• Journal of the Daesoon Academy of Sciences
• /
• v.38
• /
• pp.153-182
• /
• 2021

The Buddhist monk, Kim Ji-jang (金地藏), a native of Silla, is still revered as Ksitigarbha Bodhisattva in China. In Chinese Buddhism, Kim Ji-jang's becoming Ksitigarbha Bodhisattva is unique in at least two ways. First, it is said that his becoming the bodhisattva originated not in Silla, but in China, a foreign country. Second, it is said that the historical person became regarded as a mythical being, Ksitigarbha Bodhisattva. The process of Kim Ji-jang's becoming Bodhisattva can be divided into three periods. The first period is the period of entering and practicing at Mount Jiuhua in China, and this also includes the period wherein he was first revered as Ksitigarbha Bodhisattva. The second period begins immediately after Kim Ji-jang's death and ends three years later. In this period he became regarded as Ksitigarbha Bodhisattva. The third period spans three years after his death to the present age. His status as Ksitigarbha Bodhisattva carries on at present. There are two main causes for Kim Ji-jang's transformation into the bodhisattva. The first is an internal bodhisattva process. According to Ksitigarbha Bodhisattva's main vow, Kim Ji-jang's practice and edification impressed the public. The second is an external bodhisattva process. The miracles that appeared at the time of his death or the manifestation of the incorruptible relics three years after his death played a decisive role in the process of Kim Ji-jang becoming a bodhisattva. In line with the public's devotion, the Chinese imperial family repaired and supported the temple that enshrined the relics of Kim Ji-jang. Various factors could be analyzed in the process of Kim Ji-jang's becoming Ksitigarbha Bodhisattva, but more than anything else, it was Kim Ji-jang's severe ascetic practices and his virtuous edification of others.

• Journal of Ginseng Culture
• /
• v.4
• /
• pp.103-127
• /
• 2022

The influx of modern culture in the early 20th century in Korea led to numerous changes in the country's ginseng industry. With the development of ginseng cultivation technology and commerce, the production and consumption of ginseng increased, and various ginseng products were developed using modern manufacturing technology. Consequently, competition for the sales of these products became fierce. At that time, newspaper advertisements showed detailed trends in the development and sales competition of ginseng products. Before 1920, however, there were few advertisements of ginseng in newspapers. This is thought to be because newspapers had not yet been generalized, and the ginseng industry had not developed that much. Ginseng advertisements started to revitalize in the early 1920s after the launch of the Korean daily newspapers Dong-A Ilbo and Chosun Ilbo. Such advertisements in this period focused on emphasizing the traditional efficacy of Oriental medicine and the mysterious effects of ginseng. There were many advertisements for products that prescribed the combination of ginseng and deer antler, indicating the great popularity of this prescription at the time. Furthermore, advertisements showed many personal experience stories about taking such products. Mail order and telemarketing sales were already widely used in the 1920s . In 1925, there were advertisements that ginseng products were delivered every day. The advertisements revealed that ginseng roots were classified more elaborately than they are now according to size and quality. Ginseng products in the 1920s did not deviate significantly from the scope of traditional Oriental medicine formulations such as liquid medicine, pill, and concentrated extract. In the 1930s, ginseng advertisements became more active. At this time, experts such as university professors and doctors in medicine or in pharmacy appeared in the advertisements. They recommended ginseng products or explained the ingredients and medicinal effects of the products. Even their experimental notes based on scientific research results appeared in the advertisements to enhance the reliability of the ginseng products. In 1931, modern tablet advertisements appeared. Ginseng products supplemented with vitamins and other specific ingredients as well as ginseng thin rice gruel for the sick appeared at this time. In 1938, ginseng advertisements became more popular, and advertisements using talents as models, such as dancer Choi Seunghee or famous movie stars, models appeared. Ginseng advertisements in the 1920s and 1930s clearly show a side of our rapidly changing society at the time.

