Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo’s attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics’ interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in the general appreciation of the style as the color-compositional design. Yoo’s works have been related to such design-like aspect of the abstract paintings, yet, some of his works attest to the visual shift from the constructivist to the painterly dimension. As witnessed in his photographic works taken in Gyeongju in 1942, Yoo’s interest lies in the geometric shapes of the photographic objects rather than the landscape or the documentary aspect of the view. Seen in the series of photographs, he began extracting the ideational images from the observation of the subject matter. The ideational images ultimately configure the geometric shapes, yet they differ from the previous abstraction in that they originate from the representation rather than the conceptual realm. I do not see such shift in style as a form of regression. Such change is only natural considering the artist’s move from Japan where the westernized civilization had created a geometric environment to Korea where the mountainous curves and nature still abounded.

'Cheon' is one of four categories with 'Ki'(氣), 'Do'(道), ‘Ri'(理). Specially 'Cheon' meaned sky is so important that most of philosophers have referred to it. 'Cheon' is widespread, so it has been the object of the astronomers and subject of the philosophers. All recognize the conception definitely and consistently, in the other hand some vaguely, someone give different conceptions. Therefore this paper is written with a view to right recognition of the conception and relationships with the human by the study of significance changes by the times.

Ki is the important conception of Chinese philosophy, many of philosophers have discussed it. So the meaning of it is various in accordance with the times and the scholars. And it has been discussed not only in the sphere of philosophy but medicine, astronomy, g eography, society and culture ; therefore we can't understand the Oriental studies without the comprehension of it. Above all, the Oriental-medicine is based on the principles of it, that is to say 'Ki-medicine'. There are Ki of a letter, Ki of a philosophy, Ki of a nature and Ki of the human body according to the recognition process from that time on the ancient. This paper is written with the view of the right understanding about it by the comparison of various theories dealed with it.

For the purpose of developing Korean Herbalogy with the plants of Caryophllcceae which grow wild and is planted in Korea, the these and writings on herbalogy, from literature of successive generation, have been thoroughly investigative and the results obtained were as follows: 1. There were totaled to 20 genera and 124 species in Korea and among them midical plants are 11 genera, 30 species, some 24% in total. 2. According to the oriental names which can be used for medical purpose, the medical plantss belonging to the Caryphllaceae family were classified as Herba 11, Radix 7, Foilum 2, Semen, Flos, Rhizoma 1 each 3. According to sum of 124 species in Caryophllaceae family, they were classified into Cerastium genera 18, Dianthus gemera 16, Pseudos tellaria genera, Lychnis genera, Stellaria genera 12 each, Melandry um genera 11, Silene genera 10, Minuaria genera 8, Gypsophila genera, Sagina genera 5 each, Arenaria genera, Cucubalus genera 3 each, Spergual genera, Vaccaria genera 2 each, Agorostema genera, Amnodenia genara, Moehringia genera, Myosoton genera, Honkenya genera 1 each. Thus it was noticed that Cerastium genera was main kind 4. According to the number of species of the orgin plants about each chinese materia medicals, they were classified into HERBA DIANTHI 4, RADIX PSEUDOSTELLARIAE 3, SEMEN VACCARIAE 5, RADIX GYPSOPHILAE 4. 5. According to the properties and principal curative action, they were classfied into drugs for treating febrifugal and removing heat from blood, Diuretocs 6 each, Drugs for treating febrifugal and detoxicant 2, Drugs for invigorating blood, circuration and eliminating blood stasis 3, tonics 1, easing joint movement 1, stimulation of lactation 44. 6. According to nature and flavour of medical plants, they were classified into warmth, heat; each 3, cold, cool; 11each, balance 3 and unidentifird 2. Thus it was noticed that cold and cool is the main in nature and flavour of medical plants. 7. Toxic drugs were none. From this results, It was revealed that the plants for medical purpose in Caryophllaceae was 24% of the whole, in which Herba was mostly abundunt. It is considered that may expriements and clinical approches must be continued to use Caryophllaceae plants widely.