• Korean Journal of Heritage: History & Science
• /
• v.55 no.2
• /
• pp.252-271
• /
• 2022

This article examines the characteristics of the royal tombs of the late Silla Dynasty with the statues of the 12 animal deities(Zodiac) and estimates the process of change. The features of the statues show a difference in their combination in terms of continuity and similarity of the object in their hands. In addition, there is a difference in the shape of the face of the stone statue, and differences are observed in the orientation and aspect ratio of the statue according to the sculptural method. The characteristics of these statues are somewhat different from the previously studied protected-stone and manufacturing techniques. For example, the Zodiac statues that are flattened from high relief to low relief are known to be decorated in realistic expressions, but they tend to be treated as separate conditions because they do not match the change of the stone. In addition, there was a characteristic that did not show regular changes, such as appearing and disappearing again when there was no balustrade in the tomb. Summing up the characteristics of each part, the Zodiac statues are largely divided into curved angles and flat angles according to the sculptural technique, and the head orientation and clothing of the statue are related. They are divided into two categories and can be viewed as having temporality according to the aspect ratio. These characteristic changes are consistent with the continuity of features and changes in the object in the hands of the 12 Zodiac statues. Therefore, the number of faces with protected-stone changes were gradually increasing in trend. As a result, there is a possibility that the Gujeongdong Square-shape Tomb and King Jindeok Tomb are earlier royal tombs than the Wonseong Royal Tomb. Therefore, the royal tombs of the late Silla Dynasty have a complete, tomb structure, containing the 12 animal god statues, ceremonial spaces(拜禮空間), Shindo(神道), stone statues(石像), and tombstones. This can be understood as a basic motif for the royal tomb structures of Goryeo and Joseon.

• Journal of The Korean Association For Science Education
• /
• v.42 no.3
• /
• pp.311-324
• /
• 2022

This study analyzed the types of scientific emoticons made by science-gifted elementary school students and their perceptions on making scientific emoticons. To do this, 71 students from 4th to 6th graders of two gifted science education center in Seoul were selected. Scientific emoticons made by the students were analyzed according to the number and types. Their perceptions on making scientific emoticons were also analyzed through a questionnaire and group interviews. In the analyses for types of text in the scientific emoticons, 'word type' and 'sentence type' were made more than 'question and answer type'. And the majority of students made more 'pun using pronunciation type' and 'mixed type' than other types. They also made more 'graphic type' and 'animation type' than 'text type' in the images of the scientific emoticons. In the analyses for the information of the scientific emoticons, 'positive emotion type' and 'negative emotion type' of scientific emoticons were made evenly. The students made more 'new creation type' than 'partial correction type' and 'entire reconstruction type'. They also used scientific knowledge that preceded the knowledge of science curriculum in their grade level. The scientific knowledge of chemistry was used more than physics, biology, earth science, and combination field. 'Name utilization type' was more than 'characteristic utilization type' and 'principle utilization type'. Students had various positive perceptions in making scientific emoticons such as 'increase of scientific knowledge', 'increase of various higher-order thinking abilities', 'ease of explanation, use, memory, and understanding of scientific knowledge', 'increase of fun, enjoyment, and interest about science and science learning', and 'increase of opportunity to express emotions'. They were also aware of some limitations related to 'difficulties in the process of making scientific emoticons', 'lack of time', and 'limit that it may end just for fun'. Educational implications of these findings are discussed.

• Journal of Popular Narrative
• /
• v.27 no.1
• /
• pp.265-299
• /
• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.2
• /
• pp.214-230
• /
• 2022

