Earticle

본 연구는 조선백자의 흰색을 통해본 한국인의 원형적 심상을 연구한 논문이다. 논문의 구성은 연구의 필요성, 조선백자의 형성과 변천과정, 조선백자의 흰색의 의미를 알아보고 조선백자의 흰색이 한국인의 원형적 심상에 어떻게 반영하는지를 고찰하고자 하였다. 조선백자는 한국적인 미의식을 대표하는 예술로 평가받고 있다. 미의식은 개인의 주관적 아름다움에 대한 인식뿐 만 아니라 집단이 공유하는 정서적 원형을 공유하는 것이며, 예술작품에 나타난 원형적 상징을 이해하는 것은 인간정신의 보편성, 집단의 공동가치를 공유하며 치유적 힘을 갖게 된다. 그러므로 가장 한국적인 미의식을 담고 있다는 조선백자에 담긴 상징을 이해하는 것은 한국인에게 내재한 원형적 심상을 찾을 수 있고 예술치료에 적용할 수 있다는 면에서 중요한 가치를 지닌다. 연구결과 조선백자의 흰색을 통해본 한국인의 원형적 심상은 세 가지로 요약할 수 있는데 첫째, 겸손. 둘째, 조화로움. 셋째, 가치 지향적 삶의 추구이다. 조선백자에 나타난 원형적 심상은 한국인의 보편적 가치를 보여주고 있으며, 예술을 이해하는 것이 인간의 이해는 물론 우리가 지향한 가치의 승화로서 그 자체가 치료적 힘을 가지고 있다는데 의의가 있다.

This study discussed the prototypical images of Korean in the white color of Joseon's white porcelain. This study consists of why this study is needed, the formation and development of Joseon's white porcelain, the meaning of white color of Joseon's white porcelain, and how the white color reflects the prototype image of Korean. Joseon's white porcelain is known as the art that represents the aesthetics of Korea. The aesthetics is not just about one's subjective view of beauty, but it is the emotional prototype shared by a group of people. Understanding the prototypical symbol of an artwork means shares universal human spirit and the common value of a group, which can be used for therapy. Therefore, understanding the symbolic meaning behind the white porcelain of Joseon, which conveys the most symbolic character of Korean aesthetics, has an important value as it can lead to the prototypical image inherent in the Korean people and apply it to art therapy. As a result, the prototypical images of Korean in the white color of Joseon's white porcelain can be summarized into three images: modesty, harmony, and pursuit of value-oriented life. The prototypical images of Joseon's white porcelain show the universal value of Korean, and understanding art is significant as it has therapeutic power as an understanding of mankind and a sublimation of value we pursue.

The recessive white (locus c) phenotype observed in chickens is associated with three alleles (recessive white c, albino ca, and red-eyed white cre) and causative mutations in the tyrosinase (TYR) gene. The recessive white mutation (c) inhibits the transcription of TYR exon 5 due to a retroviral sequence insertion in intron 4. In this study, we genotyped and sequenced the insertion in TYR intron 4 to identify the mutation causing the unusual white plumage of Yeonsan Ogye chickens, which normally have black plumage. The white chickens had a homozygous recessive white genotype that matched the sequence of the recessive white type, and the inserted sequence exhibited 98% identity with the avian leukosis virus ev-1 sequence. In comparison, brindle and normal chickens had the homozygous color genotype, and their sequences were the same as the wild-type sequence, indicating that this phenotype is derived from other mutation(s). In conclusion, white chickens have a recessive white mutation allele. Since the size of the sample used in this study was limited, further research through securing additional samples to perform validation studies is necessary. Therefore, after validation studies, a selection system for conserving the phenotypic characteristics and genetic diversity of the population could be established if additional studies to elucidate specific phenotype-related genes in Yeonsan Ogye are performed.

