• Korean Journal of Oriental Medicine
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• v.9 no.2
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• pp.17-27
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• 2003

Eumyang-ohaeng[陰陽五行-Eumyang and five phases], as a standing rule that establishes the theory of Oriental medicine and origin of the oriental philosophy, it provides the perspective of the oriental medicine's outlook of the world. Without knowing the Eumyang-ohaeng, we cannot discuss Oriental medicine, nor can we understand the oriental way of thinking. Time and Space is what the human being created in order to explain the existence and change of matters. There is a common denominator between this universal concept of time and space and the theory of Eumyang-ohaeng. Consequently this paper investigates how characteristics of Eumyang-ohaeng and that of time and space matches Eumyang represents all matter and its characteristic, by comparison with each other space, and Ohaeng shows the change of matter with time gradually and sequancely. But this separation is only a separation by words, they really melt into one like two sides of a coin is actually just one coin. After all the theory of Eumyang-ohaeng is a theory that leads us to realize time and space, matter and power are all just one. So consequently, despite the difference in mass or size or longevity of matters, Eumyang-ohaeng pulls all matter into one body. It's why Eumyang-ohaeng is defined as the unified theory of time and space.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.168-176
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• 2006

The court dancing suit, so-called 'Jeongjae suit', has been worn by court dancers on the occasion of the royal court's feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national guests from foreign countries. The court dancing suits are divided into two styles; Dangak-Jeongjae style and Hyangak-Jeongjae style, depending on dancing styles. This study examined the change of the dancing suits of Hyangak-Jeongjae styles created in the latter period of Joseon Dynasty, such as Bosangmu, Cheomsumu, Heoncheonhwa, and discussed the thought of EumYang-Ohaeng(the cosmic dual forces and the five elements) that the colors of the court dancing suits imply. Generally, in the dancing suits of Bosangmu, Cheomsumu, and Heoncheonhwa, the color expression focused on the main stream of red, blue, yellow, white and black. The colors were mainly expressed in harmony between upper garments and under garments, outer garments and inner garments, a simple dress and its decorations. Especially, in the dancing suits of Heoncheonhwa, the purple color symbolized the auspiciousness of the Purple Palace where the God lives.

• Journal of Korean Medical classics
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• v.23 no.1
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• pp.203-215
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• 2010

Music is composed according to time flow. In case of music therapy, it is the most important thing and this properties must be emphasized in operation, also act as one of the most important elements that increase the effect of medical treatment. Especially in the case of Oriental Medical music therapy, we must consider the change of time and space, so determine the direction and methods of treatment. In order to compose the music therapy process according to time flow[plot composition], first we have to analyze the musical and literary works that have step-by-step composition. Next we must consider how Gi(氣) changes occur in the base of principle of Eumyang(陰陽) and Ohaeng(五行). When the rule of composition as time flow is grafted onto Oriental Medical music therapy, native characteristics of music would have significance.

• Journal of Korean Medical classics
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• v.17 no.4
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• pp.106-119
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• 2004

This paper is mainly on the epistemology of "Dodeok-gyeong(道德經)" and "Hwangje-Naegyeong(黃帝內經)", and the relation of each other. Amog the conclusions, following things are worth mention. The point of "Dodeok-gyeong" can be said as the epistemological "Do(道)". When it expressed as something, it cannot be the original form. This principle can be applied to "Hwangje-Naegyeong" in the flow of Gi(氣) and in the property of movement of Eumyang-Ohaeng(陰陽五行). In "Dodeok-gyeong", the notions of the relativity of all things, come out as inter promotion and interacting. It can be related to the typical etiology and pathology of the Eastern medicine, In "Dodeok-gyeong", the emphasis on woman which represents the 'Eum' also emerged well in "Hwangje-Naegyeong". "Dodeok-gyeong" emphasize on the relative value of the contrasted things, In the Easten ideas, the smallest thing can be the same as the largest thing with the exception of comparison of each other. As the same way, the human body can be the small cosmos, and the Heaven and human beings correspond to each other.

• Fashion & Textile Research Journal
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• v.9 no.2
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• pp.176-187
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• 2007

Buddhist paintings in the late Joseon dynasty are characterized by diversification and subdivision of subject matters. Buddhist paintings rapidly declined since 19th century, being miniaturized and showing complicated composition. Figures that identified the shape of shoes in Buddhist paintings of late Joseon dynasty included sacheonwang that were placed in the left and right bottom of Buddhist paintings, sinjung, gwiwang and pan-gwan of siwangtaeng. Sacheonwang, an Indian folk god, was depicted as a noble person in "ahamgyeong", an early sutra, but was depicted as an armored warrior in Mahayana Buddhism world. The style of shoes sacheonwang in Korea were different depending on the times. The shoes of the sacheonwang sculpture in Seogguram of Shilla dynasty are sandal type. The sacheonwang that was drawn on Jijangbosaldo in Goryeo dynasty wears non-showy armor and red yi(履). The sacheonwang that was expressed on Buddhist paintings in Joseon dynasty wears showy armor and decorated hwa. Comparing the yi of Goryeo Jijangbosaldo sacheonwang with the yi of Bodhisattva on the Dunhuang yeolbanbyeonsangdo, Jijangbosaldo sacheonwang's shoes are Korean style in which the sole is flat and the front part has no decoration, but in the shoes of Bodhisattva on the Dunhuang yeolbanbyeonsangdo the sole is not flat, the front part is lifted. The style of shoes of pan-gwan, who is depicted on Siwangtaeng, is hwa. However, unlike the decorative hwa of sacheonwang, its front is not lifted and it has no decoration. It is assumed that the shoes of sacheonwang or pan-gwan represented obangsaek based on the idea of eumyang-ohaeng. Depiction of shoes shown in Buddhist paintings reflected the phases of the social life. In addition, the sandals of Shilla sacheonwang implies that sourthern culture in addition to Buddhism was introduced. Having expressed the shoes of Goryeo sacheonwang with conventional yi implies that Buddhism governed the inner world of the people, and the shape and material of the shoes reveals aristocracy. It is assumed that that an armored warrior wore yi, not hwa implies that the then society was stable. Also, it is assumed that that the shoes of sacheonwang on Buddhist paintings in Joseon dynasty were hwa implies that the role of tutelary god was stressed in the disordered society.