• Title/Summary/Keyword: "삼국유사(三國遺事)"

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Semantic Interpretation of the Name "Cheomseongdae" (첨성대 이름의 의미 해석)

  • Chang, Hwalsik
    • Korean Journal of Heritage: History & Science
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    • v.53 no.4
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    • pp.2-31
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    • 2020
  • CheomSeongDae (瞻星臺) is a stone structure built in Gyeongju, the former Silla Dynasty capital, during the reign of Queen Seondeok (632~647AD). There exist dozens of hypotheses regarding its original purpose. Depending on to whom you ask, the answer could be a celestial observatory, a religious altar, a Buddhist stupa, a monumental tower symbolizing scientific knowledge, and so on. The most common perception of the structure among lay people is a stargazing tower. Historians, however, have suggested that it was intended as "a gateway to the heavens", specifically the Trāyastriṃśa or the second of the six heavens of Kāmadhātu located on the top of Mountain Sumeru. The name "Cheom-seong-dae" could be interpreted in many different ways. 'Cheom (瞻)' could refer to looking up, staring, or admiring, etc.; 'Seong (星)' could mean a star, heaven, night, etc.; and 'heaven' in that context can be a physical or religious reference. 'Dae (臺)' usually refers to a high platform on which people stand or things are placed. Researchers from the science fields often read 'cheom-seong' as 'looking at stars'; while historians read it as 'admiring the Trāyastriṃśa' or 'adoring Śakra'. Śakra is said to be the ruler of Trāyastriṃśa' who governs the Four Heavenly Kings in the Cāturmahārājika heaven, the first of the six heavens of Kāmadhātu. Śakra is the highest authority of the heavenly kings in direct contact with humankind. This paper examined the usages of 'cheom-seong' in Chinese literature dated prior to the publication of 『Samguk Yusa』, a late 13th century Korean Buddhist historical book that contains the oldest record of the structure among all extant historical texts. I found the oldest usage of cheom-seong (瞻星臺) in 『Ekottara Āgama』, a Buddhist script translated into Chinese in the late 4th century, and was surprised to learn that its meaning was 'looking up at the brightness left by Śakra'. I also found that 'cheom-seong' had been incorporated in various religious contexts, such as Hinduism, Confucianism, Buddhist, Christianism, and Taoism. In Buddhism, there was good, bad, and neutral cheom-seong. Good cheom-seong meant to look up to heaven in the practice of asceticism, reading the heavenly god's intentions, and achieving the mindfulness of Buddhism. Bad cheom-seong included all astrological fortunetelling activities performed outside the boundaries of Buddhism. Neutral cheom-seong is secular. It may help people to understand the nature of the physical world, but was considered to have little meaning unless relating to the spiritual world of Buddhism. Cheom-seong had been performed repetitively in the processes of constructing Buddhist temples in China. According to Buddhist scripts, Queen Māyā of Sakya, the birth mother of Gautama Buddha, died seven days after the birth of Buddha, and was reborn in the Trāyastriṃśa heaven. Buddha, before reaching nirvana, ascended from Jetavana to Trāyastriṃśa and spent three months together with his mother. Gautama Buddha then returned to the human world, stepping upon the stairs built by Viśvakarman, the deity of the creative power in Trāyastriṃśa. In later years, King Asoka built a stupa at the site where Buddha descended. Since then, people have believed that the stairway to the heavens appears at a Buddhist stupa. Carefully examining the paragraphic structure of 『Samguk Yusa』's records on Cheomseongdae, plus other historical records, the fact that the alignment between the tomb of Queen Seondeok and Cheomseongdae perfectly matches the sunrise direction at the winter solstice supports this paper's position that Chemseongdae, built in the early years of Queen SeonDeok's reign (632~647AD), was a gateway to the Trāyastriṃśa heaven, just like the stupa at the Daci Temple (慈恩寺) in China built in 654. The meaning of 'Cheom-seong-dae' thus turns out to be 'adoring Trāyastriṃśa stupa', not 'stargazing platform'.

