• The Journal of Korean Philosophical History
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• no.38
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• pp.221-249
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• 2013

This paper aims to examine the meaning of 'Xuan(玄)' in the cosmogony, especially in the view of Yang-xiong(揚雄) and Ge-hong(葛洪). The concept 'Xuan' is thought to have originated in the XianQin text Laozi & Zhouyi. After the XianQin period, this concept has been defined as philosophical concept, and it has a variety of meanings. This paper discussed about the cause of creation, the differentiation process, and the existence principle, within the cosmogony of Yang-xiong & Ge-hong. First, the cause of creation in the Yang-xiong is efficient cause in the state of the elementary substance, but also is the principle that is applied to the phase of the creation. While the cause of creation in the Ge-hong is comprised of the cause of the creation and the existence principle. Thus, the meaning of the concept 'Xuan' in the both scholar is different from the matter monism. Second, the concept 'Xuan' in the both scholar contains the tendency of cosmogony and ontology. Yang-xiong maintains the cosmogony, but he also hold on the rudimentary view of ontology. While Ge-hong display a tendency of ontology. Third, Ge-hong accepted the view of Yang-xiong and he developed the meaning of the existence principle. And finally, the concept 'Xuan' in the both scholar forms a philosophical system. Yang-xiong insisted that the concept 'Xuan' is the basis of the universe, the human-being and the society. While through realizing the concept 'Xuan', Ge-hong tried to pursue the human-being's agelessness and the eternal life.

• Proceedings of the Korea Society of Design Studies Conference
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• 1998.10a
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• pp.32-33
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• 1998

• Journal of Korean Medical classics
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• v.3
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• pp.248-279
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• 1989

Chuy$\check{o}$k and Naeky$\check{o}$ng which are the foundations for oriental philosophy and oriental medicine respectively have had a great influence on Oriental ideas for several thou s and years. On this study is focused on the comparative study about the two. And the results are as follows; 1. Chuy$\check{o}$k and Naeky$\check{o}$ng agree with respect to the relationship between Nature and Man, They both insist that everything should come into being through collaboration between Heaven and Earth and that Man is the noblest among them. 2. Though Chuy$\check{o}$k and Naeky$\check{o}$ng agree in regard to the authority of Man's nobility, the one stands on the opinion that Man is noble because of 'Tao'(道), while the other maintains that Man is precious because he is created and changed according to the principle of the Universe. 3. There is a slight difference between Chuy$\check{o}$k and Naeky$\check{o}$ng in the principle of Yin and Yang, and the live elements of the Chinese cosmogony. Chuy$\check{o}$k explains the change and development of everything on the basis of the principle of Yin and Yang, and make no concrete mention of the five elements of the Chinese cosmogony. While Naeky$\check{o}$ng applys the principle of Yin and Yang and the five elements of the Chinese cosmogony to the human body. 4. Though Chuy$\check{o}$k contains little knowledge of the inside of the human body in the anatomical matters, it includes some informations of the outside of the human body. But the basic physiological informations had already existed at the time. 5. Regarding the way of life cultivation. Chuy$\check{o}$k and Naeky$\check{o}$ng concurs. The two books advise to avoid unsuitable meal, overdrinking, inappropriate residence and so forth for the sake of good health. They make much of the mental harmony and maintain the accommodation to the change of Nature to keep a sound mind and body.

• The Journal of Korean Philosophical History
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• no.42
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• pp.165-195
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• 2014

This paper aims to examine the meaning of 'Xuan(玄)' in the cosmology and astronomy, especially in the view of Yang-xiong(揚雄) and Ge-hong(葛洪). The cosmology of the ancient China has opened a discussion about the Tian(天), through the discussion about the celestial structure, the structure and the location relation of the heaven & earth, in the Han-dynasty has been found a systematic theory. But in the ancient Chinese philosophy, the cosmology has been developed in the field of the astronomy & the Oriental calendar. In this context, Yang-xiong(揚雄) and Ge-hong(葛洪) have founded the system of the cosmology, it is as in the following. First, Yang-xiong criticized sharply the theory of Gaitian(蓋天說) and advanced the theory of Huntian(渾天說). And Ge-hong support the theory of Huntian(渾天說) and also accepted the theory of Xuanye(宣夜說). Second, Yang-xiong(揚雄) and Ge-hong(葛洪)'s cosmology is regarded as the theoretical premise of their cosmogony. As the discussion about the celestial structure, the structure and the location relation of the heaven & earth, both scholar discussed about the cause of creation, the differentiation process. And in the this context, they founded the cosmology as the concept 'Xuan'. Third, the concept 'Xuan' in the both scholar forms a philosophical system. Yang-xiong insisted that the concept 'Xuan' is the basis of the universe, the human-being and the society. While through realizing the concept 'Xuan', Ge-hong tried to pursue the human-being's agelessness and the eternal life. In this way, their view point of the cosmology is comprised of cosmogony & astronomy. With this perspective, they are going to found the system of their own philosophy.

