• Cross-Cultural Studies
• /
• v.41
• /
• pp.443-475
• /
• 2015

The subjects of analysis in this paper, the clan name roots "Baj," "Kim," and "Shama/Sama," while distributed commonly among the Altai, Ye i, and isolated language groups, are most widely distributed among the Evenki. The clan name root "Baj-" is widely distributed among indigenous Siberian nations, but is most frequently found among the Manchu-Tungus, especially the Evenki. Therefore, it appears that clans with this root originated from Pribajkal'e, known to be the origin of the Evenki, and spread widely among the nearby Buryats, Mongols, and Yakuts, later spread east to the Nivhi of the Amur River, to the Enisej Protoasiatic language nations such as the Yukaghir or Ket to the north, and the Samoyed language group nations such as the Ne and Selkup. According to the analysis results in this paper, the Evenki clan name "Kim" has the meaning of "person," but also is somewhat associated with gold, metal, or stone. On one hand, while the origin of the clan name "Kim" cannot be clearly established, the clan was assimilated into the Evenki near in ancient times, after which the clan name became widely known among the Manchu-Tungus nations, and furthermore in the Turk nations. The clan name Shama/sama is widely spread across Siberia, including the Manchu-Tungus language group nations of the Altai language family, the Turk language family, and the Samoyed language groups of the Ural language family. Moreover, this clan name is not associated with famous mythic ancestors or heroes of historically famous Asian nations, and it cannot be translated into contemporary language; thus the identification of the meaning and origins of this word is by no means an easy task.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.1
• /
• pp.32-45
• /
• 2014

In this study, the characteristics of Mongsimjae in Namwon-si, Jeollabuk-do have been researched focusing on the writings engraved in huge stones and rocks of pavilion standing beside a lotus pond and its formative languages in the garden has been interpreted as follows. Name of pavilion(堂號) Mongsimjae(夢心齋) includes a classical scholar's spirit, refusing to serve two kings and homecoming after resignation from a government office(歸去來) of Songam(松菴) Park Moonsu(朴門壽), an ancestor who has brought to the Juksan(竹山) Park's family again. A pavilion standing beside a lotus pond(蓮塘) built in the reception garden is a gardening facility symbolizing 'Yeondang(蓮堂)' Park Dongsik(朴東式) who built Mongsimjae. The bamboo hill connected to the backyard seems to be relevant to 'Juksan', the family clan of Mongsimjae's owner and this kinds of intention can be found in the bamboos in the outer garden naturally led to inside the garden through the flower beds. The purpose for the western arrangement of the main building and gate contrary to the 'chukjwamihyaug'(丑坐未向; a direction toward to the south-southwest) of the prospect of Sarangchae(guesthouse) is interpreted to naturally attract people's eyes to the pavilion standing beside a lotus pond and to mitigate the sense of closure resulting from the huge stones located in the reception garden. Also the writing engraved in the three huge stones, 'Jonsimdae(存心臺)', implies that it is a place where was selected with heart by Juksan Park family who settled down in Homsil, Namwon after 'Haengchon(杏村) Park Jaryang(朴子良)' in Yiphyangjo(入鄕祖), Namwon and 'Jeongwa(靖窩)' is interpreted as a signature representing that it is the most comfortable house where Jeongwa Park Haechang(朴海昌: 1876~1933), the third owner of Mongsimjae, has lived. The pavilion standing beside a lotus pond of the 'Bangjibangdo(方池方島; square pond and square island)' type has no lotus for now and waterside cornerstones roughly piled with broken stones naturally mitigate the slope. There are two water inflows gathering rainwater in the reception garden other than the water inflow of valley and the upper-side water inflow was built using a high waterfall method. The middle island cut into a square was designed to use in two ways, as 'island' or 'steppingstone', according to the water level and the old name of the pavilion standing beside a lotus pond was revealed as 'Cheonundam(天雲潭)' from the engraved writing located in the side of the middle island. In addition, 'Imni(臨履)', engraved writing in the finishing stone of waterside by citing a line of 'Sigyeong(詩經)', implies 'Be a upright classical scholar who pays close attention to one's own behaviors' and 'Jeongchuk(渟?)' is interpreted as a message that desires the eternal staying of the Juksan Park family's wealth. Ultimately, the writings engraved in the huge stones and rocks of the pavilion standing beside a lotus pond are interpreted as a symbol language that wishes the heaven protects and maintains the wealth of the Juksan Park family who is the owner of Mongsimjae.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.1
• /
• pp.40-52
• /
• 2016