본 연구는 기본 범위로 인식하고 있는 오색설을 바탕으로 한 白色의 실제 한, 중 양국의 전통 喪禮의 색채 운용 예를 검토 대상으로 설정하고 있다. 그러므로 본 논문에서 고대 한국은 중국의 음양오행설 특히 五色說의 깊은 영향을 받았음을 전제로 하고 있다. 또한 양국의 백색의미의 상관성을 이해하기 위하여 우선 중국의 백색이 오색설 가운데에서 어떠한 위치와 상징적인 의미를 지니고 있는지를 문헌중심으로 분석, 설명하여보았다. 본래 백색이란 애매모한 대상이어서 문헌인용만으로는 부족하다. 오히려 백색은 사회적인 현상이라고 할 수 있으며 문화, 특히 전통상례를 초월한 백색의 의미는 존재하지 않는다. 그러므로 문화적인 측면에서 그 의미를 파악하고자 중국 호남성(湖南省)장사(長沙) 지방을 둘러싼 주변 지역의 현지조사를 통하여 직접관찰과 상례의 체험, 현장감 있는 상례와 관련된 민속자료를 수집해보고 다양한 상례사진을 인용 설명하여보았다. 게다가 특정색채인 백색을 선정한 만큼 이를 둘러싸고 있는 배경현상과 사물의 구조적인 분석을 가하는 종합분석법과 비교연구법등의 다양한 시도를 해보면서 그 의미를 간단히 정리해보았는데, 결국 오색설중의 백색이 상징하고 있음은 슬픔의 여부를 막론하고 죽음(死)을 의미하고 있는 것임에는 변함이 없다.

Comparative Study on "The Culture of White Color" in Funeral Rites between in Korea and China: ― Based on the custom in Changsa(長沙), China and in Jindo(珍島) province, Korea ― Lee, Jeong-sik This study has established the examination object - the examples of practical white color usage based on the five cardinal colors, which is perceived as basic range, in both Korean and Chinese funeral rites. Thus, it premises that the principles of Yin and Yang and five elements, particularly the five cardinal colors, in China greatly affected ancient Korea. Also, it analyzes and explains the position and the symbolic meaning of white in Chinese five cardinal colors attaching importance to literature to understand the connection of white color attribute in both countries. White color itself is a fundamentally vague object and it is insufficient to explain only depending on literature quotation. It is rather referred as a social phenomenon and the meaning of white which transcends culture, especially traditional funeral rites, does not exist. Therefore, it is explained through the quotation of various pictures of traditional funeral rites after the visual observation, experience in real funeral rites, the rites in real funeral service, and related custom material, which are collected through the field examination in the areas around Changsa(長沙), China to understand the attribute of white in terms of color culture. Furthermore, this paper defines the meaning attribute of white, a specific color, briefly with various attempts such as synthetic analysis which adds the structural analysis into the object and the surrounding phenomenon of white color. After all, it is clear that white in the five cardinal colors has the implication of death whether it has the meaning of mourning.

We used some materials, so that a few cements, additives and pigment, to test the durability of concrete. The method of the test was KS F 2403(Method of making and curing concrete specimens), KS F 2405(Method of test for compressive strength of concrete), KS F 2441(Testing method for comparing concrete on the basis of the bond developed with reinforcing steel), KS F 2456(Testing method for resistance of concrete to rapid freezing and thawing), KS F 2711(Testing method for electrical indication of concrete’s ability to resist chloride ion penetration). In result, we could improve the durability of a white color concrete and construct successfully.

Colors in the poems are non-verbal communication. Colors in the poetry have symbolism and color meanings that go beyond ink. Therefore, the purpose of this paper is to investigate how Yeats chooses colors for his poems and how those colors are related to his poetic imagination. Yeats uses many colors in his poems in order to strengthen his poetic themes. The color that he uses quite frequently in The Collected Poems of W. B. Yeats is white. The color white is often related to the fairyland, his ideal land, or the beauty of woman in his several poems. In Yeats's poems, he also equates the love of country with the love of woman. He connects the physical world to the spiritual world by using the color white in his poems. For example, in "The White Birds" Yeats hopes to flee from the material world of sorrow with his beloved in the form of white birds. Yeats describes Maud Gonne's beauty as a white woman because she is the loveliest woman that he has ever met. In his Autobiographies, he says that her complexion was luminous like that of apple-blossom when he met her for the first time. The color of apple-blossom is white. The color white is used in many places in his poems to express the beauty of woman or the love of Ireland. In short, understanding the meaning of white used in his poetry will help us grasp his poems properly.

