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The Yang geum mentioned Guracheolsahyeongeum (歐邏鐵絃琴) by Yeonam Park, Ji-won in Western Yang guem. Originally,Yang geum was a sort of Dulcimer. It has been translated and spread to the world under the names such as Tympanon, Harkvert, Cembalo and Yangqin. Actually new traditional music composition skills in Korea are represented and required in several ways through the Modernized Yang Geum, but the real state of a study on sign system of the modernized Yang Geum`` new performing technique is poor. Accordingly, this study was made to develop a newly improved Yang Geum``s performing technique sign system by searching the existing Chinese Yangqin, Korean Traditional Yang Geum and Modernized Yang Geum``s performing technique sign systems. Yang Geum has been actively played, studied and improved as a folk musical instrument of the world, while the Korean Yang Geum research has continued to have little on traditional music. The Korean Traditional Yang Geum is dominated mainly by one-handed technique, whose tune is frequently changed by environment. And popular acceptance is poor due to the limit of the instrument noisy tuning. As a result, China``s Modernized Yang Geum Performing Technique Sign has been systematically studied for a long time and organized and mentioned on the first top part of any manual. This notated a special technique playing in commonly used sign when playing the Modernized Yang Geum Performing that led to the correct Modernized Yang Geum performing expression. First, the Chinese Modernized Yang Geum is composed by staff notation and number notation, and the correct technique training is good by the notation system of performing technique. Second, the Korean Traditional Yang Geum is composed by staff notation(except jungganbo), and the notation sign system ofjungganbo was used by the notation sign system of performing technique when having reverse score of staff notation. Third, Korea``s 18strings Modernized Yang Geum improved the musical instrument by magnifying the register of the Korean Traditional Yang Geum and the notation system was notated by the staff notation of the West. The notation sign systems of performing technique includes left hand slapping · Zither Stick · vibrato · rolling the stick · One-time pushing · twice pushing · pushing from the bottom sound · glissando · grace note · continuation technique · chord technique · barrier slapping technique · left-hand technique · right-hand technique · arpeggio · banchegui technique · staccato · tremolo · two voice tremolo · vibrato · mute technique. However, several performing techniques by composers are reported cause chaos, and even the same performing notation is differently indicated to have poor precision shown. Fourth, Korea``s 43strings Modernized Yang Geum is a musical instrument improved by the North Korea``s Yang Geum with all techniques of the existing instrument 18strings Modernized Yang Geum accepted that led not only to Korean music but to several musics. This allowed the suspension of the existing 18strings Improved Yang Geum to be expanded, the traditionality and merits of the existing Modernized Yang Geum to be preserved by improving the musical instruments such as pedaling, the new Modernized Yang Geum performing technique to be expanded according the demand of a new era, and several technique expressions to be progressively presented. As a result, the Korean Modernized Yang Geum``s new performing technique sign systempresented the pedal, Goejo rate, performing technique of two stick, semitone technique expression system by expanding the existing Modernized Yang Geum performing technique except the rolling the stick, arpeggio, tremolo, vibrato. Like this, 43strings Modernized Yang Geum is the musical instrument improved to play several musics not only of the existing 18strings Modernized Yang Geum performing techniques but also new traditional music, which seems to be the beginning to raise importance of the future new traditional music Yang Geum``simportance used.
