• 대한의료기공학회지
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• 제2권2호
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• pp.185-199
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• 1998

Going back to long chinese medical history, there were many different methods of treatment according to the origin of local chinese areas, such as Bian-Shi(?石) from east, herbal therapy from west, acupuncturing from south, moxibustion from north, and mainpulating therapy from middle china. In the midst of these therapies, acupuncture needling had developed very much both in theories, shapes, usages and also in theraputic boundray. Historical books dealing with acupuncture had introduced and used Jiu-Zhen as a tool for acupuncture needling in common. But there are some differences between each texts about in shape, use, and there are also another different point of view about the interrelationship between Bian-Shi and Ji-Zhen. So the author, in this research, tried to look for how Jiu-Zhen had took on its real kinds, adaptive usages, theraputic boundaries, many different skills of needing. By researching over ${\ulcorner}$ Ling-Shu, Jiu-Zhen(靈樞,九鍼)${\lrcorner}$, ${\ulcorner}$ Ling-Shu, Jiu-Zhen-Shi- Yi-Yuan(靈樞,九鍼十二原)${\lrcorner}$, ${\ulcorner}$ Ling-Shu, Guan-Zhen(靈樞,官鍼)${\lrcorner}$, and by compar- ing them with the contents of Jiu-Zhen in ${\ulcorner}$ Zhen-Jiu-Yi-Jing(鍼灸甲乙經)${\lrcorner}$ ${\ulcorner}$Zhen-Jiu-Da-Cheng (鍼灸大成)${\lrcorner}$, the author discovered small conclusions such as following. 1. Taking Jiu-Zhen in a narrow sense, it only repesents nine different needle used in different cases. But in large sense, this means nine different deedling methods using each different needles which is represented in the form of Wu-Ci ( 五剌 ), Shi-Yi-Ci ( 十二剌 ) in ${\ulcorner}$ Ling-Shu, Guan-Zhen ${\lrcorner}$ 2. Jin-Zhen has been first originated from stone age as a substitute for Bian-Shi and through bronze and iron age, it followed a process of it's own shape and applicating functions. As an example, the moxibustional therapies shown in ${\ulcorner}$ Zu-Bi-Shi-Yi-Mai- Jiu-Jing ( 足臂十一脈灸經 )${\lrcorner}$ ${\ulcorner}$ Yin-Yang-Shi-Yi-Mai-Jiu-Jing ( 陰陽十一脈灸經)${\lrcorner}$ in ahead of ${\ulcorner}$ Nei-Jing ( 內經 )${\lrcorner}$ era, was relationship in acupuncturing skills and shape. So Jiu-Zhen had been originated on the base of Bian-Shi in ancient times to develop into delicate shape, skill, and theraputic foundation of modern oriental medicine.

• 기독교교육논총
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• 제65권
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• pp.29-54
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• 2021

