• Title/Summary/Keyword: 문헌연구

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A study on the Construction and the Transition of Daebodan in the Late Josun Dynasty (조선후기 창덕궁 대보단의 조성과 변천에 관한 연구)

  • LEE Yeonro
    • Korean Journal of Heritage: History & Science
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    • v.55 no.4
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    • pp.96-116
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    • 2022
  • The Daebodan was an altar, which held a memorial service for emperors of the Ming dynasty. This alter, which was referred to as Hwangdan, was first constructed in 1704. When the Japanese Invasion of Korea commenced in 1592, Shinjong, the emperor of the Ming dynasty, sent reinforcements to Josun to help. This alter was made to repay Shinjong's kindness. Before this, Song-siyeol(宋時烈), Leader of Noron(老論), made a shrine at Hwayangdong to hold memorial services for Shinjong, and after some time, this developed into a national ceremony. Construction of the Daebodan largely changed the backyard of Changdukgung-palace. However considering the construction process, the meaning of the Daebodan was not a big deal. At first, the optimal place for the Daebodan was selected at the site of a inner icehouse. But the inner icehouse could not be transferred to other site due to the circumstances. After all, the Daebodan was constructed at the site of Byeoldaeyeong(別隊營) which was located in the outside of palace. Most of the stones for the new Daebodan were used ones. And the annexe of Byeoldaeyeong was used for Daebodan without any changes being made. The scale of the construction was not particularly grand. After the construction, Sukjong, who made the Daebodan, showed barely any interest in it. But the conception of the Daebodan was back again in the history by Youngjo. He was also not interested in the Daebodan during his early years of ruling time. However, in the 1740's, he started to become interested in the ceremony of Daebodan, and carried out a large-scale reconstruction of the Daebodan. Jegigo(祭器庫) was rebuilt In 1739. And Jaesil(齋室), staying one night before the ceremonial day, was added in 1745. In 1749, the Daebodan was greatly changed by enshrining Uijong and Taejo, emperors of the Ming dynasty. The shape of alter was changed. Moreover this alter was made by newly quarried stones. And several buildings, Junsachung(典祀廳), Jaesaengchung(宰牲廳) and Akgongchung(樂工廳), were added to the site. In 1762, meritorious retainers were enshrined to the Daebodan. After all the Daebodan became an important part of the backyard of Changdukgung-palace. During the reign of Jungjo, the Daebodan also was an important part of backyard of Changdukgung-palace. But significant changes were not made at that time. The only change was the moving of Kyungbonggak(敬奉閣) in 1799. Afterward the Daebodan remained unchanged. The ceremonies at the Daebodan stopped in 1908. And the Daebodan disappeared into the mist of history.

The significance and structural improvement of burial mound in Geonwonneung and Heonneung in the early Joseon Dynasty - Focusing on the Byeongpungsadaeseok and Nanganseok - (조선초 건원릉과 헌릉의 봉릉 구조개선과 의의 - 병풍사대석과 난간석을 중심으로 -)

  • SHIN Jihye
    • Korean Journal of Heritage: History & Science
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    • v.55 no.4
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    • pp.118-135
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    • 2022
  • The primary purpose of this study is to estimate the structure of Byeongpungsadaseok (屛風莎臺石) and Nanganseok (欄干石) in Geonwonneung (建元陵) and Heonneung (獻陵), which were built in the early of 15th century, based on the Annals of King Sejong. In addition, the ultimate purpose of this study is to reveal structural changes and their significance by comparing the differences with the contents of the dismantlement survey. Geonwonneung, Jereung(齊陵), and Heonneung were repaired at the same time in 1442, and the structural changes were the similar. The purpose of the repair in 1442 was to prevent water from flowing into the underground palace with smooth drainage. As a result of estimating the structure of Geonwonneung and Heonneung according to the records of the Annals of King Sejong, it was created in a very similar form to the Hyeonneung and Jeongneung of Goryeo. And it was clearly recognized that the Royal Tomb of Goryeo was followed. However, as the structure was improved in 1442, the unique characteristics of the Royal Tomb of the Joseon Dynasty were formed. First is the appearance of the Bokbuhyeong lime (覆釜形石灰, which is a convex roof on the Byeongpungsadaseok that serves to prevent rainwater from penetrating into the burial mound. It also plays a role in connecting and fixing the Manseok (滿石) and the Inseok (引石), which are the upper structures of the Sadaseok (莎臺石). Second, the Bakseok (薄石) between the nanganseok and the sadaseok has been transformed into the Sangseok (裳石) with a slope. This plays a role in protecting the inner stone chamber by expanding the length of the bakseok, which forms an overall slope, like the eaves of the roof. After both of these features were first attempted in 1442, they were applied to all Royal Tombs of the Joseon Dynasty and became unique features of these Royal Tombs.

