동양꽃꽂이는 고대에 신에게 헌화한 공화양식으로 좌우대칭의 삼존형식의 엄격한 삼각형의 조형미를 갖추고 있었으며 침봉을 사용하여 꽃을 고정하므로 쉽게 꽂을 수 있었다. 서양꽃꽂이는 이집트시대에 꽃을 연속반복으로 쌓아 올려 원추형의 형태를 이루어 현재 vertical form의 근원으로 보고 있다. 그리이스 시대에는 부드러운 S라인 형식을 주로 사용하였고, 로마시대에는 꽃들의 중심을 풍성하고 화려하게, 갈수록 낮고 가늘며 긴 수평형으로 연결하였다. 페르시아 시대에는 동양의 삼존형식과 비슷한 triangular 조형을 나타내고 있다. 그리고 르네상스 시대에 꽃꽂이도 고전의 바탕위에 기본형이 창조되었으며, 19세기말 동양미술의 온화한 색과 단순미, 사실적 묘사 등에 영향을 받아 20세기 미국을 중심으로 양적 mass에서 공간미학까지 꽃꽂이의 영역이 광범위하게 표현되는 art nouveau 시대로 이어졌다. 서양꽃꽂이는 조형성에 기초를 두는 것은 동양꽃꽂이와 같으나 자연성이 거의 무시되고 실용성에 근거를 삼는 것이 특징이다.

We are so used to the concept of the term 'space' that we do not question its conceptual validity. However, this paper argues that the notion of space prevailing all over the world, is not a universal concept that can be applicable to all architectures of the world, but is a particular concept that is generated from the Western way of thinking. This paper alms to identify the conceptual structure of the idea of space as it is originated in the tradition of the West, and, as an alternative view of space, tries to identify the nature of the view of space perceived in the tradition of the Eastern architecture. Comparison of the two views, that of the East and the West, and their meaning in the future of architecture, is another task to discuss in this paper. To be able to clarify the meaning of space in East Asian tradition, a set of new perspective of understanding of space was invited. They are ; 1. sky-earth(天地); insisting that the notion of space should be replaced within the context of sky, which is one half of sky-earth totality 2. energy of the air (空氣), space is not empty part inside of a building, but is a dynamic condition of air that is a part of the sky which always exist in form of energy 3. place(자리): instead of space, which, basically. is a man-made concept, idea of place is necessary, which include not only space but also earth Such concept of space which is different from the notion of space of the West, is meaningful not only to identify the idea of space in the East, but also to be able to contribute for more dynamic, varied, and balanced understanding of space.

All architectures in the history have certain attitudes of aesthetic expression of their own. Depending on the culture, such aesthetic attitudes are not the same but different. This paper aims to identify the nature of the difference of aesthetic attitude in the architectures of the East and the West. As a way of approach for this purpose, two keywords are employed as representative concept. They are: 'proportion' and 'vitality'. Proportion, of course, represent the attitude of the Western, while, vitality, the Eastern. Although these two words are subjective selection, it is hoped that the nature of aesthetic attitudes could be observed through the windows of these two representative concepts. We all know that the architects and students of architecture of this period, are very much concerned about the aesthetic expression of their design. However, the value judgement of aesthetic quality seems quite confused in modem period. If the nature of aesthetic attitudes of the Eastern and the Western architecture is well understood, such understanding will help much for the direction of architectural aesthetic of future architecture.

All architecture in the history were based on a certain concept of architectural unit that functioned as a base model of architectural design. As we know, such model was not the same in the East and the West, and therefore, their architectures are not the same. This paper aims to identify how and why such base model of the two cultural area are different. As one way of discussing this issue, the concept of particle and field, as two representative idea of the West and East respectively, the employed. This kind of discussion can not follow the way of scientific verification as method of argument. However, the understanding of such concept of unit model is crucial for the understanding of the architecture of the culture in general. In basic sense, the tradition of Western architecture is rooted in the model of particle, where, architecture is conceived to be as a independent unit standing on earth as if it is a box like object. While, the tradition of Eastern architecture is rooted in the model field, where, architecture is conceived to be a part of field organization. In present days, we are used to the model of particle as if it is the only possible model of architecture. But, in fact, what man need to achieve in their architecture and city, is the balance between the two models.

