• Acta Via Serica
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• 제7권2호
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• pp.1-38
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• 2022

Many knotted carpets from western China and Central Asia from 700 BCE to 700 CE demonstrate strong resemblances to the Assyrian-Persian stone reliefs and Hellenistic-Romanmosaics. Egypt reveals the earliest samples in plain linen fiber and carpets with colorful designs in the mural paintings. The Egyptian wall decoration in faience shows the motifs of waterlily in two variations in the design, both of which appear in the Assyrian floor thresholds designs. The same waterlily or four-petal design in the Egyptian and Assyrian stonework also appear in the Pazyryk knotted carpet in the same manner. The Assyrian thresholds show a composition with a central area and borders in a square or rectangular overall design, which again parallels the Pazyryk carpet. The ideas of composition and motifs commonly seen in the Hellenistic and Roman mosaics appear in the carpets of Central Asia and western China. The similarities between the stone mosaic works and carpets demonstrate clearly that the remote places and peoples in ancient times learned from, and exchanged with, each other the ideas and artistic styles, and integrated to create some local artistic traditions, thanks to the roles the easy-to-carry textiles played throughout the Silk Road. The carpets played their roles: as practical material for daily use, and as carrier of cultural information through their designs.

• Journal of Daesoon Thought and the Religions of East Asia
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• 제2권2호
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• pp.123-139
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• 2023

Quân sư phụ (君師父) is a concept of respectfulness derived from the Chinese Confucian concepts of sān gāng wǔ cháng (三綱五常, the Three Principles and Five Constant Virtues) and sān cóng sì dé (三從四德, the Four Virtues Applied to the Three Male Figures) that is applied to Vietnamese Confucianism in regards to not only kings but also Chinese Emperors, as well as Chinese culture generally. In his famous literary work Vàng lửa (Golden Fire), Nguyễn Huy Thiệp revealed the Vietnamese attitude to Chinese civilization: "Our country could be characterized as nhược tiểu (弱小, small and weak). Vietnam was like a maiden forcibly deflowered by Chinese civilization. 'She' enjoyed it, but also came to hate it and feel disgraced by it" (Nguyễn 1988). This is a special sentiment or psychological complex of the Vietnamese in relation to Chinese civilization. The research findings are that the Nguyễn Huy Thiệp complex is the rationale behind which the symbol of the ancestral King Lạc Long Quân (貉龍君) was altered via SinoVietnamese motifs in order to develop Vietnamese Confucian thought.

• Korean Journal of Heritage: History & Science
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• 제52권4호
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• pp.18-37
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• 2019

This study derived a method for establishing the chronology of cloud patterns by examining the arrangement of the treasure motifs in the cloud pattern used in the relevant pattern-decorated book covers of 89 Oegyujanggak Uigwe books, which are currently housed in the National Museum of Korea. The cloud pattern with a treasure motif was used in the covers of a total of 89 books from King Hyojong Gukjangdogam Uigwe (1659) to Sadoseja Garyedogam Uigwe (1744), spanning 86 years. First, to analyze the cloud pattern, it should be broken down into smaller parts to the extent that the different shapes of treasure motifs can be recognized. Secondly, the method of decoding the pattern is as follows: First, check whether the pattern is arranged in one or two directions from the vertex of the cloud's head, and determine the direction of the cloud tail. Then, decode the treasure motif's arrangement starting from the vertex of the cloud's head toward the direction the tail of manja is headed. Record the findings of this decoding process by categorizing them. Thirdly, as a result of the analysis, a total of 28 types of cloud patterns with treasure motifs were identified in 89 books. There were 45 types of treasure motifs used in such patterns. Finally, we have concluded that applying the method of decoding the treasure motif in the cloud pattern to portraits, excavated costumes, and various relics can be useful to establish the chronology of cloud patterns in the late Joseon period. The method suggested in this study is called 'The Reading Method of Chronology in Cloud Pattern with Treasure Motifs' (also 'Jeung-ha Cloud Pattern Reading Method').

• Cross-Cultural Studies
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• 제41권
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• pp.415-442
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• 2015

Through the comparison of "Rendezvous with a Bird" with "Araby", there were found to be well-explained psychological causes of the boy's (Petya) behavior that closely discloses the concrete object of desperation and definitely confirmed the internal causes of heroes (vanity of the boys in "Araby" and "Rendezvous with bird"). Through the comparison of "Rendezvous with a Bird" with "A man in a boat" we also knew that Petya's indefinite fear of death was to some extent a sense of guilt. This study contains a full-scale review of Russian contemporary writer Tatyana Tolstaya's short story "Rendezvous with a Bird", which is one of the her earliest works. As many critics indicate, the works of Tatyana Tolstaya resonate with metaphor. "Rendezvous with a bird" plays an important role in understanding this metaphoric tendency. In order to understand the metaphoric tendency of her works we need our own reading strategy, and so we inquired into the grasp of the main motifs. Analysis of the main motifs can start from the understanding of meanings of the very figurative title 'Rendezvous with a Bird'. To understand the meanings of the title, we first of all analyzed the incidents of actual or figurative meetings with birds in this work, and through this we deduced two main motifs. We confirmed one main motif of 'desperation', which centers on the love of a young boy and woman. We confirmed the other motif as 'death', which developed into the rendezvous of the grandfather with inevitable death. Thus, the 'desperation' and 'death' with which we meet in childhood becomes a subject matter for the writer. To understand the deeper meanings of these main motifs, we compared "Rendezvous with Bird" with the short story "Araby" by James Joyce and with the short story "A man in a boat" by Eyvind Johnson, which very successfully deal with the motifs: 'desperation' and 'death'.