Development and Validation of Classroom Problem Behavior Scale - Elementary School Version(CPBS-E) (초등학생 문제행동선별척도: 교사용(CPBS-E)의 개발과 타당화)

  • Song, Wonyoung;Chang, Eun Jin;Choi, Gayoung;Choi, Jae Gwang;ChoBlair, Kwang-Sun;Won, Sung-Doo;Han, Miryeung
    • Korean Journal of School Psychology
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    • v.16 no.3
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    • pp.433-451
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    • 2019
  • This study aimed to develop and validate the Classroom Problem Behavior Scale - Elementary School Version (CPBS-E) measure which is unique to classroom problem behavior exhibited by Korean elementary school students. The focus was on developing a universal screening instrument designed to identify and provide intervention to students who are at-risk for severe social-emotional and behavioral problems. Items were initially drawn from the literature, interviews with elementary school teachers, common office discipline referral measures used in U.S. elementary schools, penalty point systems used in Korean schools, 'Green Mileage', and the Inventory of Emotional and Behavioral Traits. The content validity of the initially developed items was assessed by six classroom and subject teachers, which resulted in the development of a preliminary scale consisting of 63 two-dimensional items (i.e., Within Classroom Problem Behavior and Outside of Classroom Problem Behavior), each of which consisted of 3 to 4 factors. The Within Classroom Problem Behavior dimension consisted of 4 subscales (not being prepared for class, class disruption, aggression, and withdrawn) and the Outside of Classroom Problem Behavior dimension consisted of 3 subscales (rule-violation, aggression, and withdrawn). The CPBS-E was pilot tested on a sample of 154 elementary school students, which resulted in reducing the scale to 23 items. Following the scale revision, the CPBS-E was validated on a sample population of 209 elementary school students. The validation results indicated that the two-dimensional CPBS-E scale of classroom problem behavior was a reliable and valid measure. The test-retest reliability was stable at above .80 in most of the subscales. The CPBS-E measure demonstrated high internal consistency of .76-.94. In examining the criterion validity, the scale's correlation with the Teacher Observation of Classroom Adaptation-Checklist (TOCA-C) was high and the aggression and withdrawn subscales of the CPBS-E demonstrated high correlations with externalization and internalization, respectively, of the Child Behavior Checklist - Teacher Report Form CBCL-TRF). In addition, the factor structure of the CPBS-E scale was examined using the structural equation model and found to be acceptable. The results are discussed in relation to implications, contributions to the field, and limitations.

Performance Features of Pansori Drummer from a viewpoint of the Relationship with Singer (창자와의 관계에서 본 판소리 고수의 공연학)

  • Song, Mikyoung
    • (The) Research of the performance art and culture
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    • no.23
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    • pp.63-103
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    • 2011
  • This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

A Study on Baettaragi Performance in Northwestern Province of Korea (관서지방 배따라기 연행고(演行考))

  • Lim, Soojung
    • (The) Research of the performance art and culture
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    • no.23
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    • pp.105-158
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    • 2011
  • Due to the system of sending selected hyanggi(local entertaining woman) to the government office in Seoul after the abolition of the system of gyeonggi(entertaining woman in capital area) during the reign of King Injo(1595~1649), the kyobang-jeongjae(local dance performed for the provincial government office) had gotten into the court to be performed at the royal banquet as gungjung-jeongjae(court dance), one of which was seonyurak(dance of boating). It used to be performed for finale of the royal banquet in the late Joseon Dynasty and appeared in several uigwes(record for royal banquet) since its first appearance in the wonhaeng-eulmyo-jeongri-uigwe, documented in 1795, the 19th year of the reign of King Jeongjo. Considering that the yeoggi(female entertainer) responsible for the court dance, seonyurrak was the seonsanggi(selected entertaining woman from provinces) from the northwestern provincial villages such as Euiju, Ahnju, and Seongcheon etc., we can assume that the baettaragi, one of kyobang-jeongjaes whould have been getting into the court to become the seonyurrak as court dance. The baettaragi, kyobang-jeongjae of northwestern province that affected the development of the court dance, seonyurak was created as performance executed by entertaining women of kyobang(local supervisory office for entertaining women) on the basis of the fact that the envoy of Joseon dynasty to the Ming dynasty could not help but taking a sea route when Amaga Aisin Gurun had a grip on the northeastern area of China during the shift of power from Ming to Qing. There had been a lot of banquets for envoys in the northwestern province because of its geographical feature as gateway to trip to China and the baettaragi used to be performed by entertaining women belonged to local provincial office to consolate the sadness of separation with those who destined to depart to China and to hope for their safe return. The kyobang-jeongjae, baettaragi of northwestern province is recorded as performance with sorrowful song to put the pain of parting into work, according to many related documents. It puts together painted boats as props, the march of a couple of dancer dressed up as soldier with marching music called gochiak, the song and musical accompaniment before getting on boat, the dramatic expression of sailing, and the farewell song praying for safe return etc. It turns the situation of dispatching envoys for China by sea into performance with combination of music, song and dance. Created in this way, the kyobang-jeongjae, baettaragi had been performed at the various banquets for envoys departing for China and it affected the formation of court dance or gungjung-jeongjae called seonyurak through the activities of selected local entertaining women. It also exerted influence on other similar performance in provincial area because of the returning home of the selected local entertainers who finished their performance in Seoul and it had been performed with different variation at local banquet including locality in it.