Perception of architectural experience is different in different culture. This paper aims to identify how the experience of architecture is understood to be different in Eastern and Western culture. The discussion is based on the idea that the Western architecture placed more emphasis on visual perception, while the Eastern, on mutual responsiveness between man and built environment. The fact that the Western culture is more visually oriented than other culture, and therefore visual aspect of architecture, too, is considered to be very important, is already widely agreed among scholars. But, then, what had been considered to be important in the architectural experience in the East? It is the degree and quality of mutual responsiveness between man and architectural environment. This fact influenced much on the making of architecture of course, and the same fact played the key role in making the Eastern architecture different from that of the West. We are so used to the way of architecture of the West, that the quality of responsiveness is unknown if not forgotten. However, it is not the quality that was useful only in traditional society of the East, but necessary in our modem period as well. The quality for responsiveness, therefore, should be rediscovered and restored as the prime value and quality of architecture in the future architecture.

The tradition of architecture in the East and the West are different in many ways. One of the basic cause of such difference, however, is the different ways of perception of space and time. This paper aims to identify the attitude of perception of space and time in the cultures of the East and the West, and its influence on architecture. Degrees of importance placed on either space or time, as well as the modes of perception of space and time are discussed in relation to architecture. Basically, the architecture of the West seems to be more spatially oriented than the East, and this have much to do with the fact that the tradition of Western architecture is visually oriented. On the other hand, East Asian architecture have been more conscious on bodily feeling and its movement in architecture. Spatial units of traditional Eastern architecture, are arranged in such a way in which man can experience the change of space that is supposed to be organized to form a sequential message. Thus, in the East, temporal dimension is more deliberately included in the course of architectural experience compared to the cases of the West. Although it is not easy to attempt any kind of value judgment on such aspects, it is necessary to understand how the different perception of space and time influenced architectural outcome, especially when one wants to understand the cultural cause that have made the architectures of the East and the West very different. Such understanding is particularly important in East Asia where their future of architecture depends much on how they harmonize the Eastern and Western background which are already built up as two cultural structure in their consciousness to be able to create more desirable architecture for themselves.

This paper aims to identify the meaning of architectural form of the East and the West. Ordinarily, we know the visual differences of architectural form between the two cultural families, and the technical reasons of such differences. However, the East and the West have their own views of architectural form that are derived from their own views of architecture, and again the views of architecture are rooted in their own views of the world. The paper maintains a comparative stance between the two cultures in analyzing the different concepts of architectural form, and employ the ideas of 'Form(形象)' and 'Energy-Form(氣形)' as a kind of representative concept of the two views of architectural form. It is discussed that the idea of Form pursued the realization of ultimate substance which is less materialistic but more ideal., while, the idea of Energy-Form pursued the realization of oneness and health through mutual interaction between man, architecture and nature. Architectural form in the West has been the purposeful expression of human ideal, while in the East, it was an expediential device for better energy condition. It seems important to understand such differences of the meaning of architectural form between the East and the West, since, in present time, we tend to think that the Western conception of architectural form is the only possible one. But it is not generally known that the Western conception of form has very particular background reason of its own which is unique to Western culture, and on the other hand, the nature of East Asian conception of architectural form is generally unknown.