It is generally held by scholars at both home and abroad that most words are acquired by metaphors which are important signs and ways for semantic changes. Thus, in acquisition of Korean words, learners are encouraged to have a basic understanding of conceptual metaphors and then have an overall command of all words with the cognitive approaches of conceptual metaphors. Moreover, they are supposed to make full use of their mature mind to understand the words. In this way, not only will learners be developed in their way of thinking in Korean language, but also they will become more efficient in words acquisition.

색채어는 사물의 색상을 표현하는 어휘로 다양한 색을 언어적 기호로 나타낸 것이다. 이는 단순히 시각적 색채를 지칭하는 언어 부호를 넘어, 한 민족의 세계관과 문화적 심상을 내포하는 상징 체계로 기능하다. 동아시아 문화권에서 중국과 한국은 음양오행 사상의 공유된 유산을 바탕으로 ‘청·적·황·백·흑’으로 대표되는 오색 체계를 형성하였으나, 각자의 역사적 경험과 사회적 맥락에 따라 색채어는 독자적인 의미의 부여하며 발전해 왔다. 중국은 일찍부터 음양오행설에 기반한 색채 이론을 수용하여 ‘청, 적, 황, 백, 흑’ 다섯 가지를 중심으로 한 ‘오색설’을 정립하였다. 한국도 고대부터 중국의 음양오행 사상 영향을 받아 색채어를 삼색, 오색, 혹은 칠색으로 분류하였으며 한자어 색채어가 유입되면서 색채를 더욱 세분화하여 표현하게 되었다. 중국어와 한국어의 색채어는 유사하게 구분되어 있지만 실제 색채어의 의미장을 살펴보면 양국 간의 관용 표현 및 민족문화적 차이로 인해 동일한 색채어라도 전달하는 의미가 다르게 나타난다. 이에 본고는 중국어 색채어 ‘白’과 한국어에 대응되는 ‘희다/하얗다’를 연구 대상으로 삼아, 중·한 ‘희다’ 계열 색채어의 의미 기능과 의미 확장 양상을 비교 분석하고자 한다. 아울러 ‘白’과 ‘희다/하얗다’가 관용 표현과 민족문화적 차이에 따라 형성된 상징 의미의 공통점과 차이점을 규명하는 것을 목적으로 한다.

This study conducts a comparative analysis of the color term “white” in Chinese and Korean, focusing on the lexical items “bai” (白) in Chinese and “huda/hayata” (희다/하얗다) in Korean. Color terminology functions not merely as a linguistic signifier of visual hues but operates as a symbolic system that encompasses a nation's world view and cultural imagery. Within the East Asian cultural sphere, both China and Korea have developed the five-color system “blue, red, yellow, white, and black” rooted in the shared heritage of Yin-Yang and the Five Elements philosophy. However, influenced by their distinct historical experiences and social contexts, color terms in each language have evolved along unique semantic trajectories. The research begins by examining the prototypical meanings of these terms and subsequently investigates their extended meanings through the mechanisms of metaphor and grammaticalization. The contrastive analysis reveals that the divergent semantic extensions in the two languages reflect distinct historical and cultural influences, manifesting in conceptual domains such as emotion, physical state, and socio-cultural values. The findings demonstrate that the Chinese term “bai” exhibits a wider and more diverse range of extended meanings compared to its Korean counterparts, particularly in abstract and socio-cultural domains. This research contributes to the cross-linguistic understanding of how color terminology evolves and varies across different cultural contexts.