대순진리회 구천상제(九天上帝) 신앙과 도교 보화천존(普化天尊) 신앙 비교

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

A Case of Complete Remission after Concurrent Chemoradiotherapy for Esophageal Squamous cell Carcinoma with Solitary Bone Metastasis (고립성 골 전이를 동반한 식도편평세포암에서 동시 항암화학방사선 요법 후 완전관해를 보인 1례)

  • Woo Jin Lee;Hoon Jai Chun;Ye Ji Kim;Sun Young Kim;Min Ho Seo;Hyuk Soon Choi;Eun Sun Kim;Bora Keum;Yoon Tae Jeen;Hong Sik Lee;Soon Ho Um;Chang Duck Kim;Ho Sang Ryu
    • Journal of Digestive Cancer Research
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    • v.1 no.1
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    • pp.53-57
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    • 2013
  • There is no established treatment for esophageal carcinoma with metastasis. For the metastatic esophageal squamous cell carcinoma, chemotherapy or best supportive care according to patient's performance status are accepted as an available treatment. We report a case of complete remission after concurrent chemoradiotherapy for esophageal squamous cell carcinoma with metastatic lesion in 5th thoracic vertebrae. A 57-year-old man with ongoing dysphagia and weight loss was admitted to our hospital. On the endoscopic and radiologic imaging evaluation,the patient was diagnosed as a squamous cell carcinoma of esophagus with solitary metastatic lesion in 5th thoracic vertebrae. The patient was treated with combination chemotherapy (5-fluorouracil (5-FU) and cisplatin) and concurrent radiotherapy for two months to relieve dysphagia. Because metastatic lesion in thoracic vertebrae was located near the primary esophageal tumor, the metastatic lesion could be included within the radiation field. After concurrent chemoradiotherapy, consecutive 4 cycles of chemotherapy had been carried out. Primary esophageal tumor with metastatic lymph nodes and metastatic lesion in 5th thoracic vertebrae disappeared on follow up computed tomography (CT) and positron emission tomography-CT (PET-CT). Follow up endoscopic biopsy revealed no remnant malignant cells at previous primary cancer lesion.

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Conceptual Model of Establishing Lifestyle (Lifestyle-DEPER [Decision, Execution, Personal Factor, Environment, Resources]) and Lifestyle Intervention Strategies (라이프스타일 형성 모델(Lifestyle-DEPER [Decision, Execution, Personal Factor, Environment, Resources])과 건강을 위한 라이프스타일 중재 전략)

  • Park, Ji-Hyuk;Park, Hae Yean;Hong, Ickpyo;Han, Dae-Sung;Lim, Young-Myoung;Kim, Ah-Ram;Nam, Sanghun;Park, Kang-Hyun;Lim, Seungju;Bae, Suyeong;Jin, Yeonju
    • Therapeutic Science for Rehabilitation
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    • v.12 no.4
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    • pp.9-22
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    • 2023
  • The Lifestyle-DEPER (Decision, Execution, Personal Factors, Environment, Resources) model explains lifestyle formation. Lifestyles are shaped through the decision, execution, and habituation stages. Factors influencing the establishment of a lifestyle are categorized as environmental, resource, and personal. The environment encompasses our surroundings and social, physical, cultural, and virtual environments. Resources refer to what individuals possess, such as health, time, economic, and social resources. Personal factors include competencies, needs, and values. At the lifestyle establishment stage, each of these factors influences a different stage. These collective processes are referred to as events, encompassing both personal and social events. Health-related lifestyle factors include physical activity, nutrition, social relationships, and occupational participation. These are the goals of lifestyle intervention. The intervention strategy based on the Lifestyle-DEPER model, called KEEP (Knowledge, Evaluation, Experience, Plan), is a comprehensive approach to promoting a healthy lifestyle by considering lifestyle formation stages and their influencing factors. This study introduces the Lifestyle-DEPER model and presents a lifestyle intervention strategy (KEEP) to promote health. Further research is required to validate the practicality of the model after applying interventions based on the lifestyle construction model.

