• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.238-246
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• 2022

The purpose of this study was to draw the conclusion that the appearance of 'Gyuncheonak' in the lyrics of Jangsaengboyeonjimu and that 'Gubyeonjakdaedo' are related to Gucheondo in Taoism and Buddhism. Jangsaengboyeonjimu is a Jeongjae, which has a variety of dance moves and composition changes compared to any other royal Jeongjae, and is recorded in detail that the formation changes nine times. the lyrics and Gubyeonjakdaedo were compared. The relationship was inferred by applying the Gubyeonjakdaedo of the record book to the Gucheondo Island of Taoism and Buddhism. It is believed that in 1829, Crown Prince Hyo Myung created the work by putting the meaning of Gyuncheondo in Taoism and Buddhism in the song and Gubyeonjakdaedo.

• River and Culture
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• v.3 no.4
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• pp.42-44
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• 2007

• The Bulletin of The Korean Astronomical Society
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• v.39 no.1
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• pp.87-87
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• 2014

조선 전기 세종(世宗, 1418-1450)에 의해 천체관측기기와 천문역법을 개발하는 사업이 있었다. 이 때 조선의 천문대인 간의대가 건설되었고, 더불어 소간의, 일성정시의, 현주일구, 천평일구, 정남일구, 앙부일구 등 다수의 소형화된 천문의기가 개발되었다. 이보다 앞서 중국 원(元)왕조의 최신 관측기기였던 간의, 규표, 혼천의, 혼상 등을 제작하였는데, 이 과정에서 습득한 기술적 경험을 바탕으로 소형화된 천문의기 새롭게 발전시킨 것으로 보인다. 당시 천문의기를 구성하는 것에는 천구의 도수를 눈금으로 새긴 원형의 환(環)이나 구형의 혼(渾)이 있었다. 조선에서는 시헌력을 도입하기 전까지 천구의 도수(주천도수)를 365.25 등분하였고, 하루 12시진을 백각으로 나누었으며, 이를 각각 주천도분환과 백각환에 눈금을 새기었다. 당시에는 환의 둘레에 주천도수와 백각을 새기는 기술적인 어려움이 있었다. 이러한 제작 상의 문제를 해결하는 방법으로, 본 연구에서는 도수나 시각의 각거리를 일정한 길이의 단위로 설정하여 원주를 등분하였을 것으로 가정하였다. 즉 조선의 소형화된 천문의기는 주천도의 1도나 백각의 1각을 일정한 길이의 단위인 푼이나 치의 정수배로 하여 환의 둘레에 주천도수와 백각의 눈금을 새겼을 것으로 추정하였다. 만일 주천도의 1도 각거리를 1푼으로, 백각의 1각 각거리를 1푼으로 하는 표준 변환을 적용하면, 각각 환의 지름이 1.16치, 0.32치가 된다. 이러한 방법이 현존하는 일성정시의나 소간의의 세 종류의 환과 현주일구의 백각환의 특성과 잘 일치함을 보이고 있다. 이 연구의 결과는 향후 소형화된 천문의기의 구조적인 재원을 연구할 때나 출처가 불분명한 의기의 크기를 이해하는데 주요한 역할을 할 수 있을 것으로 기대한다.

• Journal of the Korean Society of Food Science and Nutrition
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• v.39 no.9
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• pp.1379-1383
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• 2010

Nectarine beverage treated with cellulase and pectinase enzymes was measured for mineral contents, total flavonoids, and free amino acids and DPPH radical scavenging effect, nitrite scavenging effect. Total flavonoid contents of the no treatment, treated with pectinase, with cellulase, and with both measured 0.146 mg/mL, 0.167 mg/mL, 0.148 mg/mL and 0.171 mg/mL, respectively. DPPH was measured as 13.42% with no treatment and more than 28.98% with enzyme treatments. Nitrite scavenging effect with no treatment was 79% at pH 1.2. Whereas, it was measured above 90% while treated with enzymes at pH 1.2. And also, the nitrite scavenging effect was slightly higher at pH 3.0, pH 4.0 and pH 6.0 than no treatment. Results of free amino acids analysis revealed that, aspartic acid, serine, alanine, $\gamma$-aminobutylic acid, and glutamic acid were present with the amount ranging from 86.71% to 94.14% from total detected free amino acids. Ornithine and taurine were also observed from the beverages. The mineral contents, nitrogen element (T-N) of enzyme treatment of nectarine beverages were measured slightly higher than T-N of no treatment, however, the $P_2O_5$ was similar. Moreover, CaO, MgO and $K_2O$ in the beverages were measured above 45 mg/L, 85 mg/L and 2,133 mg/L, respectively.