현산문화제는 양양의 대표적인 향토축제이다. 하지만 양양의 역사와 문화를 함축하는 축제명을 부여해야 한다. 현산이라는 축제명은 양양의 역사성와 전통성을 약화시킨다. 문화적 전통과 지역을 대표할만한 특성을 부각시켜야 한다. 오랜 역사와 담론을 갖고 있지만 양양의 문화에는 이야기가 없다. 미래는 이야기의 시대로, 이야기가 산업의 중심으로 자리하고 있다. 한 줄기의 감성적이고, 의미 있는 이야기가 사람의 마음을 움직이는 거대한 힘으로 현산문화제를 이야기가 있는 축제로 강화해야 한다. 신으로 모시는 성황신의 정체와 담론부터 의미를 부여하고, 동해신묘의 위상을 정립해야 한다. 예부터 불교의 성지로 많은 고승과 화랑들의 순례지였고, 풍광이 아름다워 시인묵객들의 담론이 전해오고 있다. 조신과 범일선사의 담론, 의상과 원효의 담론, 도의선사와 일연선사의 담론, 영혈사와 낙산사의 담론, 김시습의 허균의 담론 등 너무나 많은 일화들이 전해오고 있지만 이야기를 부여하여 하지 못하고 있다. 양양에는 풍부하고 다양한 이야기가 전해 오고 있다. 이 담론은 생활 속에서 애정을 갖게 되고 상상력은 미래사회의 원동력이 된다. 축제를 통해 자부심을 가질 수 있도록 해야 한다. The Hyeon-San cultural festival is a regional festival in Yang-Yang. However, the official of Yang-Yang festival should have connotations of Yang-Yang"s history and culture. In this aspect, the name of Hyeon-San might dilute the quality of historicity and traditionality of Yang-Yang, which does not include the historical story on Yang-Yang"s culture even if it has a long history and spoken discourse. The official name of festival should give prominence to the typical of Yang-Yang"s traditional culture. Recently, the story is becoming an industrial hub. Therefore, the Hyeon-San festival has to be touchable festival with meaningful story. First, the Seonghwangshin enshrining a spirit tablet is needed to be identified and a new meaning is also imparted to the relative stories. In addition, the status of Donghaeshinmyo (Tomb) has to be reestablished. From ancient times, this was a scared place of pilgrimage for Buddhists, high priests, and Hwarangdo. These stories date back to ancient times, which has inherited from many writers and artists because of its beautiful scenery, including the stories of Choshin and Beomil, Eyisang and Wonhyo, Doeyisunsa and Ilyeonsunsa, Youngheolsa and Maksansa, Kim Siseub and Hurgeun. There are abundant and various stories in Yang-Yang. Those can be a driving force of our community. Therefore, the festival should serve as a momentum for having the regional pride.
The style of Buddhist sculptures in Ch'ang-An and Lo-Yang regions during Shi Dynasty basically took over the characteristics of the Northern C'hi and the Northern Zhou Dynasty and had the regional characteristics as well. Furthermore, the style the sculptures of Ch'ang-An and Lo-Yang regions was combined and mixed with east and west regions and south and north regions due to the nation wide unification during Sui Dynasty. Especially, the style of the Northern Chi brought influences in east, west and other places with Ch'ang-An, capital city. For instance, Buddha garments, such as Y-shaped patterning robe, thick layered robe, the robes covering the pedestal, knotted upper garment, U-shaped pattering cloth, mudra holding clear vase or willow branches on each hand. However, the style of buddhist sculptures during Dynasty was unified and continued to Early T'ang Dynasty. The coverig mode from the nothern C'hi, taking over the style of the northern C'hi capital Yeh had been spreaded in the center of Lo-Yang, another capital during late Sui dynasty and it inflenced to not only Lo-Yang area, Ch'ang-An area Briefly, Buddhism was combined with east and south area from the center of Ch'ang-An and Lo-Yang and the style of Buddhist sculpture from Ch'ang-An area had influence to other areas. Nationwide archeological and political unification led the style of Buddhist sculptures to the unified on during Sui Dynasty. moreover, movement of ministers and monks through all regions during Sui Dynasty helped the unification more naturally happen both capitals It is clear that the style of Buddhist sculpture in Northern C'hi, the North and South Dynasty was different, even though they influenced each other during late the North and South Dynasty. But it started to become on unified style from Ch'ang-An and Lo-Yang during Sui Dynasty with the unification and this unified style continuously influenced to the next Dynasty, T'ang. This fact is the biggest significance of Suk Dynasty to Buddhist sculpture. However, there's still regional characteristics remained in spite of the unification. there are lots of differences in materials for sculptures as well. there were lots of S´akyamuni Buddha discovered in Ch'ang-an, where as there were many Amitabha Buddha and Maitreya in Lo-Yang The Buddhist sculpture in Ch'ang-An and Lo-Yang influenced each other and got development with buddhism and it continued T'ang dynasty There are relations with Ch'ang-An style and Lo-Yang style which has Lung-mun caves in Ze Tian Wu Hou the years of reign and the style of Buddha from Ch'ang-An and Lo-Yang regions gave influences to nationwide area. Therefore, understanding the characteristics of Buddhist sculpture during Sui Dynasty is important that it offers the fundamental information for studying more about T'ang Dynasty
'스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.