상복은 상중에 있는 상제나 복인이 입는 예복으로 엄숙하게 갖추어 입는 것은 인간의 생명에 대한 존엄성을 나타내는 것으로, 삶과 죽음의 갈림길에서 죽은 사람을 예로써 보내기 위한 산 사람들의 예의 표현방법이다. 상복이나 수의(壽衣)는 민족이나 문화, 지역에 따라 표현 색상이 다르게 나타나고 있으나 상복 색상의경우 유럽을 비롯한 서구 문화권은 검은색, 아시아 중심의 동양 문화권은 흰색으로 양분화 하여 나타나는것을 볼 수 있다. 이러한 상복의 모습을 당연시하게 볼 수 있으나, 생과 사에 대한 각 문화권의 내재된 상징적의미를 색채를 통해 이해할 필요가 있다. 흰색과 검정색은 인간의 생과 사를 표현하는 원초적인 색상으로동양의 상복에서는 흰색으로, 서양의 상복에서는 검정색으로 나타난다. 동양과 서양의 사상체계와 죽음의의미를 살펴보았을 때, 동양은 삶과 죽음, 영혼과 육체를 하나의 동일선상에서 보는 일원론적 관점으로 우주적 생명과 연관되는 순환적 양태를 보인다. 반면 서양은 영혼과 육체를 분리하는 이원론적 관점으로 죽음이후를 신앙의 문제로 여기거나, 인간이 죽음을 극복하는 순간에 맞추어 사고한다. 동·서양의 사상체계와 죽음의 의미를 살펴보면 동양 상복에서의 흰색은 물질 이상의 것, 순수함과 깨끗함을 의미하는 것으로 죽음을대하는 긍정적인 자세를 나타낸다고 할 수 있으며 죽음을 생의 끝으로 보지 않고 또 다른 생명의 시작으로여겨 태양빛과 같은 흰색을 상징한다고 할 수 있다. 서양 상복에서의 검은색은 죽음 이후의 정의할 수 없는미지의 두려움과 공포의 대상으로 극한 슬픔과 부정성을 표출한다. 또한 16세기 이후 변화한 검은색 상복은살아 있는 자, 남아 있는 자를 위한 색으로 변화되었다고 할 수 있다.

The colors expressed in mourning clothes appear different according to ethnicity, culture or region, but the colors of the mourning clothes seem to be polarized, in other words, black in the Western sphere of culture, including Europe and white in the Eastern sphere of culture centered on Asia. Judging from the system of ideology and the meaning of death in the East and West, the East has the perspective of monism that looks at life and death, soul and body at the same level, which shows a cyclic aspect related to a cosmic life. In contrast, the West has the perspective of dualism that separates soul and body, which considers a life after death a matter of faith or thinks, focusing on the moment when man overcomes the death. White in Eastern mourning means purity and cleanliness more than the material, which shows a positive attitude toward the death. In addition, regarding the death not as the end of life, but as the beginning of another life, it symbolizes white like sunlight. Black in the Western mourning clothes expresses the unknown fear that cannot be defined after the death and extreme sorrow and negativity by a terror. In addition, black mourning clothes changed since the 16th century have turned into the color for the living, the ones who are left.

로트만의 관점에 의해 문화현상을 기호학적 관점에서 분석하고자 한다. 기호는 기표(記標)와 기의(記意)로 나눌 수 있는데, 기표는 의미하는 것이며, 기의는 의미되는 것이라고 한다. 본문에서는 색채어 ‘白’과 ‘红’을 색채기호로 정의하고, ‘白’과 ‘红’의 ‘기표’와 ‘기의’를 정리하였으며 사회적, 문화적 영향을 가장 많이 받는 ‘白’과 ‘红’의 ‘기의’의 의미기반을 한·중으로 나누어 살펴보았는데, ‘白’과 ‘红’의 의미를 한국과 중국에서 공통으로 사용하는 것과 서로 다르게 사용하고 있음을 알 수 있다. 또한 한국어에서는 ‘白’을 상서롭고 신성하며 고귀한 색깔로 사용하여 긍정적인 면이 많은 반면에, 중국어에서는 ‘红’을 기쁘고 상서로우며 번영과 성공의 색깔로 사용하여 긍정적인 면이 훨씬 많이 있음을 알 수 있다. 흥미로운 것은 한(韓)민족과 중국 한(漢)족은 모두 태양을 숭배했지만 한민족은 태양을 ‘흰색’으로 보았고, 중국 한족은 태양을 ‘홍색’으로 보았다. 이런 현상은 색채뿐만 아니라 문화 전반에 걸쳐 일어날 수 있다. 따라서 서로 다른 문화에 대해 편견 없이 인정하고 존중하는 태도가 중요하다. 색채기호 ‘白’과 ‘红’에 대한 한·중의 의미비교분석을 통하여 한·중 문화를 이해하는 계기가 되기를 기대해 본다.