Buyongjeong, a pavilion in the Rear Garden of Changdeok Palace, was appointed as Treasure No. 1763 on March 2, 2012, by the South Korea government since it shows significant symmetry and proportion on its unique planar shape, spatial configuration, building decoration, and so forth. However, the designation of Treasure selection was mainly evaluated by concrete science, in that the selection has not clearly articulated how and why Buoungjeong was constructed as a present unique form. Therefore, this study aims to clarify the identity of Buyongjeong at the time of construction by considering its historical, ideological, philosophical background and building intention. Summary are as follows: First, Construction backgrounds and characters of Buyongjeong: Right after the enthronement, King Jeongjo had founded Kyujanggak(奎章閣), and sponsored civil ministers who were elected by the national examination, as a part of political reform. In addition, he established his own political system by respecting "Kaksin(閣臣)", Kyujanggak's officials as much as "Kain(家人)", internal family members. King Jeongjo's aggressive political reform finally enabled King's lieges to visit King's Rear Garden. In the reign of King Jeongjo's 16th year(1792), Naekaksangjohoe(內閣賞釣會) based on "Kaksin" was officially launched and the Rear Garden visitation became a regular meeting. The Rear Garden visitation consisted of "Sanghwajoeoyeon(賞花釣魚宴)" - enjoying flowers and fishing, and activities of "Nanjeongsugye". Afterward, it eventually became a huge national event since high rank government officials participated the event. King Jeongjo shared the cultural activities with government officials together to Buyongjeong as a place to fulfill his royal politics. Second, The geographical location and spatial characteristics of Buyongjeong: On the enthronement of King Jeongjo(1776), he renovated Taeksujae. Above all, aligning and linking Gaeyuwa - Taeksujae - a cicular island - Eosumun - Kyujangkak along with the construction axis is an evidence for King Jeongjo to determine how the current Kyujangkak zone was prepared and designed to fulfill King Jeonjo's political ideals. In 17th year(1793) of the reign of King Jeongjo, Taeksujae, originally a square shaped pavilion, was modified and expanded with ranks to provide a place to get along with the King and officials. The northern part of Buyongjeong, placed on pond, was designed for the King's place and constructed one rank higher than others. Discernment on windows and doors were made with "Ajasal" - a special pattern for the King. The western and eastern parts were for government officials. The center part was prepared for a place where government officials were granted an audience with the King, who was located in the nortern part of Buyongjeong. Government officials from the western and eastern parts of Buyongjeong, could enter the central part of the Buyongjeong from the southern part by detouring the corner of Buyongjeong. After all, Buyongjeong is a specially designed garden building, which was constructed to be a royal palace utilizing its minimal space. Third, Cultural Values of Buyongjeong: The Buyongjeong area exhibits a trait that it had been continuously developed and it had reflected complex King's private garden cultures from King Sejo, Injo, Hyunjong, Sukjong, Jeongjo and so forth. In particular, King Jeongjo had succeded physical, social and imaginary environments established by former kings and invited their government officials for his royal politics. As a central place for his royal politics, King Jeongjo completed Buyongjeong. Therefore, the value of Buyongjeong, as a garden building reflecting permanency of the Joseon Dynasty, can be highly evaluated. In addition, as it reflects Confucianism in the pavilion - represented by distinguishing hierarchical ranks, it is a unique example to exhibit its distinctiveness in a royal garden.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.1
• /
• pp.110-118
• /
• 2015