• Journal of the Daesoon Academy of Sciences
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• v.33
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• pp.219-255
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• 2019

'Dao' is an important research subject as it is the main term for 'ultimate reality' in East Asian religious thought. Understanding the concept of 'Dao' is essential to reach the state of 'Perfected Unification with Dao,' the ultimate aspiration in Daesoon Thought. The meaning of 'Dao' can vary such as 'Dao' meaning 'way', which was first introduced in Jinwen. There is also the 'Dao' of yin and yang, and Dao used to mean human obligation, or Dao meaning the way of Heaven. These can also be classified into five categories: Constant Dao, Heavenly Dao, Divine Dao, Human Dao, and the Dao of Sangsaeng. Every natural phenomenon of birth, growth, and death in the universe operates under the patterns of Heaven and Earth. Therefore, Constant Dao in Daesoon Thought is the ultimate pattern underlying human action and the operations of Heaven and Earth. These apply not only to the natural and the divine world but also to the human world. It can be said that 'Rather than natural law or moral symbol of the world, 'Heavenly Dao' means the great Dao that saves the world through the Daesoon Truth of Sangje, Supreme God of the Ninth Heaven. Divine Dao can be said to be 'the Dao by which man must complete his work according to the law and the will of God,' that is, 'the Dao by which God and man are united together by Sangje's heavenly order and teaching, which aims for humanity, righteousness, propriety, and wisdom.' When the world is in a state of calamity and crisis, the request for the saint's Dao can symbolized by the kings, Yao and Shun, in The Canonical Scripture (Jeon-gyeong). The saint's Dao saves the dying world and people's lives and is called 'saving lives by curing the world (濟生醫世)'. It can be regarded as a characteristic of Human Dao in Daesoon Thought, which is the human obligation to follow Sangje's order, the great Dao to save the world. The Dao of Sangsaeng is the true dharma that rectifies the world full of mutual conflict through the ethics of the Later World, which is to promote the betterment of others and to practice the human Dao that saves the world and rebuilds the Constant Dao. Thus, The concept of Dao in Daesoon Thought is Daesoon Truth which applies to and operates throughout all realms of Heaven, Earth, Humanity, and the Divine world. Dao in Daesoon Thought was influenced by the historical background in which it emerged and this can be seen in its ideological features. It embraces the traditional concept of Dao, which refers to the Chinese classics and represents the main schools of thought in East Asia: Confucianism, Buddhism, and Daoism. And it is unique in that it implies the will of Sangje as a religious object, a supreme being. It can be seen that Daesoon Thought has developed through the process of defining the concept of Dao by harmonizing both the universality and specificity of modern Korean religious thought.

• The Korean Journal of Pesticide Science
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• v.8 no.2
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• pp.107-111
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• 2004

The study was carried out to investigate the pesticide residual characteristics in peaches, pear and grape. Pesticide residue patterns were remarkably different because of major factors affecting the pesticide residue patterns such as ratios of surface to weight, surface matrices, cultivations, sizes, increase rate of weight, and varieties of fruits, etc.. Pesticide residue levels in grape appeared higher than those in peaches and pear, because the pesticide solution sprayed was infiltrated and accumulated between grape granules. The matrices composing of fruit surface and the ratios of surface area to weight on fruits seemed to playa key role for determining the pesticide residual characteristics in fruits.

• Korean Journal of Environmental Biology
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• v.40 no.4
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• pp.510-524
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• 2022

For the assessment of the benthic community health of Jinhae Bay using the Benthic Pollution Index, macrobenthic fauna samples were seasonally collected from 23 different sites between February, 2011 and November, 2012. The macrobenthic community health status was classified as "Poor" or "Very Poor" except for the bay mouth part of Jinhae Bay at the northern part of Geoje Island. A large proportion of functional Group IV and even azoic conditions appeared due to summer hypoxia at sites in sheltered regions of Jinhae Bay. Some of the dominant species recruited after summer hypoxia were Paraprionospio patiens, Sigambra bassi, and Theora fragilis belong to typical opportunistic species. By comparing the BPI values of the macrobenthic communities from other special management areas of Korea, Jinhae Bay was considered to have the lowest condition that was heavily polluted among special management areas.