Park je sang' political position in the Shila nulgi king period (신라(新羅) 눌지왕대(訥祗王代) 박제상(朴堤上)의 정치적(政治的) 위상(位相))

  • Cho, lee ok
    • (The)Study of the Eastern Classic
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    • no.33
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    • pp.231-252
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    • 2008
  • This study is to investigate on focus of his political position change to build up his the real form about Park je sang(朴堤上) who had taken an active part within Shila nulgi king(訥祗王) period on base of previous park je sang' study results. that is, this study took attention about excellent capability by diplomat who had shown his diplomatic ability in complicated and international fields of three countries, and about process of entrance on central political fields by private capability in sap lang(?良) district in relation with building up the real form of park je sang. As result, by means of few investigations about park je sang who had taken an active part, we looked into process how local power man in sap lang(?良) district had built up his position to jin-gol(眞骨) status with strategic location of sap lang(?良) district on shila history within Shila nulgi king period. I think that we found valuable means from figures of a district society in process how Shila had grown with a country of centralizing power.

WATER AND INTROSPECTION (물과 성찰(省察))

  • Shin, Sung-Woong;Cho, Soo-Churl
    • Journal of the Korean Academy of Child and Adolescent Psychiatry
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    • v.12 no.1
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    • pp.3-24
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    • 2001
  • All human being can't exist by oneself. That is, all human being depend on intimate attachment for their survival. Physical and psychological powers and control functions are prerequisites for one's survival and these serve important functions in interpersonal relationships. There are two kinds of powers and controls. One is positive power which helps one survive effectively. Another one is negative power which disturbs one's effective survival. Introspection is one of the positive power and most important process in understanding oneself and others. Thus, the purpose of this study is to elucidate the physical and psychological meaning of the characteristics of water and based on this meaning, to suggest one way of introspection. The authors reviewed the precept of water which is described in Bible and oriental classical books such as 'the Analects of Confuicus(論語)', 'Tao Te Ching(道德經)', 'Mencius(맹자)', 'Chronicle(史記)', 'The Doctrine of the Mean(中庸)', 'University(大學)'. The author also reviewed 'The History of Three Countries(삼국사기, 삼국유사)', 'The Precept of Religion', and 'the modern poems' which includes the symbolic meaning of water. The results are summarized as follows:1) The flow of water itself is the expression of introspection. Because, water does not flow without filling a puddle. 2) Water is the symbol of 'Immortality'. 3) Water symbolizes 'Modesty and Trust'. 4) Water is the symbol of 'Freedom from Greed'. 5) Water symbolizes 'Goodness and Beauty'. 6) Water symbolizes 'Naturality and Love'. Immortality, Modesty and Trust, Freedom from Greed, Goodness and Beauty, and Naturality and Love are eternal, universal values which all human should seek and achieve. By the process of introspection through the symbolic meaning of water, we can achieve these positive aspects of human mind and spirit.

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Archaeometric Interpretation and Quantitative Analysis of Pottery from Proto-Three Kingdom to Baekje Kingdom Period of the Balanri Site in Hwaseong, Korea (화성 발안리 유적출토 원삼국 및 백제 토기의 정량분석과 고고과학적 해석)

  • Han, Lee Hyeon;Lee, Chan Hee
    • Journal of Conservation Science
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    • v.29 no.2
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    • pp.111-125
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    • 2013
  • This study focused on making technique and usage of potteries from Proto-Three Kingdom to Baekje Kingdom in Balanri Site. The potteries were divided into four groups, Jungdo type I, Jungdo type II, Tanalanmun type and the Baekje type on the basis of the shape and physical properties. The Jungdo type potteries were used as kitchen wares, showing mostly yellowish brown color. The Tanalanmun type potteries were used as storages, showing gray green color. Firing temperature of the Jungdo type and the Baekje type potteries were presumed to be fired at 900 to $940^{\circ}C$, whereas the Tanalmun type potteries were fired at around 900 to $1,100^{\circ}C$. This is indicated that the firing condition was adjusted according to the purposes of the potteries. On the one hand, the Balanri potteries were made of paleo-soil which was collected in very near place from the site based on geochemical characteristics of the pottery clays and the soil.