Borimsa Temple in Jangheung, one of the Goosanseonmoon of Shilla Dynasty, calls for a study in the field of landscape architecture because it has very significant elements in cultural and ecological landscaping aspects. This study examined the changes in landscaping elements of Borimsa Temple since the 17th century in order to newly recognize cultural landscaping value of space composition elements for traditional temple and to verify landscape architectural position. For research method, literatures such as Sajeonggi (事蹟記), Joongchanggi, a surveyed map by Fujishima Gaijiro in 1928 and Joseon Gojeogdobo (朝鮮古蹟圖譜) and modern documents including Borimsa Temple Precision Ground Survey Report and photographic records of National Archives of Korea and provincial governments were examined together with a field survey in order to trace changes in landscape elements such as buildings within the temple site, pond and temple forest. The results are as the following: First, for geographical locations of Borimsa Temple, it is located in an auspicious location and Shipyuknahansang and Cheonbul were placed in a supplementary purpose according to the contents of Bojoseonsatapbi. Compared to Namhwaseonsa Temple in China, it has a similar environmental composition but the fact that buildings were placed on platforms is a distinctive difference. Second, architectural landscape of Borimsa Temple went through the Japanese colonial era and Korean War and still going through changes today. Thus, there shall be some appropriate measures such as to establish an archive of past landscape data. Third, the contents of Borimsa Temple Sajeonggi suggests that the pond of Borimsa Temple had been in a indeterminate form with stones on the outer edge. Its name could have been Yongcheon (湧泉) according to the contents of Joongchanggi. Also, the current landscape, in comparison with past photographs, is a result of changes from surface raise occurred by ground reinforcement within the temple site. Fourth, Jangsaengpyoju (長生標柱) mentioned in Bojoseonsatapbi and Borimsa Temple Sajeonggi was thought to be the dried juniper tree in front of Daewoongbojeon, which can be found in past photographic documents but, it is now assumed to be Seokbihyeong (石碑形) considering the Gukjangsaeng and Hwangjangsaeng of Dogapsa Temple of the similar time period. Moreover, Hongsalmoon mentioned in Joongchanggi was established by King's order after the Manchu war of 1636 in praising of Buddhist monks those who had volunteered to fight for the country. Fifth, it is apparent in Borimsa Temple Joongchanggi that geomancy was a consideration in landscaping process of Borimsa Temple, and the record indicates that pine trees, bo trees and persimmon trees were planted. Sixth, tea tree forest was verified of its historical root that is Seongchailyeo from Unified Shilla through passing down of Jeong Yak-yong's Goojeunggoopo method and relevant documents of Seon Master Choui and Yi Yu-won. Seventh, nutmeg tree forest suggests that nutmegs were used in national ceremonies and for medical uses. The nutmeg tree forest was also verified of its role as Naehwasoorimdae (a forest built to prevent fire from spreading) through aerial photographs and placement of a forest reserve.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.3
• /
• pp.154-167
• /
• 2014

The results of this study conducted to identify the substance, regional characteristics or landscaping of Namwon Yonghogugok, which is the only valley of Jiri Mountain, based on Kim Samun's 'Yonghokugok-Gyeongseungannae(龍湖九曲景勝案內)', 'Yongseongji(龍城誌)' and position, meaning of letters carved and projection technique by ArcGIS10.0 on the rocks are as below. The feature landscapes of the canyon of Yonghogugok, which is an incised meander and one of the Eight beautiful scenery of Namwon, ponds, cliffs and rocks generated with metamorphic rocks and granites weathered by rapids torrents. As a result of measuring the GPS coordinates of the letters carved on the rocks, excluding the 3 Gok Hakseoam and the distances based on the origin and destination of the letters carved on the rocks using the API(Application Programming Interface) function of Daum map, the total distance of Yonghogugok was 3.5km and the average distance between the each Gok was 436.5m. It is assumed that Yonghogugok was designated by Sarim(士林) of the Kiho School(畿湖學派) related to Wondong Hyangyak(元洞鄕約) which is the main agent of Yonghojeongsa(龍湖精舍), the forerunner of Yonghoseowon(龍湖書院), between the late Joseon Dynasty and the early Japanese colonial era, in 1927. Its grounds are the existence of Yonghoyeongdang mentioned on 'Yonghojeongsilgi'(龍湖亭實記), records of 'Haeunyugo(荷隱遺稿)', 'Yonghopumje(龍湖品題)' of Bulshindang(佛神堂), 'Yonghojeongsadonggu Gapjachun(龍湖精舍洞口 甲子春)' letters carved on the rocks and 'Yonghogugok-Shipyeong(龍湖九曲十詠)' posted on Mokgandang of Yonghoseowon. Comprehensively considering the numerous poetry society lists carved on the stone wall of Punghodae(風乎臺), the Sixth Gok Yuseondae, its stone mortar, 'Bangjangjeildongcheon(方丈第一洞天)' of Bulshindang and Gyoryongdam(交龍潭), the Yonghoseokmun(龍湖石門) letters carved on the rocks, Yeogungseok adjacent to the First Gok and Fengshui facilities, centered on Yonghoseowon and Yonghojeong, Yonghogugok can be understood as a unique valley culture formed with the thoughts of Confucianism, Buddhism, Taoism and Fengshui. 'Yonghogugok-Gyeongseungannae' provides very useful information to understand the place name, called by locals and landscaping aspects of Yonghogugok in the late Joseon Dynasty. In addition, the meaning of "Nine dragons" and even though 12 chu(湫: pond) of Yonghogugok Yongchudong including Bulyeongchu, Guryongchu, Isuchu, Goieumchu and Daeyachu are mentioned on Yongseongji, a part of them cannot be confirmed now. Various place names and facilities relevant to Guryong adjacent to Yonghogugok are the core of the place identity. In addition, the accurate location identification and the delivery of the landscaping significance of the 12 ponds is expected to provide landscaping attractiveness of Yonghogugok and become very useful contents for landscaping storytelling and a keyword of storyboard.