• The Bulletin of The Korean Astronomical Society
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• v.42 no.2
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• pp.39.1-39.1
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• 2017

The standard hierarchical galaxy formation scenario in the popular LCDM cosmogony has been very successful in explaining the large-scale distribution of galaxies. However, one of the failures of the theory is that it predicts too many satellite galaxies associated with massive galaxies compared to observations, which is called the missing satellite galaxy problem. Isolated groups of galaxies hosted by passively evolving massive early-type galaxies are ideal laboratories for finding the missing physics in the current theory. We discover through a deep spectroscopic survey of galactic satellite systems that bright isolated early-type galaxies have almost no satellite galaxies fainter than the r-band absolute magnitude of about Mr=-14. The cutoff is at somewhat brighter magnitude of about Mr=-15 when only early-type satellites are used. Such a cutoff is not observed in the luminosity function of galaxies in the field. Physical properties of the observed satellites depend sensitively on the host-centric distance. All these are strong evidence that galactic satellites can become invisible due to astrophysics of satellite-host galaxy interaction. A recent state-of-the-art hydrodynamic simulation of galaxy formation does not reproduce such a cutoff in the satellite galaxy luminosity function. But the past history of the simulated satellites shows that many satellite galaxies near or somewhat fainter than the cutoff magnitude have recently become extinct through fatal encounters with the host or other satellite galaxies. Our observation indicates that the missing satellite galaxy problem could be mitigated if the astrophysics of galaxy interaction is more elaborated in the theory.

• Journal of the Daesoon Academy of Sciences
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• v.26
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• pp.143-182
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• 2016

The Qi(氣) concept in the Orient is the important concept which forms the world-view and thinking structure of the Oriental. The idea of Qi unfolds two ways. The first is the cosmogony that is the theory explaining the creation and change of universe through the change of Qi. The second is the preservation theory that think human body is full of Qi and we can be the immortal by raising Qi inside human body. The canon of Daesoonjinrihoe(大巡眞理會), Jeon-gyung(典經) also says about Qi many times especially in the doctrines about the object of belief and Cheonjigongsalon(天地公事論). This paper is willing to systematize the discussion of Qi in Daesoon(大巡) thought through researching Sangjeguan (上帝觀) and Cheonjigongsalon. The object of religious faith in Daesoonjinrihoe is Gucheon(九天)-yeungwon(應元)-noisung(雷聲)-bohwa(普化)-cheonjon(天尊)-gangsung(姜聖)-sangje(上帝) and Won(元) concept in the explanation of this divinity is deeply related to Wonqi(元氣) thought of the Oriental traditional Qi idea. And the theory of Qi(Qilon, 氣論) in Sangjeguan is related to electricity and the idea that the supreme God governs all things by electricity is the very original interpretation only found in Daesoon thought. The Qilon in Cheonjigongsalon is based on the Qilon of traditional thought that sees Qi is the element of all things and all thing are formed by the change of Qi. And the unique feature of the Qilon is saying that the supreme God, Cheungsan(甑山) operates Qi of universe and arouses the change of Qi. That is to say, God Cheungsan saved the world and all living beings by eliminating and giving and changing and moving and gathering and combining Qi. The characteristics of Qilon in Cheonjigongsalon is that the transcendental existence having human body has the control of the change of Qi in the universe. In conclusion, Qilon of Dasesoon thought tells that Gucheon-Sangje Chengsan governs all things by electricity and he fixed the old world and opened the new world like paradise by conducting the change of Qi.

