• Industry Promotion Research
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• v.5 no.3
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• pp.61-71
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• 2020

The purpose of this paper is to reaffirm the logical framework of the saju analysis method by recreating the saju model of old-law to study and organize the theories of frame in old-law Myeongri, and then by organizing and comparing the logic structure of the saju analysis method of new-law and old-law. Some believe that Myeongri Theory first appeared in the world in the Warring States Period when they were active with Gwigokja and Naknokja as origin, while others believe that it was origin that "Okjokyeong" was written by Kwak-Bak of Eastern Jin after a while. Since then, Myeongri Theory, which had been organized by Won-Cheongang and Yi-Heojung, has undergone a major transformation since reaching the Song Dynasty Seo-Japyeong. Based on this point, the Myeongri Theory of the previous generation is called the Old-law, and the subsequent theory is called the New-law. The changes in the logic structure of the old-law and the new-law leave a big difference and disconnect between those. But comparative studies have confirmed that the philosophy and logic structure due to natural laws that have not changed much such as the symbolic system of nature called Yinyang & five elements and Cheongan-jiji, the idea of a heavenly response projected in the Three Wonders of heaven, earth and human, and the concept of generation and time in the position of year-month-day-time.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.6
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• pp.85-95
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• 2010

East-Asian intellectual societies in the pre-modem age sustained a holistic system of poem-calligraphy-painting trinity until the coming of Western modernism. Therefore, it has been insisted that the principles of traditional landscape gardening were greatly influenced by those of landscape painting and related literature. This study examined those influences closely to discover the essence of traditional Asian landscape architecture through a comparative study between Chinese landscape painting theory and landscape gardening theory within the dual categories of 'contents(value and meaning)' and 'form(view and spatial structure)'. The most important theme of landscape painting theory in contents category was 'Chi and its Vitality(氣韻生動)'. The matching theme in landscape design field was 'Feng-Shui(風水)' and 'Yi-Jin'g(意境)'. The most important theme of landscape painting theory in formal category was 'the Three Ru1es of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. The most important theme of landscape painting theory in formal category was 'the Three Rules of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. It was found that themes and various principles of both fields were closely inter-related and have much in common in their representation of contents and form. In the close relationship with main art genres like this, the landscape gardening could have been recognized as one of the genres of fine art.

• 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.

• Journal of Physiology & Pathology in Korean Medicine
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• v.21 no.5
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• pp.1065-1071
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• 2007

It has been known that Asian Medicine theory are based on yin and yang & Five Phases. but recently many therapist using asian medicine in Korea or another nations, take up the position that it is not inevitable for them to adopt the theory of yin-and-yang & Five Phases when they cure a patient. but the point of this view suggests they can not understand totally the real theory about yin-and-yang & Five Phases. asian image-mathematics based on I-Ching could analysis all things with the natural number. the kernel of understanding on principle of I-Ching is realizing that the standard should be changed in some conditions and the form of cosmos should change endless. the system of all thing under sun is divided in three parts on the asian image-mathematics. the nature number from one to nine is divided in three categories that are grouped as 123, 456, 789. So, if we want to understand Five Phases theory, we suggest that it is useful to know the organic connected relations among Four Images, Five Phases, Six Qi(six kinds of weather). the aim of this paper is to arrive at understanding of profound learning on image-mathematics throughout the number of 4, 5, 6 in the concrete context.

• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.47-82
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• 2021

At the age of 15, Song Gyu, the second patriarch of Won Buddhism, met Jeungsan-gyo members and was substantially influenced by them. Jeongsan cultivated himself for three months in Mount Gaya based on their recommendations. He instructed his family members to practice reciting the Tae-eul Mantra. Henceforth, Jeongsan was said to attain supernatural power when he was around 18 years old, and he pursued the traces left by Jeungsan in Jeolla Province. Once there, he asked Jeungsan's younger sister to move to his hometown, Seongju, Gyeongsang Province, and he served her with his utmost sincerity. He went back to the birthplace of Jeungsan and received a Daoist book from Jeungsan's daughter titled, Essentials for an Upright Mind (正心要訣). Jeongsan practiced holy works for 10 months at Daewon-sa Temple in Mount Moak where Jeungsan was said to have attained unification with the Dao. After he had met Jeungsan-gyo members at the temple, he was able to stay in her house where he ended up meeting So Taesan. Before their meeting, it is obvious that Jeongsan was a member of Jeungsan-gyo. Afterward, Jeongsan entered into Won Buddhism and used the passage, 'saving lives by curing the world (濟生醫世).' He recited the writing of Jeungsan, which had been given to his disciples, as if it had been a mantra. In addition, he mentioned Jeungsan's poems or the Chinese poems that he had quoted many times. Jeongsan also interpreted passages from The Hyunmu Scripture (玄武經) written by Jeungsan in a unique manner. Jeongsan answered his disciples in his own way when they asked questions on the teachings of Jeungsan. He recognized Jeungsan as one of the Three Primes, who presided over the Great Opening.

• Journal of the Daesoon Academy of Sciences
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• v.43
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• pp.103-137
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• 2022

In religious symbology, an emblem is a symbolic mark, which differentiates a religion from other groups. In addition, it holds a symbolic or conceptual character that enables viewers to recognize a certain religion. Daesoon Jinrihoe, a representative order among Korean religious traditions, also has a symbolic mark; however, it has not been designated with an official name as symbol despite its usage dating back to May 11, 1978. At the time, that mark has served as an emblem. Afterwards, the emblem was printed and has been officially used as a flag (unofficially known as the Dao Flag, the Fellowship Flag, etc.) since October 20th of that same year. The emblem of Daesoon Jinrihoe which is not only printed in the flag but has been utilized as a symbolic mark representing the order. Nevertheless, it is hard to find research related to this symbol. Consequently, this study aims to apprehend the existing materials about the flag's emblem and its meaning, as well as attempt to interpret its various implications. Indeed, this work will suggest another point of view about the emblem given that it embraces ambiguity. This research suggests that the emblem symbolically depicts the Daesoon (Great Itineration), Samwon (三圓, Three Circles), Sadae (四大, Four Dae), and the Center, and that, all together, this can imply more profound meanings than were expressed in previously posited explanations. As such, this study draws further significance from Daesoon Thought and find: first, the circle in the center of the emblem signifies the pivot of Daesoon; not just the earthly circle (地圓) or the human circle (人圓). This opens up the possibility that the circle symbolizes Mugeuk (Limitlessness) and Taegeuk (Great Ultimate), which include the pivot of Heaven, Earth, and Humanity. Secondly, the symbol of soil (土) in the center is separated from the human circle and reveals the symbol of harmony and creation as the rod shape of Four Dae. Thirdly, the protuberances in the circle point to specific directions and this allows for additional layers of meaning.