The tremendous amount of work has certainly helped answer many structural understanding of Jeju dialect. Their main research focus goes on the formal analysis of language in the area of lexical, morphological and syntactic levels of Jeju dialect. There are a lot of more questions that can be raised concerning the further understanding and explanation of the grammar of it. Taking the spoken nature of Jeju dialect, it will be obvious that discoursal approaches should provide more insightful analysis for the better understanding of Jeju dialect. The present study is designed to explore the linguistic nature of yang in Jeju dialect, Therefore, the purpose of this studies is twofold: 1) to investigate the distributional aspects of yang in Jeju dialect and 2) to explore the possibility that the use of yang can be best explained from a discourse perspective. First, this study looks over the distributional aspects of yang based on the data which were collected from the Jeju Dialect Speech Contest in the year of 2005 and 2006. The findings indicate that the use of yang is not structurally restricted, appearing everywhere in a sentence. It is also shown that yang does not have to do with the propositional meaning. As a result, the present study shows that functional and pragmatic factors such as topic establishing, agreement, confirmation are not only relevant but also crucial to the determination of the use of yang.
The thought of Hsin-hsueh in the Ming Dynasty developed through four characteristic stages. In the first stage, the tendency of Hsin-hsueh appeared in the thought of Chu-Tzu scholars and was transmitted by them. Even though the thought of Hsin-hsueh in this stage is composed of its rudimentary contents : the method of learning through perceiving and practicing truth for oneself, and the point that "Li is the substantial body," it had a great influence on the formation of Yang-ming philosophy. The important Hsin-hsueh scholars in this stage are Wu Yu-pi, who opened the gate of Confucianism in the Ming Dynasty and his followers, Ch'en Hsien-chang and Lou Liang, etc. In the second stage, Hsueh was completed into Yang-ming philosophy by Wang Yang-ming. It is also in this stage that the spiritualistic factor of Confucianism, which had been shown clearly from Mencius to Lu Hisang-shan, was embodied in Yang-ming philosophy. Its major contents consist several doctrines : the doctrine that mind itself is principle, the doctrine of the unity of knowledge and action, the doctrine of the extension of good knowledge, and the doctrine of cultivating one's mind in the course of practicing affairs, etc. In the third stage, ---from the viewpoint of period, this stage is partly overlapped with the second stage--- Yang-ming philosophy became more precise and more influencial. Moreover, the appearance of a great many Hsin-hsueh scholars and the advancement of Hsin-hsueh in the third stage formed many philosophic schools and enabled Hsin-hsueh to have a great social influence. On the other hand, the theretical fractionation to excess and the indulgence in the inquiry into precision too far made it all the more difficult to understand Hsin-hsueh. In addition, from the viewpoint of the tradition of Confucianism Hsin-hsueh is thought to incline toward the left owing to the factor of meditation in Hsin-hsueh itself, The important scholars in this stage are Ch'ien Te-hung, Wang Chi, Lo Ju-fang, Lo Hung-hsien, Li Chih, and Nieh Pao, etc. In the fourth stage, Yang-ming philosophy was on the decline and a new change was groped for. The historical period of this stage falls on the late Ming Dynasty era. Theredore, Yang-ming philosophy was criticized to be weakened in relation especially to the political and social situation at that time. The thought of Hsin-hsueh in the fourth stage remainded in existance only throught the activities of the scholars who exposed the problems of Yang-ming philosophy and partially accepted it, and took on a role in influencing the appearance of a new philosophical tendency. The important scholars in this stage are the brothers Ku Hsin-ch'eng. Huang Tao-chou, and Liu Tsung-chou, etc. Liu Tsung-chou was not an orthodox Yang-ming scholar. However, he is called the last Hsin-hsueh scholar of the Ming Dynasty because he accepted the many parts of Hsin-heueh ang-ming and his theory shared its vein.