• The Korean Journal of Archival Studies
• /
• no.24
• /
• pp.215-274
• /
• 2010

Iron-making industries of the country, regardless of age has been the focus. This makes the iron production technology and production techniques that result in increased economic activity and because of the central charge. Therefore, the social development of ancient iron-making technology is based on phase-sensitive. Modern steel making up the monopoly of the country's target under the strict control of production, distribution was. It is essential to produce iron weapons was a threat is because you can keep the throne in the hands of the forces that can cause side effects when I went was to block. This study created a rail Cholbi(iron monument) and the regional distribution pattern of the production, construction background, looked on. Cholbi(iron monument) for the production and recording "the Annals of the Joseon Dynasty" often appear in history books and many academic interests, but was off target. Compared to a stone monument that was not generally as well as the Japanese colonial period and over the course of modernization destroyed, damaged a lot of cases the cause may be found in front. Cholbi(iron monument), except for the gravestones of the Joseon Dynasty monument erected in honor of virtue, as an example of content that dominated a packman business, founding of the school and confirmed that a few were built as a special purpose. Cholbi(iron monument) compared to the production technology or the cost of the monument's difficulty in financing follows. Therefore Cholbi(iron monument) the establishment of the Joseon Dynasty through the background of the economic situation and the local government can look. And iron technology began complaining about the object of history, economic conditions, with the change of season has been a change in people's consciousness tells you. Important data of ancient history as an epigraph that has been as important, the Middle Ages to modern times ranging from newly born to the time Cholbi(iron monument) in the development of the country's documentary subject to change should have been brought. Based on these discussions changes the identity of the hero monument and production inspector, review of production through the Joseon Dynasty period Cholbi (iron monument) contemplated the significance is reflected in production.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.4
• /
• pp.1-17
• /
• 2018

This study was conducted to interpret the landscape of Songge Byeoleop(Korean villa) garden at Jogyedong, Bukhansan near Seoul which was built in the mid 17C. to restore through the literature reviews and field surveys. The results were as follows; Songge Byeoleop garden was a royal villa, constructed at King Injo24(1646) of Joseon dynasty by prince Inpyeong(麟坪大君), Lee, Yo(李?, 1622~1658), the third son of King Injo who was a brother of King Hyojong. It was a royal villa, Seokyang-lu under Mt. Taracsan of Gyendeokbang, about 7km away in the straight line from main building. It was considered that the building system was a very gorgeous with timber coloring because of owner's special situation who was called the great prince. The place of Songge Byeoleop identity and key landscape of the place were consisted with Gucheon waterfall and the sound of the water with multi-layered waterfall which might be comparable to the waterfall of Yeosan in China. After the destruction of the building, the place was used for the royal tomb quarry, but there was a mark stone for forbidden quarry. The Inner part of Songge Beoleop, centered with Jogedongcheon, Chogye-dong, composted beautifully with the natural sceneries of Gucheon waterfall, Handam and Changbeok, and artificial structures, such as Bihong-bridge, Boheogak, Yeonghyudang and Gyedang. In addition, the existing Chinese characters, 'Songge Beoleop' and 'Gucheoneunpog' carved in the rocks are literary languages and place markings symbolizing with the contrast of the different forests and territories. They gave the names of scenery to the rock and gave meaning to them. Particularly, Gucheon waterfall which served as a visual terminal point, is a cascade type with multi-staged waterfall. and the lower part shows the topographical characteristics of the Horse Bowl-shaped jointed with port-holes. On the other hand, the outer part is divided into the spaces for the main entrance gate, a hanging bridge character, a bridge connecting the inside and the outside, and Yeonghyudang part for the purpose of living. Also in the Boheogak area, dual view frame structures are made to allow the view of the four sides including the width and the perimeter of the villa. In addition, at the view point in Bihong-bridge, the Gucheon water fall divides between the sacred and profane, and crosses the Bihong-bridge and climbs to the subterranean level.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.98
• /
• pp.130-153
• /
• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.2
• /
• pp.169-178
• /
• 2021

