• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.79-116
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• 2020

This paper examines the nature of the transcendent, absolute, and personal host of ancient philosophical notions of the Higher Power (天觀 cheongwan, literally 'view of heaven'), which flows through Toegye's Principle of Reality (Li), Dasan's Supreme God (Sangje), Suwun's Lord of Heaven (Cheonju), and Jeungsan's Supreme God (Sangje). This confirms the sentiment that despite the conceptual differences relating to appearance, as represented by the Principle of Reality, the Dasanian Supreme God, the Suwunian Lord of Heaven, and the Jeungsanian Supreme God, the contents of these notions do not substantially differ from one another. Moreover, the nature of the ancient philosophical notions of the Higher Power lead to Toegye's Principle of Reality, the Dasanian Supreme God, the Suwunian Lord of Heaven, and the Jeungsanian Supreme God. Toegye emphasized the nature of the Principle of Reality as transcendental and absolute, and also as a personal host. This led to Dasan's Supreme God, and furthermore, it also inspired the Suwunian Lord of Heaven and the Jeungsanian Supreme God. In other words, although Dasan criticizes the Principle of Reality and presupposes a Supreme God, a personal host, this is not especially different from the character or role of Toegye's Principle of Reality. It likewise does not especially differ from the Suwunian Lord of Heaven or the Jeungsanian Supreme God. On the contrary, without the foundation of the religious tradition behind Toegye's Principle of Reality, it would have been difficult to establish a theoretical system leading to the upper system of the Dasanian Supreme God, the Suwunian Lord of Heaven, or the Jeungsanian Supreme God. Of course, the construction of heaven and earth, which in Daesoon Thought is actually performed by the Jeungsanian Supreme God, is, in fact, fundamentally different from Toegye, Dasan, and Suwun's previous notions of the Higher Power. In this sense, it is necessary to present more clearly the religious character of Toegye's Principle of Reality.

• Composites Research
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• v.35 no.6
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• pp.378-393
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• 2022

As an emerging power generation technology, triboelectric nanogenerators (TENGs) have received increasing attention due to their boundless promise in energy harvesting and self-powered sensing applications. The recent rise of soft robotics has sparked widespread enthusiasm for developing flexible and soft sensors and actuators. TENGs have been regarded as promising power sources for driving actuators and self-powered sensors, providing a unique approach for the development of soft robots with soft sensors and actuators. In this review, TENG-based soft robots with different morphologies and different functions are introduced. Among them, the design of biomimetic soft robots that imitate the structure, surface morphology, material properties, and sensing/generating mechanisms of nature has greatly benefited in improving the performance of TENGs. In addition, various bionic soft robots have been well improved compared to previous driving methods due to the simple structure, self-powering characteristics, and tunable output of TENGs. Furthermore, we provide a comprehensive review of various studies within specific areas of TENG-enabled soft robotics applications. We first explore various recently developed TENG-based soft robots and a comparative analysis of various device structures, surface morphologies, and nature-inspired materials, and the resulting improvements in TENG performance. Various ubiquitous sensing principles and generation mechanisms used in nature and their analogous artificial TENG designs are demonstrated. Finally, biomimetic applications of TENG enabled in tactile displays as well as in wearable devices, artificial electronic skin and other devices are discussed. System designs, challenges and prospects of TENGs-based sensing and actuation devices in the practical application of soft robotics are analyzed.

• Journal of the Daesoon Academy of Sciences
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• v.49
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• pp.53-92
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• 2024

The abbot of Gobulseonwon Monastery (古佛禪院) in Chungju has disclosed his monastery's possession of materials such as an allegedly handwritten copy of Daesoon Jeongyeong (The Canonical Scripture of the Great Itineration) and Cheonsimgyeong (The Scripture of the Heavenly Mind), gasa (Lyric) collection books, and old letters, and subsequently, investigative research reports and monographs were also published. According to Gobulseonwon Monastery, their copy of Daesoon Jeongyeong was reported to have been written in 1910. In addition, they consider their copies of Cheonsimgyeong, gasa collection books, and old letters to be closely related to Jeungsan (甑山), with the possibility that their copy of Cheonsimgyeong was directly written by Jeungsan. For context, the object of faith in the gasa collection books is Jeungsan, and the old letters describe situation that were contemporary during Jeungsan's time. However, the gasa collection book, To be Learned with True Spirit, is a collection of nearly 20 songs that encourage enlightenment, and Cheonsimgyeong is likely to have come from the Jeondoju (Transmitted Dao-Incantations) used in ritual practices, rather than having been handwritten by Jeungsan. The 36 examples of old letters contain ordinary events in daily life. As such, these materials are not specifically related to Jeungsan. The copy of Daesoon Jeongyeong kept by the monastery was transcribed by Lee Yang-Seop, who resided in Jangseong, Jeonnam, in 1957, and it is significant as it includes various religious gasa such as Chaeyakga and Jeseshinyakga. The materials of unknown origin are especially worthy of attention. The materials preserved in Gobulseonwon Monastery are valuable materials related to various Korean new religions such as Gyeongjeongyudo and various Jeungsan-inspired religions. It is necessary to find the true nature of these materials, and this line of research will contribute to the study of Korean new religions.