A review of Classical Archaeology (고전고고학(古典考古學) 재론(再論))

  • Lee, Min Seok
    • Korean Journal of Heritage: History & Science
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    • v.51 no.4
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    • pp.170-191
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    • 2018
  • Until now, the Korean archeological community has only been able to introduce the findings of classical archaeology developed in the West, and it also suffers from a lack of concepts and academic achievements. The domestic archeological community also started to develop later than that of the West, when it began to analyze ancient history and relics through the classic works of history titled Samguk sagi (三國史記) and Samguk yusa (三國遺事). Furthermore, it is actively utilizing the Chinese classics, such as the Samgukji (三國志) and Huhanseo (後漢書), as well as certain Japanese classics such as Ilbonsegi (日本書紀). Due to the total lack of domestic classics, however, there are few details about the formation of ancient polities, national changes, and inter-country negotiations and exchanges, as well as numerous other unresolved issues. This study raises the need to revamp classical archaeology in order to solve these problems. The concept of classical means 'all records made in the past' in the shallow sense, while the meaning of the historiography means "historical records according to the taxonomy of the old book." Classical archaeology is a field in which the classics are analyzed and interpreted so as to study the culture of the past. This section has set up a wide range of classical categories, and has found that the classics can be used in a meaningful way in classical archaeology through the use of the Gongjagae (孔子家語). The use of the classics in classical archaeology could produce significant results if the relevant DB is managed by various institutions and organizations using proper techniques of analysis including big data analysis.

Characteristics of the Ancient Tombs and Application to Cover Design of a Near-surface Disposal Facility : Literature Survey (삼국시대고분의봉분특징과천층처분시설처분덮개에활용: 고분의발굴문헌을중심으로)

  • Park Jin-Beak;Lee Ji-Hoon;Park Joo-Wan;Kim Chang-Lak;Yang Si-Eun;Lee Sun-Bok
    • Proceedings of the Korean Radioactive Waste Society Conference
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    • 2005.06a
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    • pp.221-230
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    • 2005
  • To support the design concept and performance evaluation of the cover system for low- and intermediate-level radioactive waste(LILW) disposal facility, the pioneering study is conducted with the tomb of historical age. Research status of the art are followed and the characteristics of tomb cover are summarized based on the preservation of historical remains. Visiting the excavation site of historical tomb and communication with Korean archeological society is required for the further understanding and for the extension of radioactive waste disposal research.

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Visualization of 33 Avalokitesvara-Bodhisattva according to the Wishes (기원에 따른 33관음의 시각화)

  • Kim, Kyungdeok;Kim, Youngduk
    • The Journal of the Korea Contents Association
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    • v.18 no.9
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    • pp.240-247
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    • 2018
  • In this paper, we implement a digital content that visualizes 33 Avalokitesvara-Bodhisattva according to the wishes of the public. The 33 Avalokitesvara-Bodhisattva is described in the Avalokitesvara-Bodhisattva tale that is found in the ancient literature "Memorabilia of the Three Kingdoms" as Tangible Cultural Heritage. Also, it is easily found in a wall painting of traditional Buddhist temples. The 33 Avalokitesvara-Bodhisattva is the saint of mercy that transforms into 33 various forms according to the wishes of the public. The Avalokitesvara-Bodhisattva tales deal with differences in the types of wishes of the public, and the tales have been speeded like wildfire among the people. So, in this paper, we classify them into 4 groups by the wishes (healing, security, academic achievement, disaster relief) of the public, and then analyze its symbolism and activity of the 33 Avalokitesvara-Bodhisattva. Also, we implement a 2D digital content that represents visually it according to the wishes of the public. Applications of the implemented visual content are as follows; development of character, game, and digital storytelling associated with traditional culture, education service for Buddhist doctrines, etc.

In the view of the identity of Cheoyong Cultural Festival of Ulsan (삼국유사 「처용랑망해사(處容郞望海寺)」조 깊이 읽기 - 울산광역시 처용문화제의 정체성과 관련하여 -)

