobs are reduced, and there are many difficulties due to reluctance to hire new employees. In this study, with 2019 before the corona era and 2020 after the corona era, we compare SMEs before and after the corona era and overall job search and job search activities through average difference analysis, and whether they are affecting through correlation analysis. Through this, it suggests a direction to increase job search through corporate and government policies after raising the prospects of SMEs first.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.154-175
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• 2020

Most Korean Buddhist paintings from the late Joseon period were produced through collaborative projects (bulsa) between clans of Buddhist monks and monk artists (hwaseung), in which the monk clans would select themes and iconography for works that would then be produced by the artists and their school. Thus, any attempt to understand the Buddhist paintings of this period must consider not only the stylistic characteristics of the monk artists, but also the conditions at the respective temple at the time of production. Applying this methodology, this paper examines the collaboration between the Buhyu monk clan and the monk artist Uigyeom and his fellow artists (hereinafter, the "Uigyeom School") that took place in Honam (湖南) and surrounding areas in the eighteenth century. In particular, the paper reveals the strong influence that the Buhyu clan exerted on paintings that the Uigyeom School produced in 1724 and 1725 at Songgwangsa Temple, the clan's main temple. Following the paintings for Songgwangsa Temple, the Uigyeom School actively participated in similar projects at regional temples under the auspices of the Buhyu clan in Honam, Hoseo (湖西), and Yeongnam (嶺南). Consequently, the Buhyu clan granted Uigyeom several honorable titles-including "Hoseon" (毫仙), "Jonsuk" (尊宿), and "Daejeonggyeong" (大正經)-that were rarely conferred to a monk artist. Such acclaim helped Uigyeom's style of Buddhist painting to become widespread throughout the three southern provinces of Korea. The paintings for Songgwangsa Temple exemplify how the Buhyu clan and Uigyeom School collaborated to visualize the thoughts and philosophies of the Buhyu clan. For the Uigyeom School, this project served as the foundation for building the reputation and esteem of Uigyeom, who became one of the most esteemed and influential monk artists of the late Joseon period. As such, the paintings created for Songgwangsa Temple in 1724 and 1725 have great significance not only for Korean Buddhism, but also for art history in general.