The Korean girl group "Kara" has suffered the trilemma of its de facto failure to debut, the crisis of team breakup, and the CEO crisis of the agency. But the group has made an outstanding achievement in the history of Korean pop music after overcoming all odds. Their success strategy has never been disclosed by insiders involved in Kara's total music projects. This study has been carried out in the analysis of the strategy to provide academic implications and to honor the contribution of the late CEO Ho-yeon Lee and Kara's key member Ha-ra Gu. Therefore, between Nov. and Dec. 2020, we conducted in-depth interviews with managers, composers, stylists and Ha-ra Gu(Only in 2019, before her death) who took part in the project. The research model is set up by combining Porter's Competitive Advantage Strategy and the music value chain model into categories of "Product Innovation Differentiation (PD)" (producing, album production, performance activities) and "Marketing Differentiation (MD)" (market targeting, image specialization, promotion and communication). The analysis showed that the PD focused on complete rediscovered harmonization and revalued members' personality and sincerity with peppy songs and dainty dances as well as emission of "bright energy" which caused healing effects instead of mimicking other star singers recklessly. In terms of MD, they selected Japan's 10-20s as their main market, increasing intimacy with fans and media with the image of cute+pretty+classy+sexy. The result suggests that Poter's differentiation can function as a meaningful strategy frame in the fostering, hit, and revival of idol groups. In addition, it reaffirmed that spontaneous and passionate activities of early-stage or celebrity fan may serve as a valid catalyst for realizing differentiation, as Kara's caller of Japanese actor Gekidan Hitori caused a strong "priming effect" that drove Kara's unexpected wonderful success in Japan.

• Journal of Venture Innovation
• /
• v.6 no.4
• /
• pp.41-62
• /
• 2023

Given that SME workers are the driving force of national competitiveness and the basis and cornerstone of the industry, it is meaningful to study workers' job satisfaction and the factors that affect job satisfaction. In addition to variables related to corporate competitiveness and organizational justice, this study introduced variables such as environmental(E) activities, social(S) activities, and governance(G) activities, which th national government uses as major management evaluation indicators. Therefore, a literature study and empirical analysis were conducted on how self-efficacy affects job satisfaction when workers are faced with a changed work environment. To conduct this study, 300 copies of data were collected from workers in small and medium-sized enterprises and used for analysis. For data analysis, the SPSS statistical program (Ver. 25.0) was used. The study finds, first, that product or service quality and employee competency among corporate competitiveness had a significant positive(+) effect on job satisfaction. Secondly, among ESG management activities, social(S) activities and governance(G) activities were found to have a significant positive(+) effect on job satisfaction. Third, among organizational justice, distribution justice and procedural justice were found to have a positive(+) effect on job satisfaction. Fourth, self-efficacy was found to mediate the effect of product or service quality, employee competency, social(S) and governance(G) activities among ESG management activities, and procedural justice among organizational justice on job satisfaction. The academic value of this study is that it empirically analyzed the factors that ESG management activities affect workers' jobs,. As a result, it was confirmed that workers were satisfied with their jobs by actively showing interest in social(S) activities and governance(G) activities among ESG management activities and participating in corporate management. In addition, workers sensitive to changes in the external environment can become satisfied with their jobs through self-efficacy when SMEs actively enhance corporate competitiveness, execute ESG management activities, and provide a fair organizational culture. Finally, this study suggests that there's a possibility of improving the competitiveness of SMEs through a virtuous cycle created by a change in perception of job conversion and a decrease in turnover.