  • Kang, seog keun
    • (The) Research of the performance art and culture
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    • no.32
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    • pp.465-488
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    • 2016
  • This paper attempts to read in different ways and to interpret newly on Cheoyongrang mhang-hae-sa in "Sam-guk-yu-sa". Ulsan have held Cheoyong Cultural Festival for 47 times according to "Sam-guk-yu-sa". However, there have been a frequent identity crisis about Cheoyong Cultural Festival because of controversial issue about Cheoyong, This paper interpretate Cheoyongrang mhang-hae-sa newly to overcome these crisis, Cheoyong's dancing and retreating was not the resignation and tolerance, but the treat and warning, as the dance of Namsansin god of Posukjeong, Buk-acksin god of Keumkangryung and Jisin god of Dongryejeon was the warning of Silla's ruination. 'The Mhang' of Mhang-he-sa temple should be interpreted not as 'watch' but 'fifteen days'. Mhang-he means the roads buried in darkness and vanished had become a sea. The name of Shin-bhang-sa temple means Gae-un-po province of Ulsan had become 'the newly purified region' because of the inspection of King Heon-ghang. The main keyword of Cheoyongrang mhang-hae-sa is 'Byuk-sa-jin-gyung'. 'Byuk-sa-jin-gyung' means to repel the impious and pray the pleasure. The purpose of the personal Gut and national Gut, Narae, was also 'Byuk-sa-jin-gyung'. The reinvented bridal room with a fresh life was like the world of Byuk-sa-jin-gyung. The dance of God Sa-bhang was, as well the desperate desire to New Silla. Cheoyong was a shaman with a superior authority who set up the power to foresee to the god of smallpox. The image of Cheoyong at is not the resignation and tolerance, but the foresight and authority. Therefore, the slogan of Cheoyong Cultural Festival, the resignation and tolerance, should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung. Cheoyong Cultural Festival, have been held for 49times, often had identity problems. The identity of Cheoyong have been misinterpreted as the resignation and tolerance. The slogan of Cheoyong Cultural Festival should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung.

A Comparative Study on the Material Element in Traditional Palaces of Korea, China, and Japan (한ㆍ중ㆍ일 궁궐건축의 재료특성 비교연구)

  • 이현정;박영순;유정화;최지영
    • Archives of design research
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    • v.17 no.2
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    • pp.241-252
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    • 2004
  • The purpose of this study is to ascertain the material design element in traditional palaces among those in the neighboring three nations of East Asia, notably Korea, China and Japan. Undoubtedly the ultimate goal to be pursued has to be inquiry into the identical prototype of Korean material design element. The cultures of East Asia, finely balanced between survival and extinction, sought to tame the natural world. They transformed its raw materials so as to more convenient human life. In this study, the material of the traditional palace is characterized by the actual use. It is to be noticed that the mainly common characteristics of the material is naturalism'. That is, the kind of material is differed from the country - marble or granite, nanmu or cypress -, the East Asian countries have similarity and make use of their own native materials. The typical features of China are glassy surface by artificial process, the meandered curve. In Japan, made-up rough surface by artificial skill. While the major features of Korean material design element are rough surface by natural process.

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Acceptance of the Chinese Books on Military Art and Understanding Patterns of Literati (중국(中國) 병서(兵書)의 유입과 지식인들의 이해 양상 - 무경칠서(武經七書)를 중심으로 -)

  • Yun, Muhak
    • The Journal of Korean Philosophical History
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    • no.31
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    • pp.321-346
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    • 2011
  • This is a preliminary study in order to deal intensively with the overall characteristics of Korean military science in the future days. First off, the history of military science of China based on the precedent studies was recapitulated, and a comparative study on the acceptance process of the books on military art and science, as well as on understanding patterns of literati on the subject through literature searches, ranging from the Three Kingdoms Period to the Goryeo Dynasty in Korean peninsula, was conducted. In case of Korea, the Chinese books on military strategy, including Sun Tzu's the Art of War, had already been passed down during the Three Kingdoms Period, and broadly read by scholarly people. They had utilized diverse methods based on their knowledge of Confucianism. In the reference materials, the authors of Korean military strategy books had greatly relied upon the Chinese books on military strategies, however, they had made the military principles run in their own way. At the end of Goryeo Dynasty, 'Military Science' had been well established as a subject in academia, and this curriculum had been taught not only at the National Confucian Academy, Seonggyun-gwan, in the capital but also at the country public school ("Hyanggyo") in the province together with Confucianism. Because of the limits of reference materials, however, it was difficult to confirm whether or not such strategic experiences were actually led to the publication of the books on military art and science, or how many books on military strategies and tactics had been published up until the end of Goryeo Dynasty. But, the facts that there were not many publications of the books on military strategies during the era of Three Kingdoms and of Goryeo Dynasty don't mean that Korean military science had entirely relied upon the Chinese military art and science. For instance, such strategies, tactics and leaderships as exhibited in the process of the Great Victory at Salsu River ("Salsu Daecheop") achieved by General Eulji Mun-deok, as well as the Great Victory at Gwiju ("Gwiju Daecheop") achieved by General Kang Gam-chan could never happen by chance.