This paper discusses the characteristics and background of the production of white porcelain with the "Byeol(別)" inscription. Such porcelain was produced by the government-run porcelain kiln, Gwanyo(官窯), in the 16th and 17th centuries (from the 1560s to the 1640s), during the Joseon dynasty. The white porcelain ware, inscribed with either the term Byeol or "jwa(左)" and "u(右)," constituted a dual production system of white porcelain by Gwanyo starting in the 1560s. However, to date, few studies have examined Byeol-inscribed white porcelain. This, therefore, makes it difficult to achieve a comprehensive understanding of the evolution of inscriptions on the white porcelain produced by Gwanyo in the 15th to 17th centuries. Besides a regular annual stock of porcelain(年例進上磁器), Gwanyo also produced and supplied additional porcelain ware, or Byeol-gi, at the behest of the royal family or the court of Joseon. Byeol-inscribed white porcelain is a form of Byeol-gi, produced through extra firing, or Byeolbeon(別燔). According to use, Byeol-gi can be categorized as an item for national use(國用) or an item for internal use(內用). However, if the porcelain only carries the "Byeol(別)" inscription, it is difficult to identify its characteristics. Furthermore, as part of the annual production of porcelain was for the supply of Byeol-gi, and then for other purposes, the white porcelain came to be inscribed with dots indicating a change in ownership. In the 16th century, the royal family increased its consumption of white porcelain based on Shinyu Gongan(辛酉貢案), the government's fiscal reform measures. To guarantee a stable supply of exceptional Byeol-gi in light of Gwanyo's decline in the 1560s, the royal family benefited from the inscription of "Byeol." The white porcelain produced by Gwanyo was divided into annual offerings-those with the inscriptions "jwa(左)" and "u(右)"-and Byeol-gi, those with the inscription of "Byeol." They were managed separately from the commencement of production. Byeol-inscribed white porcelain was produced until the 1640s. During the mid-and late 1640s, Byeolbeon was temporarily suspended. Starting in the 1650s, the white clay used to produce the annual stock of white porcelain was sourced from regions other than those providing the clay for Byeol-gi production. The former used clay from Wonju(原州土) and Seosan(瑞山土), while the latter used clay from Gyeongju(慶州土) and Seoncheon(宣川土). According to the literature, the clay from Gyeongju and Seoncheon was much cleaner than that from Wonju and Seosan. Byeolbeon thus underwent a transformation, whereby production was separately managed, right from the stage of white clay mining. Ultimately, the need for the separate management of Byeol-gi through inscriptions diminished, resulting in the disappearance of Byeol-inscribed white porcelain.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.357-380
• /
• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.

• Journal of Popular Narrative
• /
• v.25 no.2
• /
• pp.73-116
• /
• 2019

In recent years, television dramas have adopted an emerging approach of imagining a just society via fantasy. This study set out to examine by stages the patterns of social justice in I Hear Your Voice, Pinocchio, and While You Were Sleeping written by Park Hye-ryeon, who has been leading this trend. I Hear Your Voice shows why social justice is needed, as it is set against the backdrop of a society in which legal justice has collapsed. In this drama, the collapse of the legal justice system indicates that democratic society is falling apart at the roots. As a result, pain and suffering is propagated among the petit bourgeois, with social justice being demanded as an alternative to this problematic reality. The supernatural power of reading the thoughts of others is used to remind viewers of the value of truth and trust and raises the possibility of the existence of a true heart as an alternative from a social justice perspective. Set in a society in which media justice is distorted, Pinocchio makes an attempt at changing ideas about social justice. In this drama, the corrupt media justice covers up truth and becomes a parasite to power, creating victims that are falsely accused. In this situation, the Pinocchio Syndrome, which makes people hiccup when telling a lie, shows paradoxically that truth can be distorted, and ultimately destroys absoluteness that is not truth. Finally, While You Were Sleeping inherits the world views of the two previous dramas and proposes a type of social justice called 'common good' as an alternative. A completely unfair society is created when legal justice collapses and media justice is distorted. In this situation, the ability to see the future is an ability to imagine a world of possibilities. Altruistic choices based on trust in others help us to realize a positive future. Social justice as common good to enable solidarity among subjects in a way that transcends the limitations of time and space is proposed as an alternative to overcome the problem of an unfair society. Given the recent reality of South Korean society, this common good and these ways of life might literally seem like a fantasy. When social justice is represented by efforts and reconstruction processes to overcome the current social issues and make a better future, common good based on the understanding and sympathy of others can be an alternative to improve a reality that is problematic at its root. Ultimately, Park's three works explore the feasibility of a just society that is yet to come from the aspect of the common good.