송천 양응정은 조선 중기에 활동한 관료이자 문인으로, 호남지방에서 활발한 문학활동을 전개한 중심인물 중의 한 사람이다. 그는 1552년 식년문과에서 을과로 급제를 하였고, 1556년 중시문과에서 ‘남북제승대책'으로 장원을 하였다. 또한 대사성을 두 번이나 지냈고, 문장에도 능하여 목릉성세를 이루었던 시인 중의 한 사람이다. 그는 한국한 시문학의 금자탑을 쌓은 정철, 백광훈, 최경창과 같은 뛰어난 제자를 길렀다. 송천 양응정은 문인이면서도 군략에 조예가 있는 병법과 전술 등에 일가견을 가지고, 국방에 대한 구체적 방안을 제시하는 등 현실적으로 많은 관심을 가지고 있었다. 문과중시에서 장원한 그의 ‘남북제승대책'에서 국방에 대한 현실적인 대책을 제시하였다. 또한 자식들에게 머지 않아 남쪽에 외환이 있으리라는 것을 말하고, 장차 있을지 모르는 나라의 위험에 대비해 병법을 가르쳤다. 부친에게 병법을 배운 아들들은 임진왜란이 일어나자 즉시 의병에 가담하여, 차남 양산룡은 운량장이 되어 군량을 조달하였고 삼남 양산숙은 진주성 싸움에서 33세의 젊은 나이로 목숨을 잃었다. 송천 양응정 사상의 핵심은 충, 신, 신독 세가지로 압축할 수 있다. 그의 사상은 유교에서 선비가 지키고 마땅히 행하여야 할 행동 지침들로, 그 사상의 핵심은 현실에 대한 탁월한 안목을 지니고 있는 생활적인 실천철학이었다. 그가 중시에서 ‘남북제승대책'으로 장원을 한것도 그런 맥락에서 보아야 할 것이다. 송천 양응정 문집에는 영사시들이 몇 수 있는데, 모두 중국 역사에서 주제가 되는 재료를 취재한 작품으로, 우국충정 일화를 제재로 삼은 것들이다. 따라서 그의 영사시는 신념과 가치관을 역사적 인물에 투영시켜 형상화 한 것이므로, 그의 우국충정 정신이 녹아있다 할 것이다. Songcheon Yang Eung-jeong, who was a bureaucrat and literary artist from the mid-Joseon era, was one of key literati active in the Honam region. He passed the government examination of the civil official division-B class in 1552. In 1556, he passed another higher level examination as the top winner by writing about ‘South-North Winning Measures.' In addition, he served as the Head of Confucian Education Department twice, and was excellent in writing essays, becoming one of the poets which dominated the so called prosperous period. He fostered excellent disciples such as Jeong Cheol, Baek Gwang-hun and Choe Gyeong-chang who laid firm groundwork for Korea"s Sino-Korean poetry genre. Yang Eung-jeong was a literary artist and yet was good at military strategy and tactics, proposing specific national defense measures. As such, he was pragmatic. He, who passed the governmental examination as the first winner, proposed the pragmatic national defense measures in his writing of ‘South-North Winning Measures.' In addition, he taught their children how to cope with foreign invasions in the southern region that he insisted would occur. The children, who were taught about military tactics, engaged in Imjinwaeran, Japanese invasion of Joseon, as civil soldiers. Second-son Yang San-ryong became the head of logistics unit to procure food, and third-son Yang San-suk engaged in Jinjuseong battle, and unfortunately, died at the young age of 33. The key thoughts of Songcheon Yang Eung-jeong come down to loyalty, sincerity and integrity. His thoughts, which Confucian scholars should keep and practice, were anchored on his excellent insights into reality and pragmatism. In that context, he wrote ‘South-North Winning Measures' in the governmental examination, by which he won the top spot. The literary collection of Songcheon Yang Eung-jeong contains several historic poems, which all took the subject matter of patriotism from the Chinese history. Thus, his historic poems, which were based on the conviction and values of historic figures, embraced his patriotism.
This study aimed at analyzing the dancer's self-identity with a focus on the characteristics of Yin-Yang and the Five Elements. For this purpose, a total of 205 Korean dance majors around Seoul and the Metropolitan Area were randomly sampled. As for the measurement tool, Yin-Yan and the Five Elements was composed of open questions based on the study by Kim, Ji-hee(2004), while self-identity consisted of the questions used by Kim, Kyung-ho(1998) and Jung, Kwi-soon(2007) with the contents being revised and complemented. The reliability coefficient of the scale Cronbach's α ranged from .74 to .95. As for the research procedure, a questionnaire survey was conducted by way of direct visit at the appropriate region, in which the data completed by means of a self-administration method was collected and searched for. And the data was analyzed via SPSS 13.0 version program, for example one-way analysis and correspondence analysis. This procedure and method resulted in conclusion as follows. First, the group aged 19 averages high in stability and interpersonal role perception, and the one aged 20 to 22 averages high in self-acceptance. Also, the group with 6 to 7 years' experiences as a dancer averages high in self-existence, and the one with over 10 years' experiences averages higher in self-acceptance. Second, the Korean dancer's interpersonal role perception is derived from the fundamental area(east/blue) which creates and originates all things in the universe in the traditional thoughts of Yin-Yang and the Five Elements and the area which brings out the other colors(black/north), which inclines to the energy of yin. Whereas, the peculiarity of self- existence lies in the area of east(blue) and south(red) of Yin-Yang and the Five Elements, which inclines to the energy of yang. Besides, the target orientation lies in the west(white) area which involves relativity revealed by movements and stillness, that is, ambivalence of the yin and yang, and self-acceptance is placed in the center(orange) of the Yin-Yang and the Five Elements.