유럽에서 종교, 문화 언어, 그리고 역사적 배경의 다양성은 거대하다. 이차세계대전과 소비에트연합은 유럽에서 커다란 역할을 한다. 다른 대륙에서 난민의 유입은 다원주의를 증가시킨다. 종교교육은 이러한 차이의 다리 역할에 주목한다. 유럽 대륙에서 언어는 매우 다양하다. 나라와 발음, 심지어 개별 국가에서도 차이가 있다. 이것은 문화 감수성과 세대 간의 집단별 차이를 발생시킨다. 중등교육은 청소년들이 그들 사회에 대한 견고한 뿌리를 내리는 인격 형성의 중요한 역할을 한다. 중등교육에서 청소년의 핵심 가치와 문화적 기반을 검증하는 학습은 필수적이다. 종교교육의 핵심은 그러한 가치를 검토하는 것이다. 그러나 학교는 현재 점차 증가하는 학생들의 비종교성에 적응해야 하는 도전에 직면하고 있다. 종교적 가치는 이러한 상황 속에서 어떠한 역할을 하는가? 학생들은 종교 기관에 적극적으로 참여하는 것에 대해서 어떠한 느낌을 가지는가? 그리고 종교적 신념에 대한 삶의 선택에 대해서 어떠한 생각을 가지는가? 비종교적 가치가 가치 기반의 인격을 지닌 타자의 인격적 기초를 형성하는 것을 파악할 수 있는가? 비종교적 가치는 가치 기반의 인격 형성의 기초를 형성할 수 있는가? 이러한 주제에 대한 연구는 네덜란드에서 20년 이상 지속해 온 것이다. 그리고 현재 체코슬로바키아와 동독 지역으로 확산되고 있다. 이러한 주제는 세속화된 나라에서 그리고 다른 역사에서도 현저하다. 역사와 이러한 국가의 상황은 학습자들에게 중요한 가치를 보여주고 그들의 역할을 가시화한다. 비교 연구는 이러한 유럽 국가의 학습자의 가치를 검토하는 것에 보다 폭 넓은 관점을 제공한다. 이러한 지식은 종교 기반의 세계관 교육의 형성과 계획에 도움이 된다.

• 복식
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• 제30권
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• 복식문화연구
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• 제21권3호
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• pp.376-393
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• 2013

In modern society, culture is an important factor to form a country's image and identity and a representative content to generate revenue. Culture is a keyword to design life in the 21st century and has become competitiveness between countries. As a cultural content with international competitiveness, this study performed textile design development with the use of relics from the Tomb of King Muryeong, which is the tumulus of King Muryeong who was the 25th king of Baekje among Korean history. The developed design could be applied to the production of various fashion cultural products such as clothes, scarf, neck-tie, and bag. The process for the design development was carried out as follows: As a first step, this study found basis as a cultural content with a global sense that could form the historical value of the Tomb of King Muryeong and gain global sympathy of people all over the world through literature reviews. As a second step, this study examined the current state that traditional Korean elements were used as a fashion cultural products. As a third step, this study analyzed the current state and problems of fashion cultural products using relics from the Tomb of King Muryeong through field survey. As a final step, this study planned the concept of design with the use of diadem ornaments, earring, sword, stone guardian animal, and bricks with lotus-flower design from the tomb of King Muryeong. And these developed 6 textile designs could be applied to the production of various fashion cultural products.

• 한국실내디자인학회논문집
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• 제22권6호
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• pp.162-172
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• 2013

This study focuses on the genealogical analysis of the urban public spaces by the local history of Seoul which is significantly different from western cities. The analysis targets the discourse of the urban street which defines urban space-structure among the urban public spaces. Based on the analysis, we define the progress levels of urban public design policy in Seoul. Firstly, in 1960's and 1970's, 'urban reconstruction' was intensively carried out for the country modernization, and 'vehicle preferred street expansion' resulted in damages to historical inheritance, in-humanized street, and cultural uniformity. 1980's and 1990's would be defined as 'politic acceptance of plural values to the urban street.' There were the Olympic Games held in Seoul in 1988, which were the celebrations of the 600th capital establishment and the autonomous local government system. In the meanwhile, diverse values on the urban street were discussed in terms of globalization. There also were the self-reflection for the urban skyscrapers and high-population rate, the cultural uniformity of urban street, and the commercialization in downtown with urban reconstruction plans. Then, the sense of landscape and amenity was focused. Various urban projects and regulations were held according to the changes of value recognition. 2000's can be defined as 'introduction to the organic integration and the urban public design governance.' In the 21st century, types of recognition have changed significantly, which include publicness, humanism, sustainability, symbolism, artistry, placeness, and communication. They cause the establishment of ordinances and the installation of integrated organization via urban design administration. The legislation has been revised in order to support the various methods for the maintenance and operation of urban landscape in terms of local characteristics. New regulations were established for residents to participate in the processes of the urban planning with street design policy.