• Archives of design research
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• v.16 no.3
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• pp.231-240
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• 2003

As all other cultures do, in the background of color of costume, view of life or spirit are contained in the nature or environment that the people lived in are applied. Marring is the ceremony to be socially recognized that both of sexes are unified, assist ancestor and bear future generation. Meaning and symbolism of color are appeared in beauty and organic composition of Lee dynasty. This paper tried to dear up five colors are dean, beautiful and philosophical colors rather than awkward composition of colors through surveying character of five colors appeared in Korean traditional wedding dress that has been succeeded in present age. This paper compared Korean traditional wedding dress and "Dan-chung" of Korea, Japan and China and surveyed theoretical background of Korean traditional color to find character of color appeared in Korean traditional wedding dress. As a result, Korean traditional color is meaningful symbolic color, its origin starts in yin-yang and the live elements of the Oriental cosmogony and it is related with Taoism of Confucianism and color of "Dan-chung." Five colors of yin-yang means everything under the sun and il is the color achieving beauty of balance due to correlation when it is linked to over one color. Further, it contains nature worship and human dignity, prays happiness and gives the significance of "Buksa", meaning of expelling an evil spirit. Formative beauty praying that all creatures are harmonized while human is happy and escapes from uncertainty is the beauty pursuing mental satisfaction as well as visual satisfaction. In future, the creational and characteristic designs that can appeal to world are required through right understanding and study of the beauty of traditional culture beauty of traditional culture

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of Physiology & Pathology in Korean Medicine
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• v.22 no.5
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• pp.1062-1070
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• 2008

The human body and nature respond to each other. The change of nature influences to directly human body. One of the change is the weather change. and there is order in the change. The order is twelve months. To explain the weather change of the cold, hot. dry and wet. we can use Four seasons, The twenty-four seasons, or The twelve month. To explain the five elements of the chinese cosmogony, The four season is useful, and the change of weather, the twenty-four seasons is good. But, the viscera is explained by the ten celestial stems and the twelve horary sings. Thus the twelve horary sings is most useful to explain, because one year is composed by twelve months. The twelve season and fancy of the ten celestial stems is explained fully by Diao-hou-yong-shen. Diao-hou-yong-shen is expressed by the zodiac signs, and explained by the disposition of the zodiac sings. In addition to the oriental medical science is also explained and expressed by the zodiac signs. Therefore, I think that the change of viscera, according to weather, is based on the Diao-hou-yong-shen, and I get some results. In the acting of viscera, there are some relationship between organs. The relationship is not influenced directly by the weather of four seasons, unless there are some special details. If the energy of the month, which rules one specific organ, is weak, doctor should fill up the organ. If not, the organ tends to get sick. According to the full or weak of the five elements which is under the month, the useless or harmful elements should be taken off, and useful and needful elements should be serviced. The balance between cold, hot, dry and wet should be maintained. However, the fancy of the viscera is very different. So, doctor should be careful to maintain balance. The full and weak between Yin and Yang should be considered when doctor think about cold and hot in the month.

• (The)Study of the Eastern Classic
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• no.32
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• pp.245-278
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• 2008

The purpose of this paper is to create an inter-religious dialogue between the Western Christian concept of the spirit and Eastern ch'i philosophy within the category of panentheism. The Hebrew term ruah means 'moving air' and 'wind' which derive from the particular experience of the ancient Hebrew people living in the desert. The Greek pnuema also means 'life' and 'wind' which denote the natural power. Both ruah and pneuma consist of the main idea of the spirit exploring the symbol of relationality of the divine in Western tradition. Eastern ch'i philosophy indicates a vital force for keeping the body and soul alive, which is unconscious and spontaneous. Ch'i as a vital force constitutes cosmogony and cosmology with the constant movement of yin and yang. Yin and Yang as representing earth and heaven are dynamic breaths, blending harmoniously to become all existence. The ethical implication of the inter-religious dialogue between the spirit and ch'i would be the integration and interconnection of heaven, earth, and human beings. The dialogue suggests becoming one body with nature and human community through embodying the non-dualistic spirit of life. The inter-relationality means that since all modalities of existence are made of the cosmic life, human beings are part of the divine cosmic process. This is related to degree of spirituality in the entire chain of being: rocks, trees, animals, humans, and goods represent different levels of spirituality based on the varying composition of the spirit and ch'i. All beings that internally embody with the spirit and ch'i are organically inter-connected, and they are integral part of a continuous process of transformation of life towards holistic liberation of human and nature community.