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본고는 이희목 교수에 의해 십수년 전에 보고되었으나, 그 사이 학계에서 ‘잊혀진' 자료였던 이건창의 「이탁오찬」이란 글의 존재를 학계에 환기하고, 그 내용과 의의를 검토하여 이건창 문학을 새롭게 이해하는 시각을 제시하려는 목적에서 집필되었다. 「이탁오찬」은 陽明左派의 성립에 중요한 역할을 하였던 李贄를 칭송하는 내용을 담은 글이기에, 최근 들어 그 열기가 더해지고 있는 양명좌파와 公安派의 수용에 대한 연구에 있어 매우 중요한 자료가 아닐 수 없다.<BR> 「이탁오찬」은 이건창이 20대에 지은 글인데, 이 당시 내면적으로 울분상태에 있던 이건창은 양명좌파 및 공안파를 접하면서 많은 위안을 받을 수 있었다. 이후 이건창은 양명좌파 및 공안파와 일정한 거리를 두게 되지만, 양명좌파 및 공안파의 사유를 자신의 문학적 목표와 실천의 자양분으로 적절히 활용하였다. 이러한 점은 이건창 문학을 주로 ‘古文'적 관점에서 접근 하였던 기존의 연구에서 주목하지 못했던 부분이라 할 수 있는데, 실상 이건창 문학이 위대한 까닭은 양명좌파, 공안파, 동성파 등등의 외부적 요인을 주체적으로 활용하여 자신만의 독특한 색깔로 재창조했다는 점에서 찾아져야 할 것이다. 그리고 이러한 점은 양명좌파와 공안파의 수용에 있어 ‘주체'의 측면을 제대로 고려하지 않는 최근의 연구경향에 대해서도 시사하는 바가 적지 않다고 할 수 있다. The material, 「lee tak oh chan(李卓吾贊)」, was reported approximately a dozen years ago by a Professor Lee, Hee-mok. But this material has been "forgotten" in the academic society. This abstract has been created with an aim to propose a new point of view to understand the literature of Lee, Kun-chang(李建昌) by reviewing the 「lee tak oh chan」. 「lee tak oh chan」 contains materials that look up to Li zh? who had played an important role in establishing a Radical Yang-ming school, which cannot be a crucial material in the sense that recently its academic heat has been increasing toward Radical Yang-ming school and Gong-an School.<BR> 「Lee tak oh chan」 was made by Lee, Kun-chang in his twenties. At the time, Lee, Kun-chang who was in depression of his days had been consoled much by Radical Yang-ming school and Gong-an School. Since then, he placed a certain distance to Radical Yang-ming school and Gong-an School, however he applied appropriately Radical Yang-ming school and Gong-an School to sources of nutrition of literary object and performance. These points were something that at-the-time research hardly took notice of having the viewpoint to access to Lee, Kun-chang literature based upon "Guwen(Classical literary Style 古文)". In fact, the reason, we have to understand, that the greatness of Lee, Kun-chang literature is that it recreated outer factors of Radical Yang-ming school, Gong-an School, Dong-sung School, etc subjectively in its unique color.<BR> And, in this respect, it suggests us a lot in the sense that even recent research trend tends to hardly focus upon "subjectivity" in the absorbtion of Radical Yang-ming school and Gong-an School.