Lotman tried to analyze all the cultural phenomena from the semiotic perspective. In the Course in General Linguistics(Cours de linguistique générale), Saussure said, “Language is a system of signs expressing concepts, and, thus, it can be compared with writing, sign language, symbolic rituals, etiquette forms, and military signs. But, language is only the most important system among those systems.” In his view, language is only signs. Sign can be divided into two elements: gipyo (記標) and gieui (記意), Gipyo is what the sign means, and gieui is what is meant by the sign. Gipyo is physical means or medium, and gieui can be said to be the concept related with gipyo, and it is formed in relations with other cultural elements in the cultural and historical processes. This study defined color terms ‘while, 白’ and ‘red, 紅’ as color signs, and arranged gipyo and gieui of ‘白’and ‘红’. Then, this study compared gieui of ‘白’and ‘红’, which are strongly influenced by the social and cultural aspects both in Korea and in China, and found out that there are some commonly used meanings in both countries, and there are different meanings in those countries. ‘白’ is considered in Korea as an auspicious, sacred, and precious color. So, it has a positive meaning. In contrast, ‘红’ is considered in China as a pleasant, auspicious color, and that of prosperity and success. So, ‘红’ has a positive meaning. What is interesting is that while both the Koreans and the Chinese have respected the sun, the former have seen it as being ‘white’ color, and the latter as being ‘red’. We can understand that the two peoples have seen the same object as being different colors depending on what colors they prefer. Such phenomena can occur not only in color, but in culture in general. Consequently, it is important for us to have attitudes to recognize and respect other cultures without any bias to them. It is expected that comparison of meanings of color signs ‘白’and ‘红’ in Korea and China can be a momentum to understand Korean and Chinese cultures.

In this paper, I try to help the business operation so that they could continue the desirable operation despite the unfavorable conditions. It is important to reinforce for corporate growth various support measures to generate profits. However, if they are involved in criminal activities such as slush fund creation, they will have to deal with them separately. As a result, To raise awareness helps to keep the company running. Recently, the companies are in a poor condition due to overseas migration. If a company does not create profits by doing business, it is a burden to continue operating and it will eventually be hard to support and destroy. The corporate crime and white-collar crime are mostly similar types, mainly because they occur in the industry. The corporate crime proceeds throughout the company and ultimately translates into corporate profits. The white-collar crime, on the other hand, is a profitable part of the individual. In the process of generating profits, the purpose and management method of slush funds is an important issue in judging whether illegal immorality of business is intended or not. In addition, in the case of the corporate crime, it seems necessary to identify the types of slush fund raising activities in addition to the investigations of the accomplices and clinical investigations, and to apply efficient investigation methods on a case-by-case basis. At present, many companies frequently migrate overseas due to the influence of domestic regulations. In this process, if it is involved in crime such as a borrowing accounts or the purpose of slush fund creation should be treated separately.

In this paper, a novel solution and application of the red Y2O3:Eu3+ dopant phosphor for enhancing color rendering index to more 86 for multi-chip white LED lamps (MCW-LEDs), which have correlated color temperature (CCT) of 7700 K, 6600 K, 5600 K, are presented. Then the effect of the concentration of Y2O3:Eu3+ phosphor on the color rendering index (CRI) is simulated, analyzed and demonstrated. After that the lumen output of MCW-LEDs depended on concentration Y2O3:Eu3+ phosphor is discovered. The lumen output has a decrease tendency at large weight range due to the enhancement extinction coefficient, according to Mie-scattering theory. Simulation results provided important conclusions for selecting and developing the phosphor materials in MCW-LEDs manufacturing.