• Journal of Korean Historical Folklife
• /
• no.33
• /
• pp.31-72
• /
• 2010

At first, I extract materials on folk religion from four encyclopedic literatures of late Chosun dynasty-Lee, Ji-Bong-Ryu-Seol(『芝峯類說』) by Soo-Kwang(李晬光), San-Lim-Kyung-Jae(『山林經濟』) by Hong, Man-Sun(洪萬選), Sung-Ho-Sa-Seol(『星湖僿說』) by Lee-Ik(李瀷), O-Ju-Yeon-Moon-Jang-Jun-San-Go(『五洲衍文長箋散稿』) by Lee, Kyu-Kyung(李圭景), and present these materials by tables. Second, I examined the contents and characters of these materials on folk religion. The conclusions from this research are as follows. ① There are common features and points of difference between these four encyclopedic literatures. One of common features are that all these four are encyclopedic works, but San-Lim-Kyung-Jae is more practical than another three. ② These encyclopedic literatures regard folk religion as a negative culture, because these literatures based on Confucianism. But they did not deny miraculous virtues of folk religion. ③ These encyclopedic literatures give us many informations on gods and spirits of Korean folk religion, i.e. city gods(城隍神)·Yup-Sin(업신)·spirits of disease, god Kim-Bu(金傅大王神)·god Jung-Duk-Yang(鄭得揚)·god of King Kuan-u(關王神)·god Bu-keun(付根神) etc. So I review these gods and spirits referenced in encyclopedic literatures. ④ These encyclopedic literatures show much interest in ghost in common. The reason of interest is that authors of these encyclopedic literatures are all scholars of Sung Confucianism and Sung Confucian was concern about ghost. The Sung Confucianism denied the ghost as personal being whom Korean folk religion regards to a kind of spirits. Instead of beliefs in ghost of folk religion, they insist on the ghost as Ki(氣), a kind of cosmic principle. But these encyclopedic literatures acknowledge some parts of folk religion's beliefs in ghost, because they admit the miraculous virtues of these parts. ⑤ There are many items on divination in these encyclopedic literatures. But they show dual attitude on divinations. The one is negative attitude to divinations on individual destiny and the other one is positive attitude to divinations on agriculture. ⑥ There are also many items on witchcrafts in these encyclopedic literatures. Through these items, I assumed pervasiveness of beliefs on witchcraft at that time. ⑦ Shamans, as religious specialist, are stand on a central position of Korean folk religion. So it is a matter of course that these encyclopedic literatures concerned on Korean shaman. As Confucians, authors of these encyclopedic literatures did not regards shamans as positive one. But they did not deny miraculous virtues of shamans. In spite of these encyclopedic literatures have negative view points to, and include false informations Korean folk religion, I would like to emphasis on importance of these encyclopedic literatures to understand Korean folk religions, especially Korean folk religions of late Yi Dynasty.

• The Journal of Korean Philosophical History
• /
• no.29
• /
• pp.89-123
• /
• 2010

As above, as theoretical basis of critiques against School of Mohism, the researcher summarized the positions of the elder Confucian scholars including Meng Zi. In the body of text, taking it as promises, the researcher examined the critiques against Mo Tzu and School of Mohism as well focusing on the aspects and development of the theory of rejecting heterodoxy which had been introduced and strongly argued from the end of Goryeo kingdom to the late Joseon period. The summary of the body of this text is as follows: In the old literatures prior to Goryeo Kingdom, the researcher couldn't find any cases that either the School of Mohism or Mo Tzu including the Hundred Schools of Thought had been rejected explicitly. Having reached the end of Goryeo and the beginning of Joseon period, Meng Zi's viewpoints on the theory of rejecting heterodoxy had begun to emerge and come into play with the progress of accepting Neo-Confucianism, and, these critiques against Yang Zhu and Mo Tzu being given, the scholar-literati circle had started rejecting Buddhism and Lao Tzu. Basically the contents of the critiques against the School of Mohism in the early period of Joseon were in succession to Meng Zi's theory of rejecting heterodoxy and the views and thoughts of the elder Confucian scholars including Han Yu rather than any specific critiques against Mo Tzu' ideology itself. Until entering the middle of Joseon period, the critiques against the School of Mohism had been used as a tool to promote Confucianism in an affirmative manner, while arguing strongly against the viewpoint of Han Yu in the first place. Particularly, not only the original text of the Mo Tzu's writings were directly quoted, although it was partial, but also the contents of the critiques against the School of Mohism had been developed and stretched to the extent of their entire ideological system. Having approached to the late period of Joseon, the critiques against the School of Mohism had begun to be linked to those critiques against the study of state examination or of sentence patterns including Catholic Church, furthermore the critics raised their harsh tones against the irregularities of the society at large like the issue of corruptions of the government officials of those days instead, although they still had firmly stood on the ground of the theory of rejecting heterodoxy. Those scholars that belonged to the School of Practical Learning, in particular, said in justification of the School of Mohism arguing that the major ideologies of Mo Zi had usefulness in the real world, also they even evaluated that Meng Zi ' critiques against the School of Mohism were immoderate. To sum up, characteristics of scholars in the Joseon period to understand and critique the School of Mohism are that ideologies of Mo Tzu were mostly used as a tool for the sake of critiques against heresies in other sectors of society based mainly on Meng Zi's theory of rejecting heterodoxy, rather than opposing views against the ideologies or philosophies of the School of Mohism itself. Meanwhile, however, on the plus side, the critics praised Mo Tzu's individual efforts in order to put his ideology of peace into practice apart from the ideological system of the School of Mohism. Also, having reached the late period of Joseon, the researcher was able to have discovered the fact that the writings of Mo Tzu had been used as historical materials in order to ascertain historical truths of Confucian Scriptures, rather not having it regarded as an ideology text.