• Proceedings of the Korean Society for Bioinformatics Conference
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• 한국생물정보시스템생물학회 2000년도 International Symposium on Bioinformatics
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• pp.21-22
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• 2000

Expressed sequence tags (EFTs) are the partial segments of cDNA produced from 5 or 3 single-pass sequencing of cDNA clones, error-prone and generated in highly redundant sets. Advancement and expansion of Genomics made biologists to generate huge amount of ESTs from variety of organisms-human, microorganisms as well as plants, and the cumulated number of ESTs is over 5.3 million, As the EST data being accumulate more rapidly, it becomes bigger that the needs of the EST analysis tools for extraction of biological meaning from EST data. Among the several needs of EST analyses, the extraction of protein sequence or functional motifs from ESTs are important for the identification of their function in vivo. To accomplish that purpose the precise and accurate identification of the region where the coding sequences (CDSs) is a crucial problem to solve primarily, and it will be helpful to extract and detect of genuine CD5s and protein motifs from EST collections. Although several public tools are available for EST analysis, there is not any one to accomplish the object. Furthermore, they are not targeted to the plant ESTs but human or microorganism. Thus, to correspond the urgent needs of collaborators deals with plant ESTs and to establish the analysis system to be used as general-purpose public software we constructed the pipelined-EST analysis system by integration of public software components. The software we used are as follows - Phred/Cross-match for the quality control and vector screening, NCBI Blast for the similarity searching, ICATools for the EST clustering, Phrap for EST contig assembly, and BLOCKS/Prosite for protein motif searching. The sample data set used for the construction and verification of this system was 1,386 ESTs from human intrathymic T-cells that verified using UniGene and Nr database of NCBI. The approach for the extraction of CDSs from sample data set was carried out by comparison between sample data and protein sequences/motif database, determining matched protein sequences/motifs that agree with our defined parameters, and extracting the regions that shows similarities. In recent future, in addition to these components, it is supposed to be also integrated into our system and served that the software for the peptide mass spectrometry fingerprint analysis, one of the proteomics fields. This pipelined-EST analysis system will extend our knowledge on the plant ESTs and proteins by identification of unknown-genes.

• Journal of Korean Classical Literature and Education
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• 제37호
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• pp.185-215
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• 2018

This paper tried to interpret new phenomenon in the narrative focusing on the tale. People telling about this story understood it in the way of recognizing and resigning the power of powerful destiny. This article poses a problem to that point. The male character begins the question "why?" And experiences a process of thoughtful thought. And he finds out his past life and pioneers his destiny. The find past life in this tale, it means 'an opportunity to choose oneself and life for themselves'. This can be interpreted as Samsara of Buddhism that does not insist on a fixed self. Experience of this process of reasoning according to narrative context of folktale will become literary therapy activity confirming the effectiveness of marital conflict narrative including the former motifs.

• Sim-seong Yeon-gu
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• 제38권1호
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• pp.45-111
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• 2023

This paper examines the apparition of the Virgin Mary revealed in Rue du Bac, Paris, France, in 1830, from a perspective of analytical psychology. To do so, it amplifies the archetypal motifs manifested in the images of the Virgin Mary of Rue du Bac by introducing the medieval alchemical picture titled "Glorification of the body portrayed as the coronation of the Virgin Mary" from Reusner's Pandora (1588). This image of the Virgin Mary is full of archetypal motifs that show the process and end result of individuation, which is the main idea of Jungian psychology. These symbols that depict the individuation process, both in Reusner's Pandora and in the Mary of Rue du Bac, are expressions of mythologems, constituent elements of the collective unconscious. Jung noted that these mythologems are the ultimate base and matrix of all religions. Through examining the archetypal motifs, which appear in the Mary of Rue du Bac, the apparition of the Mary turns out to be the revelation of the archetypal image of the Self in a space-time continuum, which is constellated in the collective unconscious. That is, an archetypal figure revealed itself to a witness' ego-consciousness to whom a space-time continuum functions as a cognitive category. The Mary of Rue du Bac represents the union of the opposites of divinity and humanity, which lacks in the symbolism of the Cross in Christianity. In this regard, she is an image of the new savior, who opens the new aeon of the Aquarius. The revealed image of Mary shows that divinity originates from the inner realm of the human psyche, that corporeal human beings are the matrix in which the divine incarnates, and that human being is the subject of psychological redemption. The image of Mary awakens us to the value of divinity in the human psyche in the times when the spiritual values Christianity has retained declines drastically.

• Proceedings of the Korean Magnetic Resonance Society Conference
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• 한국자기공명학회 2000년도 제17회 학술발표회
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• pp.23-24
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• 2000

• Bulletin of the Korean Chemical Society
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• 제35권11호
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• pp.3343-3345
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• 2014

• The Research Journal of the Costume Culture
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• 제2권2호
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• pp.283-295
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• 1994

A systematic classification of Korean traditional patterns has been made according to their objects and presenting methods. The classification is represented with 3 levels of categories. First, the superordinate category is composed of 7 groups of patterns, i.e. Naturals, Animals, Plants, Artifacts, Geometric, Composites, and Others. Second, the basic category is composed of motifs in each group. Third, the subordinate category is composed of 3 types, i.e. realistic, stylized, abstracted, according to the degree of simplification. As this classification is a method for organizing informations in Korean traditional patterns in a systematic way, it can offer a useful basis for computerization of the patterns.