• (The)Study of the Eastern Classic
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• no.49
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• pp.225-260
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• 2012

The poetry of Haseo Jo Gyeong is first characterized by its fantasy content with mysterious and strange beings such as mountain wizards, gods of flowers, ghosts, Jujos and dragons. Such works imply the huge gap between his political ideal of Neo-Confucianism and the reality of society and are expressions of his resulting sorrow. Of course, he did not just look at reality pessimistically. Like other Neo-Confucianism scholars, he used the symbol of "spring" in his poems, which indicates that he did have optimistic belief in the world in spite of despair. In his poems, the symbol of "spring" implies the political world where the noble man grabbed the power and the sinister groups were extracted or the world where the political ethics of Neo-Confucianism was implemented. His works depicting the essence of natural objects, mountains, and rivers exhibit the characteristics of his poetry more clearly. He described the law of the universe behind natural objects and the vibrant aspects of natural objects by depicting their movements in a clear and sharp manner. Unlike the old Neo-Confucianism scholars that often created poems on the topic of acquirement of natural law and nature, he expanded his poetic world in a direction of revealing the secrets of objects. His works describing the spirit of mountains and rivers are especially noteworthy in that they implied a life attitude of moving forward in an deteriorating world bravely by manifesting strong and dynamic power. Paying attention to the secrets of natural objects, Haseo displayed his life ideal in richer ways by painting the new forms of ume flowers. Unlike the old ume flowers poems in the past, his ume flowers poems present ume flowers as ascetics that obtained truth, men of virtue that inspired contemporary people, or retired gentlemen that revealed the profound secrets of nature. While it is unique that he manifested the forms of ume flowers in ascetics and men of virtue while perceiving the dark reality of society, it is more noteworthy that he described ume flowers as the beings revealing the profound secrets of nature. It was the expression of his yearning for an innocent personality and his fear for losing the personality, clearly depicting a human form of his ego. He created a more human and realistic personality ideal by embracing the contemporary thinking based on the profound secrets of nature in his Dohak poetry[道學詩], which is a significant achievement in that it showed new changes to Dohak poetry in the 18th century.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.4
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• pp.463-474
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• 2000

The purposes of this study is to investigate the characteristics of historicism in modern fashion and to introduce the appropriate approaching and application method of costume history. As one of the characteristic of Post modernism, historicism is an important theme in modern fashion. In this study, the background and the characteristic of Post modernism is considered and the historicism in the Post modern architecture and literature is studied. Next, through the artworks of Vivienne Westwood and Christian Lacroix who are excellent in the modernization of historical costume, the historicism in modern fashion is studied. The characteristic of historicism in Post modem architecture and literature comes from the nostalgia, aspiration for the past, and recurrence to the nature. It is not the revival of the past but the crossover of the past and the present. The characteristics of historicism in modern fashion are as follows. ·form; style, silhouette, and items that are shown in the historical costume come with the mixture of modem textile, new technique, and modem design. ·Materials and patterns; classical and romantic patterns, the artwork of the artist, and the fabric which is remake of remains are used. ·Technique; Tailoring techniques and the pattern making of the historical costume are used. ·Trimmings and etc.; Lots of handworks, trimmings and accessaries in that are inspired from the past are used. These elements are not come from a certain place and time but mixed surpassing places and times. With that, not only the form and the position of wearing but the meaning and purpose of wearing are changed.