• 한국주거학회논문집
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• 제23권2호
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• pp.37-46
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• 2012

Cities developed by prosperity of industrial activities are inflated due to the rapid influx of the urban population. In the process, their structure was reorganized with overall urban redevelopment methods. As the a results from the propulsion of overall redevelopment plan, the city environment exposed uniform urban landscapes, absence of sense of place for permanent abodes and other urban problems. At the beginning of the 21st century, people with introspections on the problems focused their attention on making their places attractive using their place's unique identity so that people could feel like to stay there for a long time. They tried to regenerate buildings and cities while still maintaining spatial and historical context of their living environment. This study looks into the regeneration of Shikumen Linong House as a fine example of such a redevelopment in order to provide with a practical resource for urban redevelopment plans in Korea. The study in the first content examines the formation processes of the city of Shanghai as the gateway of the modern China. In the second, it looks into the formation processes and characteristics of Shikumen Linong House in the Xintiandi complex between 1920 and 1930's. In the end, it analyses spatial and formational characteristics and the applied dwelling regeneration method for the of Shikumen Linong House in the Xintiandi complex.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 복식
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• 제56권7호
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• 복식
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• 제64권1호
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• pp.152-164
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• 2014

Korean people have revered the white color and enjoyed wearing white clothes. Various kinds of white clothes have been worn by the Korean people, ranging from everyday wear(便服), and scholar's robe(深衣) for the upper class, to religious costumes like Buddhist monk's robe(僧服), shaman costumes(巫服) and costumes for ancestral rites(祭服), or mourning(喪服). There have been many differing opinions by historians regarding the background of this Baekeuihosang(白衣好尙, the preference for white clothing) tradition and even now, it is frequently being discussed. This study aims to consider and discuss the background of this Baekeuihosang tradition, focusing on Chang-seon Yoo's Baekeuigo(白衣考, the consideration of white clothing), which was published in Dong-A Ilbo in 1934. The purposes of studying literature such as the Baekeuigo is to analyze the arguments on the origin of Baekeuihosang, to analyze Chang-seon Yoo's claim of its origin, and to discuss the culture of Baekeuihosang. Chang-seon Yoo claimed that the existing discussions on the background of Baekeuihosang based on the lack of dyes, or undeveloped technique, economic privation and national control strayed from historical facts, according to literature review. It is not worth discussing the farfetched arguments such as the use of costumes for ancestral rites as everyday wears, or the nation of sorrow. Baekeuihosang tradition mostly originated from the effects of many religions and the taste for innocence, or naturalness. White clothes were infused with the sorrow and emotion of Korean people and were also worn to show resistance to foreign power as symbols of ethnicity. Therefore, there should be a new view of the discussion of white clothes and Korean aesthetic sense, away from the logic distorted by the Japanese colonial view of history.

• 한국의류학회지
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• 제32권12호
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• pp.1971-1980
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• 2008

본 연구의 목적은 전통적인 니트웨어에 대한 의미와 깊이를 파악하고 베르그송과 들뢰즈의 연속성 이론을 배경으로, 전통 니트의 대표적 패턴인 아란 모티프를 응용한 니트웨어의 디자인 전개와 개발을 해보는데 있다. 현대패션에서 보여지는 주름, 종이접기, 공기주입시스템, 방울이나 꼬임 등에서 느낄 수 있는 소통, 공간적 느낌, 해체적 유동성 등이 연속성 이론의 기본이 된다. 아란 니트는 역사적 전통성을 가지고 있으며, 아란 니트에서 보여지는 모티프는 이러한 연속성의 이론에 부합하고 있다. 본 연구에서는 아란 모티프에서 연속성의 대표적인 케이블 모티프와 연속성 이론을 바탕으로 5점의 핸드 니트웨어를 디자인, 제작하였다. 전통적인 아란 니트와 연속성이론에 기초한 작품 제작 결과를 통하여 새로운 의미를 전달할 수 있는 니트 디자인 개발이 지속적으로 이루어지길 바란다.