Constructing a Conceptual Framework of Smart Ageing Bridging Sustainability and Demographic Transformation (인구감소 시대와 초고령 사회의 지속가능한 삶으로서 스마트 에이징의 개념과 모형에 관한 탐색적 연구)

  • Hyunjeong Lee;JungHo Park
    • Land and Housing Review
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    • v.14 no.4
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    • pp.1-16
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    • 2023
  • As population ageing and shrinking accompanied by dramatically expanded individual life expectancy and declining fertility rate is a global phenomenon, ageing becomes its broader perspective of ageing well embedded into sustained health and well-being, and also the fourth industrial revolution speeds up a more robust and inclusive view of smart ageing. While the latest paradigm of SA has gained considerable attention in the midst of sharply surging demand for health and social services and rapidly declining labor force, the definition has been widely and constantly discussed. This research is to constitute a conceptual framework of smart ageing (SA) from systematic literature review and the use of a series of secondary data and Geographical Information Systems(GIS), and to explore its components. The findings indicate that SA is considered to be an innovative approach to ensuring quality of life and protecting dignity, and identifies its constituents. Indeed, the construct of SA elaborates the multidimensional nature of independent living, encompassing three spheres - Aging in Place (AP), Well Aging (WA), and Active Ageing (AA). AP aims at maintaining independence and autonomy, entails safety, comfort, familiarity and emotional attachment, and it values social supports and services. WA assures physical, psycho-social and economic domains of well-being, and it concerns subjective happiness. AA focuses on both social engagement and economic participation. Moreover, the three constructs of SA are underpinned by specific elements (right to housing, income adequacy, health security, social care, and civic engagement) which are interrelated and interconnected.

CHOBUN, Understanding the Double Burial Custom in Korea from a Jungian Perspective : Focusing on Putrefaction and Reduction to Bones (초분, 한국 이중장제의 분석심리학적 고찰 : 부패와 뼈로의 환원을 중심으로)

  • Jahyeon Cho
    • Sim-seong Yeon-gu
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    • v.31 no.2
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    • pp.113-150
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    • 2016
  • Chobun refers to a temporary grave covered with straw thatch that contains a corpse until its flesh is gone. When all the flesh has rotted away, the straw grave is disassembled and only the bones are retrieved. Therefore, Chobun is an example of a secondary burial custom (German : Doppel Bestattung) that is composed of a first temporary funeral for processing the corpse's flesh, and a second permanent burial of the final remains (bones or ashes). The duration of the temporary burial is determined by the time needed for decomposing the flesh of the deceased. Building a Chobun progresses putrefaction and reduction to bone. In the literature of alchemy, putrefaction and new life occur simultaneously. The purpose of rotting is to make the flesh disappear, leaving only its essence. It is making the physical body enter a spiritual state, so that the dead can enter into a different world. One must endure the unstable rotting process until the smell of flesh has faded. The rotting process is the attitude of accepting the terrible, polluted aspect of the corpse, while maintaining a helpless, passive posture, in order to allow new possibilities. When we try to approach an archetypal aspect of the unconscious, it is often experienced in threatening, aggressive ways. In the individuation process, the unconscious offers us the blessing of a new spiritual awakening and renewed sense of life, only when we have the courage to see this terrifying and contaminated side of our psyche. This is exactly what putrefaction means. Bone and skeleton symbolize the indestructible, imperishable, and essential elements of life. Bone is the minimum unit and foundation for regeneration, where new life can grow. Reduction to bone is moving back to the origin of life, to the womb. Psychologically, it means discarding one's ego-centeredness and allowing the Self to lead the entire process of individuation. Going through the painful process of reduction to a skeleton for the purpose of further development is a declaration of the death of the ego, aiming at the liberation from perishable flesh and acquisition of the spiritual, regenerative, and immortal elements of life. Chobun also denotes the yearly decay and revival of life, especially of vegetal life. In Chobun, this symbolic meaning of the vegetal cycle of life is emphasized to represent the part of life that survives even after death. Vegetation related to Chobun deals with the continuity of life and psychologically with the Self. Images of vegetation are closely related to the existence of life beyond death, which is the existence of the Self, the source of energy that constantly renews and rejuvenates the consciousness.