This study explores East-West cultural interactions during the Sui dynasty by examining the structures and murals of the Dunhuang Mogao Caves, also known as the Thousand Buddha Grottos, which so far have received less attention than their importance merits. It focuses on the relationship between Dunhuang and the Changan and Luoyang regions, rather than on the interactive relationship between Dunhuang and the countries to the west of China hitherto emphasized by academic circles. Furthermore, it examines the important role that Dunhuang played during the Sui dynasty and the impact of the revival and subsequent frustration of Sui Emperor Yang's pipedream Silk Road initiative on the Dunhuang Mogao Caves. First of all, in terms of the grottos' structure, the central-pillar grottos, which were prevalent in the Northern and Southern dynasties, continued into the Sui dynasty, but there was a change in both the shape and height of the central pillar and in the Buddha statue enshrined in the central pillar. The overall structure has been confirmed as forming a set relationship with the three-wall structure, each wall having a niche. Investigation of the Mogao Caves has identified not only the popular but short-lived three-wall structure with niches characteristic of the Sui dynasty, but also a cave structure with an altar set into the front wall (正壁設壇窟), which was only built during the reign of Emperor Yang of Sui, and a cave structure with three walls, each with an altar (三壁設壇窟). These grotto structures have all been found to share similarities with those in the regions of Hebei, Henan, and Shanxi, which date from the Northern and Southern dynasties to the Sui dynasty. In addition to the different grotto structure, the Sui Mogao Caves contained fewer of the murals of the Buddha's Life Story and the Buddha's Previous Birth Story popular during the Wei-Jin and Northern and Southern dynasties, and instead featured a new style of mural, “Paintings of Sutras”. First, the Murals of the Vimalakirti Sutra in the Sui Mogao Caves depict statues of Vimalakirti and Manjusri sitting inside house-shaped buildings. In fact, this layout differs from that of the Mogao Caves in the Northern and Southern dynasties, and rather seems to be connected with the sculptures inside the grottos, represented by the Liushi Cave of the Longmen Grottos, in the Henan region. A close examination of the painting of the Amitabha Buddha's Pure Land in the Sui Mogao Caves, with the focus on the canvas structure expressing the Western Paradise World and the posture of the Amitabha Triad, revealed many similarities with those of the Nan Xiangtangshan Caves in Northern Qi. The newly discovered details of the structure and murals of the Sui Mogao Caves are different from those of their counterparts in Central Asia, which were strongly reflected in the Dunhuang grottos in the Wei-Jin and Northern and Southern dynasties, and are closely connected with the grottos in the Changan and Luoyang regions of Eastern China in particular. This suggests that, during the Sui dynasty, there was a close interaction between the Dunhuang region and the Changan and Luoyang regions. Among such interactions, human interactions are deemed the most important. First, as regards the movement of people, the examination of history books and cemetery names has made it possible to identify political officials who were appointed to the Dunhuang area from inland China. Second, when the Stupa to Emperor Wen of Sui was erected in 601, it is noted that the monk Jiui, who stayed in the Mogao Caves Jisang monastery-Sunggyo Temple for several years after being sent there, was identified as a monk of Northern Qi lineage. Furthermore, analysis of the Buddhist scriptures discovered in Dunhuang revealed that the monks who lived in Changan moved to the Dunhuang area, suggesting the spread of the Buddhist culture of the Changan and Luoyang regions. Lastly, Emperor Yang's Silk Road initiative was presented as the reason for and background to the massive change that occurred once again in the Mogao Caves during the reign of Emperor Yang of Sui. Emperor Yang sent Baegu to Dunhuang on a diplomatic mission with various western countries, and he himself traveled to the Hexi region in 607. This fact is presumed to constitute the background to the major changes that occurred in Dunhuang, a key center of East-West exchange at that time, and in the Mogao Caves. However, Emperor Yang's Silk Road initiative lost its force with the fall of the dynasty, and, as a result, it is presumed that the excavation of Mogao Caves and new elements also lost the light of their glory.
The aim of this study is to explore the correlations between fasciology and yin yang doctrine. Professor Yuan developed fasciology by three-dimensional reconstruction of connective tissue (fascia) in the trunk and limbs of the human body and tracing back to tissue origins in light of biological evolution and developmental biology. Fasciology states that the human body can be divided into two systems: the supporting-storing system and the functional system. This article elaborates on the roles of the two systems and their mutual relationship. The two systems are used to analyze the yin,the yang, and their relationship. The two systems are promoted but also restricted in different contexts. The supporting-storing system is formed by undifferentiated connective tissue and provides undifferentiated cells and nutrients for differentiated cells of the functional system. Thus, the supporting-storing system could be classified as quiet, similar to yin. The functional system continuously maintains the various functional activities of the human body. Thus, the functional system could be classified as active, similar to yang. In interpreting the yin yang doctrine from the point of view of fasciology, yin can be compared with the supporting-storing system and yang can be compared with the functional system.