• (The)Study of the Eastern Classic
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• no.73
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• pp.119-151
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• 2018

This paper is a study of the historical significance of The water and land ceremony performed by Bongeunsa temple in the Joseon Dynasty. The Bongeunsa temple was originally a hermitage named Geungseongam, which was located in the Hakdang-dong, Gwangju County, Gyeonggi Province. After that, Geungseongam was named as Geungseongsa temple. Geungseongsa temple was left in that position and acted as the Temples belonging to Royal Tombs(陵寢寺, TRT) of the King Sungjong, later the name of the temple was changed to Bongeunsa Temple. As a result of movement of the royal tomb of the Joongjong(靖陵) next to the royal tomb of Sungjong, the Bongeunsa was also used as a TRT of the Seonjeongneung royal tomb. After that, the grandson of the King Joongjong, crown prince Soonhoe early passed away, Buddhist shrine (願堂) was set in Bongeunsa temple. Bongeunsa temple remained as a royal prayer place, serving as a Buddhist shrine for crown prince Soonhoe and serving as a Jopo temples for Seonjeongneung royal tomb until the end of the Joseon Dynasty. From the time when it was called Geungseongam to the time after when it was renamed as Bongeunsa Temple, this temple performed The water and land ceremony. But the characters changed little by little. From the King Sejo to King Sungjong, The water and land ceremony characterized Consolation ceremony for the spirit of the dead for prince Gwangpyeong, King Sejong, Queen Soehan and served as the Buddhist memorial praying for the well being of the royal family and people. From the time of the King Yonsan to the time of King Myeongjong, The water and land ceremony had strong characters for Consolation ceremony for the spirit of the dead for King. In the late Joseon Dynasty, Bongeunsa Temple served as the royal party of The water and land ceremony. On the other hand, after the Manchu war of 1636, Bongeunsa Temple also served as the national water and land ceremony for the victims who were killed in the mountains of Namhan. In the Joseon dynasty, The water and land ceremony performed by Bongeunsa Temple was strongly directed for Consolation ceremony for the spirit of the dead for royal family members, and Bongeunsa Temple was maintained as a royal prayer throughout the Joseon Dynasty.

• The Journal of Korean Philosophical History
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• no.27
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• pp.197-222
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• 2009

The Reform Movement(戊戌變法) of 1898 was a boundary tablet of modern history of science and technology which inherited the past and ushered in the future. Kang Youwei(康有爲), as a leader, his scientific thoughts opened up the way of Chinese enlightenity campaign and pushed the development of Chinese modem science and had an important position in modem history of scientific thoughts. The dissertation analyses the source, establishment and content of Kang Youwei. Kang Youwei developed the useful and discarded the useless of the view of implement science held by the Westernized Party, undertook a deep and throughout thinking on the nature of science, had cognition of scientific methods and spirit, by which he criticized negative proneness of ancient Chinese views of science. He put forwards a series of practical suggestions on political reform that provided a solid guarantee and support in system for scientific development. Kang Youwei rooted in the soil of Chinese traditional academic culture, but also western learning in modern western civilization. Kang go through Westernization Movement since the in-depth study of Western natural and inevitable outcome of the social sciences, are giving to science and technology. Although he was originally of Western "science" has a lot of misunderstandings and prejudices, but these shallow hazy perceptual knowledge, his view of science which constitutes the basis of the formation. In the course of scientific inquiry, Kang has begun to explore the essence of scientific development. He has a gut feeling that behind the scientific discovery of the existence of a force, which is the scientific truth and is used to grasp the scientific method. After contact with the Western world, with the traditional "Heaven(天)", and modern Chinese intellectuals began to "axiom(公理)" to recover his traditional "Heaven" of the new understanding is reflected mainly in "Zhutianjiang(諸天講)". "Zhutianjiang" is the Kang Yuwei in the absorption of traditional astronomy knowledge base, will the traditional arithmetic, as well as Buddhism and the West since the twentieth century, new knowledge of astronomy combines written. Kang while recognizing that scientific instruments, is nothing more than an extension of the role of the human senses and make the "Dao(道)" is more clear, but the "artifacts(器物)" caused by the inherent limitations of the limited nature of human knowledge, which is "Heaven" boundless nature of the broad terms, refused to concede defeat to. In reality, the activities of political reform, he gradually recognize this real-world helpless, and he recognized that the real world to achieve common ground of social ideal is impossible, so he chose comfort in life that people really get a stage of "Tianyou(天遊)". This is the cause that his writing "Datongshu(大同書)", at the same time, followed by writing "Zhutianjiang" talk "Tianyou".

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.