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정형민,Chung, Hyung-Min 한국미술이론학회 2003 미술이론과 현장 Vol.1 No.-
Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employ
정형민 ( Hyung Min Jeong ),한효상 ( Hyo Sang Han ),이영종 ( Young Jong Lee ) 대한본초학회 2013 大韓本草學會誌 Vol.28 No.6
Objectives: This research aimed at studying the immuno modulating activity of Fermented Epimedii Herba (EHS). Method : The impacts on the cell viability, hydrogen peroxide and nitric oxide (NO) generation in cells, and cytokines such as tumor necrosis factor-alpha (TNF-α), interleukin (IL)-6, IL-1β, monocyte chemoattractant protein-1 (MCP-1) level have been measured by using Raw 264.7 cells with the specimen EHS as the fermented extract of Epimedii Herba with Saccharomyces cerevisiae STV89. Result : As a result of MTT assay to confirm the cytotoxicity of extracts from fermented Epimedii Herba, the toxicity was not excessively induced in Raw 264.7 cells when EHS were processed by concentration. EHS increased hydrogen peroxide generation in Raw 264.7 cells. EHS suppressed NO generation in Raw 264.7 cells while they significantly suppressed the increase of NO generation induced by LPS in macrophage. EHS significantly decreased the generation amount of TNF-α and IL-6 induced by LPS in Raw 264.7 cells at 25 ㎍ /mL or more. Conclusion : It appeared that the fermented extract of Epimedii Herba manufactured from Epimedii Herba significantly has the immuno modulating acitivity as it did not excessively trigger cytotoxicity to Raw 264.7 cells, increased hydrogen peroxide generation in Raw 264.7 cells, decreased NO generation in macrophage, and especially, suppressed both TNF-α and IL-6 generation in macrophage induced by LPS.