• Journal of the Daesoon Academy of Sciences
• /
• v.21
• /
• pp.157-195
• /
• 2013

대순진리회는 '구천응원뇌성보화천존강성상제(이하 '구천상제')'를 주신(主神)으로 신앙하는 종교단체이다. 그렇다면 대순진리회의 '구천상제'와 중국 도교에서 모셔지는 '구천응원뇌성보화천존'(이하 '보화천존')은 어떤 연관성이 있는 것인가? 이런 질문을 토대로 본 글에서는 이 신들의 기원과 칭호, 도세법문(度世法門 : 세상을 제도하고자 펼친 법도) 등의 관점에서 그 차이점과 공통점을 하나씩 비교해 보았다. 먼저 기원이라는 측면에서 '구천상제'와 '보화천존'을 비교해보면, '구천상제'는 천지인 삼계의 최고신으로서 강씨 가문을 선택하여 인간의 육신으로 태어났다. 강씨 성은 상고 신농씨에서 시작되었는데, 고대 문헌에 근거하면 신농씨는 태양신, 남쪽, 불(火) 등으로 상징화된다. 이런 상징들은 '구천상제'가 인간으로 태어날 때 나타난 "하늘이 남북으로 갈라지다", "큰 불덩이가 몸을 덮치다", "천지가 밝아지는도다" 등의 현상들에서 찾아볼 수 있다. 도교의 '보화천존'은 뇌신의 특징을 가지면서 일신(日神), 월신(月神)과 관계를 맺고 있는데, 이런 면들은 신농씨로부터 분석한 '구천상제'의 신적 기원과 일치하고 있다. 또한 도교에서는 신농씨가 다스리던 세상을 중국 상고시대의 가장 이상적인 사회형태로 보고 있는데, 이것을 '구천상제'가 건설하려는 후천선경과 연관 지어 생각해보면 '구천상제'가 신농씨의 후손인 강씨 종가에서 태어난 배경을 이해할 수 있다. 도교의 '보화천존' 역시 중생의 이익을 도모하고, 조화로운 인간세상을 만드는 것을 목표로 삼고 있으며, 이것은 대순진리회 '구천상제'가 행한 대순의 목적과 거의 비슷하다고 볼 수 있다. 다음으로 '구천상제'와 '보화천존'은 칭호에서도 공통점과 차이점을 살펴볼 수 있다. 단적으로 말하자면, '구천상제'에는 '보화천존'에 비해 '강성상제'라는 칭호가 추가되어 있다는 것이다. 또한 도교에서는 '보화천존'을 최고신으로 모시지 않으며, '구천상제' 신앙에서는 '보화천존' 신앙에서와 달리 뇌신과의 관계에 대한 설명을 찾아볼 수 없다. 마지막으로 '구천상제'와 '보화천존'의 도세법문을 비교해보면 첫째, 구천상제는 세상이 혼란, 불공평, 죄악에 빠졌기에 육신으로 인간 세상에 강림한 후 대순진리를 선포하였다. 이와 유사하게 보화천존도 천하와 인간세상을 순시하여 죄악과 겁액을 없앤다는 '순시천하(巡視天下)' 사상이 있다. 물론 여기에는 차이점이 존재하는데, 그 중 하나는 '보화천존'은 순시할 때 인간의 육신으로 화하지 않았다는 점이다. 또 다른 하나는 '보화천존'이 인간 세상에 창교의 방법을 통하여 선경을 건설하고자 하는 목표를 전해주지 않았다는 점이다. '보화천존'은 교리를 가르치거나 신통을 발휘하는 데에만 중점을 두고 있다. 둘째, '구천상제'가 내린 가르침인 해원상생은 후천선경을 건설하기 위한 수단과 과정이다. 도교의 '보화천존'도 인간이 지은 많은 죄악과 겁액은 세상 사람들이 맺은 원한과 관계가 있으므로, 이런 겁액과 죄를 해소하려면 해원부터 해야 한다는 것을 수차례에 걸쳐 언급하고 있다. 도교에서 말하는 '해원'의 구체적인 내용은 주로 인간의 시비, 질병, 겁액에 관한 것이며, 그 해결 방법으로는 주로 마음속으로 『옥추보경』을 읽는 것이다. 이를 '구천상제'의 '해원상생' 가르침과 비교하면 그 사상의 폭이나 깊이, 중요성, 이론적 측면 등에서 비교적 간단한 형태로서 체계적인 면모로까지 나아가지는 못하였다. 셋째, '구천상제' 는 곤경에 처한 사람이 신명의 호칭을 부르면 그에 상응하는 신명이 달려와서 구원해준다는 '소리감응' 방법을 사용하고 있는데, 이 방법은 도교의 '보화천존' 역시 사용하고 있는 것이다. 넷째, '구천상제'는 과오를 범한 사람이 자신의 과오를 뉘우치면, 그 다음에 상제의 용서를 받음으로써 그 원한이 풀리게 된다는 참법(懺法 : 懺悔法)을 세인(世人) 교화에 자주 사용하였다. 물론 이것은 해원상생의 구체적인 적용이라 할 수 있다. 기능면에서 보면 이 방법은 『구천응원뇌성보화천존옥추보참(九天應元雷聲普化天尊玉樞寶懺)』의 참의(懺儀)와 공통되는 점이 있다. 참의는 수도자 스스로 자신의 잘못을 뉘우치고, 수도에 정진하며, 사회의 안정을 도모하고, 포덕에 힘쓰고, 악을 물리치고 선을 널리 펼친다는 것인데, 이런 의미에서 양자는 일치한다고 생각된다. 필자가 생각하건대, 대순진리회의 '구천응원뇌성보화천존강성상제'와 도교의 '구천응원뇌성보화천존' 사이에는 공통점이 아주 많지만 동시에 차이점 또한 적지 않다. 만약 더욱 다양한 자료들을 수집하여 더욱 깊고 광범위한 연구를 진행한다면 한국 대순진리회와 중국 도교, 특히 도교의 뇌법종파(雷法宗派)와의 상관관계를 해석하는 데 큰 도움이 될 것이라 생각한다.