• Polymer(Korea)
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• v.32 no.4
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• pp.334-339
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• 2008

Recently electro spinning is a widely used simple technique to prepared micro- to nanometer-sized fiber of various polymers. In general, a normal multiple-nozzle electro spinning system has been difficult to achieve high production-rate fabricating micro/nanofibers due to the interference of electric field between individual nozzles in the process. To reduce the interference effect of electric field between nozzles, we developed a multi-nozzle electrospinning system supplemented with auxiliary electrodes. Poly($\varepsilon$-carprolactone)(PCL), which has good mechanical property and biocompatibility, was electrospun by the multi-nozzle electro spinning system. Electrospinnability, product rate, and size uniformity of spun fibers for the system with and without auxiliary electrodes were characterized. As a result, the multi-nozzle electrospinning system supplemented with auxiliary electrodes provides excellently stable processability and showed high mass productivity of PCL-nanofibers relative to a normal multi-nozzle electro spinning system.

• Journal of the Korean Ceramic Society
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• v.49 no.5
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• pp.438-441
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• 2012

Abalone shell is a high strength and light weighted ceramic composite material, which is composed of $CaCO_3$ platelet and protein. Microstructure of abalone shell has a matrix structure that is similar to the bricks and mortar. The technology inspired from nature which consumes low energy at low temperature is called bioinspired technology. In this study, to make high strength and light weighted ceramic composite materials using bioinspired technology, porous green body was prepared with $Al_2O_3$ platelet. PMMA was infiltrated into the porous green body, then warm pressed to eliminate pores present in the composite. The microstructure of the composite was observed with FESEM, and the mechanical/thermal properties were measured.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.109-126
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• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.91-107
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• 2002

The purpose of this study was to investigate the experimental design by using deconstructive design and mobile design depicted on Hussein Chalayan' works. Hussein Chalayan, the Turkish-Cypriot who is based in London, says' Challenging is the best word for me'. And so word, 'radical' that has difficult connotations was chosen for this study It implies two menainigs for the word. The first thing is "extreme" - something that is drastic. And 'Applied to clothes', it can probably mean "experimental". He has iconoclastic ideas and his ramp shows are always high on concept, experimentation of art and utility. His approach to fashion derives from philosophical and intellectual theories of deconstruction and mobility, which he expresses through his designs. Deconstructionism, in fashion, rejects customary rules and breaks all conventions. It questions aesthetic norms about bodily proportions and the criteria of beauty, emphasizes the adding on, or discovery of, an irrational moment, and reveals the processes of tailoring in clothing. The shape and the construction of the garment is more important than the color. Cuts. tears, asymmetries, matching different materials are among the most evident features of the deconstructive design. And Chalayan performed the mobile design of transforming furniture into clothes. Chair covers became dresses. a coffee table became a skirt which were designed by Chalayan, with geometric and architectural references. Chalayan says he was inspired by the idea of refugees fleeing. Besides Chalayan uses clothing as an art to reinterpret and reform the human body in a continuous tour de force of body/identity conceptualism and dressmaking. He reflect the body's function in the cultural context of architecture, science, or nature - and then attempt to translate his findings into clothing.dings into clothing.

• Journal of the Korean Home Economics Association
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• v.38 no.1
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• pp.25-38
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• 2000

This study focuses on the Russian Constructivist Textile Design in the post-revolutionary period, of the early 20th century. Russian textile of the time is highly valued in the west in terms of innovative changes in aesthetic directions, which has become one of the most important centers for the development of new textiles, or the origin of industrial design. Most of brilliant mass-production patterns were produced specially by the pioneers of constructivists such as Stepanova and Popova who were influenced by 'Maxism' through the Revolution regarded themselves as productivists for the proletariat. They were inspired by the avant-garde movements, which were involved with traditionalism, futuristic mechanism, stylization of nature, pure geometrical and abstract form. Early textile design was based on the relationship between the graphic methods of design and the technology because they regarded art as physical, intellectual and technical production. They created all the excitement made from the primary simplest forms of precise mathmatical shapes, such as the circle, the triangle, the rectangle and horizontle and vertical lines. These geometric design can be interpreted as the mechanization of the artists'labor, or methods in line with the technology of mass production, however partly roots in the rich tradition of Russian decorative art. On the other hand, stable crystalline construction on the surface reflect urban architectural complex, and the world of industry in graphic form. They were interested in illusion of movement, cinematic movement of vertical linear rhythms, optical formations and vibrations, by composing a multi-leveled constructions by several spatial planes, or color-field, and combining structures of several intersecting matrices, and superimposing parts of the forms on each other. All these characteristics of the Russian textile designs reflect the complex interactions between 'art and society' of Constructivist's idea and represent the traits of the epoch.