Purpose – It is well known that chemyon, referred to by Westerners as face, naturally penetrates the daily life of Asians and influences their cognition, emotion, and behavior. Studies related to chemyon have been conducted in marketing and consumer behavior fields (e.g., luxury products or brands, service failure and recovery, brand preferences, consumer decision making, wedding ceremony, gift giving). A bulk of studies demonstrate that chemyon influences consumption behavior in Asian consumers. Although chemyon significantly influences consumption behavior of Asian consumers, it is also a cultural phenomenon that is not completely explained within the Western viewpoint. Whereas a number of researchers have approached cross-cultural studies of Asian and Western consumers, a limited number of studies have examined it from the perspective of chemyom. The purpose of this study is to compare the phenomenon that chemyon (face) not only affects the consumption behavior of Asia and the West universally (pan-culturally), but also distinctively (culture-specifically). That is, the purpose of this study is to describe that chemyon (face) is not only a culture-specific phenomenon but also a universal phenomenon in the consumption behavior of Asian and Western consumers, even though the extent that chemyon (face) impacts consumption behavior is differentiated. This study aims to understand commonalities and differences between Asian and Western consumption behavior in terms of chemyon (face), and to suggest how to enhance marketing effectiveness in a global market based on understanding the consumption behavior of Asia and the West. Research design, data, and methodology – Using systematic literature review and meta-analysis, this study investigates consumption behavior of Asian and Western consumers from the perspective of chemyon (face). Systematic literature review was used to compare face (chemyon) consumption of Western consumers with that of Asian consumers. To verify systematic literature review, meta-analysis was also accomplished. Results – First, the influence of face (chemyon) on consumption behavior is observed in Western consumers as well as Asian consumers. Second, Asian consumers are more influenced by face (chemyon) than Western consumers. Conclusions – Overall, chemyon (face) can affect the consumption behavior of Asians as well as the consumption behavior of Westerners.

본 연구는 한국, 중국(조선족), 중국(한족), 미국, 운동선수들이 지각한 리더십유형을 비교 문화적 관점에서 차이를 검증하고, 문화적 특성에 따른 리더십유형이 팀 응집력, 운동 만족도에 미치는 영향을 규명하는데 목적을 두었다. 연구대상은 10- 35세의 한국중국(조선족)중국(한족)미국 운동선수 총계 1020명을 대상으로 하였다. 본 연구의 조사도구는 리더십 행동척도(LSS), 응집력 척도(GEQ), 운동만족 척도로 구성되었고, 수집된 자료를 분석하여 다음과 같은 결과를 얻었다. 첫째, 국가별 운동선수의 지각된 리더십 행동, 응집력, 운동만족도는 차이가 있었다. 둘째, 국가별 운동선수의 리더십 행동은 응집력과 운동만족도에 다르게 영향은 주었다. 결론적으로 비교 문화적 관점에서 동서 국가의 운동선수가 지각하는 리더십 행동, 응집력, 운동만족도는 다를 뿐 아니라 코치나 지도자의 리더십 행동이 응집력과 만족도에 영향을 상이하게 미치고 있기 때문에 응집력 향상과 선수개인의 운동만족도를 향상시키기 위해서는 국가별 운동선수들의 성향을 바탕으로 한 리더십 행동의 포괄적인 이해가 요구된다.

동양꽃꽂이의 기본형에는 直立型, 傾斜型, 橫型 및 垂型이 있으며, 이는 제 1주지의 경사정도에 따라 기본형이 정해지는데 기본방향(각도)을 중심으로 나무의 생김새에 따라 주지가 전후좌우로 약간의 변동(± 15o)이 있을 수 있다. 그리고 변형에는 연화형, 부화형, 복합형, 분리형 및 평면형을 들 수 있다. 서양꽃꽂이의 기본형은 구성모양에 따라 직선구성, 곡선구성, 사방구성 및 mass구성으로 분류할 수 있다.

이 논문에서 필자들은 유럽과 중국에서 거의 비슷한 시기에 나침반이 항해에 이용되었음을 역사적 기록과 최근까지의 연구성과들을 검토함으로써 밝히고자 하였다. 그 연구 결과는 다음과 같다. 첫째, 동서양 문명권에서 항해자들이 나침반을 항해에 이용하기까지 비슷한 과정을 거쳤다. 즉 표침, 축침, 콤파스 카드 순으로 항해용 나침반을 개발하여 사용하였다. 둘째, Frode의 사가(saga)를 고려해 볼 때 중국과 유럽에서는 11세기 경에 나침반을 항해에 이용하였다. 결론적으로 중국인들이 세계 최초로 나침반을 항해에 이용했다는 기존 주장과는 달리, 중국인들과 유럽인들은 거의 비슷한 시기에 서로 독자적으로 나침반을 항해에 이용하였다.