• Journal of the Daesoon Academy of Sciences
• /
• v.48
• /
• pp.375-406
• /
• 2024

This study aims to define the meaning of 'Sangsaeng (mutual beneficence)' within the context of 'Sangsaeng ecological theory,' a form of discourse of that has emerged from Daesoon Jinrihoe's perspective on ecology. Sangsaeng ecological theory applies the concept of interdependence to ecology in order to explain how Sangsaeng, which is commonly used as an ethical system for humans, can be applied to the realm of ecology such that it extends its scope of application to include non-human beings. Interdependence, when applied to ecology, is formed via relationships between individuals. Such relationships can be positive, negative, or neutral, and the type of interdependence that emerges can be competitive, predatory, parasitc, and symbiotic. Even if the relationship between individuals ends negatively, it can still exert a positive effect on the ecosystem. Consequently, all of these produce a type of 'dependence'. However, relationships that end negatively can generate grievances, and from the perspective of Sangsaeng ethics, this type of interdependence is to be avoided. Therefore, by way of contrast, ecological Sangsaeng may include both relationships of positive interdependence and relationships of predation, parasitism, and competition in so far as there no grievances. Ecological theory requires a perspective that enables an understand of the relationship between nature and humans in an integrated way that does not separate them. One view of universe, known as Cheonji-saengin-yongin (Heaven and Earth give produce humans make use of them) provides insights into the relationship between the universe and humans and nature and humans from an interdependent perspective. Heaven and Earth take humans as the basis of their existence, and only after humans discover the law of nature and the sacredness behind it can a deep interdependence between Heaven and Earth and humans and nature and humans be established. However, as modern humans emerge, the interdependence between Heaven and Earth and humans collapses as they destroy nature and lower the authority of Shindo (divine order). Haewon Sangsaeng (the resolution of grievances for mutual beneficence) and Boeun Sangsaeng (the reciprocation of favors for mutual beneficence) is the solution to reestablish the interdependence that has been disconnected between Heaven and Earth and humans and nature and humans. The practice of Haewon Sangsaeng through Gongbu rituals is the way to restore interdependence between nature and humans. The process of humans achieving Dotong (mastery of the Dao) through religious practices is the practice of Boeun Sangsaeng, and humans will be reborn into Injon (Human Nobility or 'divine humans') with ecological nature and enjoy an eternal interdependent relationship with nature. In summary, Sangsaeng in the context of Sangsaeng ecological theory is the idea and practice of allowing nature and humans to restore their interdependence and live on eternally.