• Journal of the Daesoon Academy of Sciences
• /
• v.43
• /
• pp.139-177
• /
• 2022

The only text that aids in the understanding of Songs of the Dao of Great Gods (大化神道歌詞), which was established by Yun Jin in 1984, is Mok-wun daegyeong (木運大經, The Great Scripture of Wood-Destiny) published by Oh Yeol-gyun in 1976. This scripture includes five songs: Wun-hoe dongbang-ga (運回東方歌, Songs of Destiny-Returning to the East), Gung-eul-ga (弓乙歌, Songs of Gung-eul), Dodeok-sa (道德詞, Morality Poems), Palguae-gugung byeon-yeok-ga (八卦九宮變易歌, Songs on the Changes of the Eight Trigrams and Nine Palaces), and Nakdang-ga (樂堂歌, Songs of the Paradisiacal Lands). Songs of the Dao of Great Gods, which is prone to embracing Daoist characteristics, is meant to be sung upon the realization of the Later World, the ideal earth. This is expressed as spring. In addition, we can easily find key terms such as Sampung-ga (三豊歌), Yangbaek-segye (兩白世界), Gung-eul-ga (弓乙歌), Gunggung-euleul (弓弓乙乙), Yanggung (兩弓), Euleul (乙乙), Gung-eul seonin (弓乙仙人), Samin-ilseok (三人一夕), Yijae-jeonjeon (利在田田), Gung-eul jiri (弓乙之理), Naenggeum-bugeum (冷金浮金), Seokjeong-gon (石井昆), Yangbaek (兩白), Sampung (三豊), and Sodumujok (小頭無足), all of which appear frequently in traditional prophecies and the faiths they have inspired. The precise meaning of these terms has yet to be revealed. Furthermore, Songs of the Dao of Great Gods contains lyrics prophesying that the return of the wood-destiny of the East and emphasizing the destiny of 3-8 wood as based on the Yellow River Chart (河圖). Songs of the Dao of Great Gods, originated the term, the World of Paradisiacal Lands (樂堂世界), and prophesyed that the wood-destiny of the East would return to create a new world that took Korea as its center. The text emphasized wood-destiny, symbolized by spring, and argued that the Dao of Great Gods could be ascetained from the principle of water-producing wood (水生木) found in the Eastern study of changes (易學) as approached by Choi Su-Wun (水雲), the founder of Donghak (東學).

• Journal of the Daesoon Academy of Sciences
• /
• v.27
• /
• pp.245-282
• /
• 2016

Currently, the whole world is being swept away by spiritual movements seeking divinity in oneself. Yet there are terror attacks, religious disputes and other conflicts continuously taking place on larger and larger scales as well as expanding further and further throughout the world. Interreligious harmony seems like a distant ideal. What is the ultimate cause of religious conflicts? Is interreligious communication truly that difficult? Even among different cultures, said cultures' varieties of ritual expressions, and various religious doctrines, there are points of general common to be appreciated if a deep perspective is adopted. When we find the common ground and understand each other's difference, it will be easier to communicate since everyone will be learning from each other. What could serve as common ground for different religions? Many scholars speak about the state of 'oneness' that is claimed by mysticism throughout a large array of religions. This state of oneness is typically not achieved overnight, but it serves as a prospective state which is pluralistically inclusive. This "religion of enlightenment" emphasizes the process of reaching comprehensive interreligious agreement would be characterized by a deep religious perspective. If superficial religious perspectives focuses only on faith to attain blessings and engage in blind belief, then, by contrast, deep religious perspectives emphasize inner divinity, the true self, orthe higher self. The words, 'superficial religious perspective' and 'deep religious perspective' were defined for personal convenience by O Gang-nam, a scholar of comparative religion. Consequently, this classification is a relative binary concept lacking hard and fast rules with regards to distinctions. But the concept of superficial religious perspectives and deep religious perspectives has its advantage in allowing clearer and easier discussion about religions because it could embrace all aspects of religious life and the development of various religious sentiment. In this way, the terms surface religious perspectives and deep religious perspectives will be used in limited framework. I both borrow this concept and reconsider it by referring to other scholars' methods of classification. From that point, I explore and these views in relation to religious experience. How does religiosity develop, maturity of religious faith take place, deep awareness of truth reveal itself, or an attitude of open-mindedness arise? After these states are realized, is interreligious agreement possible? Most religious studies scholars point out 'religious experience.' They say people could develop their faith from superficial religious beliefs into a more mature and deeper faith through religious experience while continuously aspiring towards enlightenment and practicing their religion in daily life. This study will try to examine aspects of superficial religious perspectives and deep religious perspectives represented in each religion and also explore criticism of each religion. With this view of superficial religious perspectives and deep religious perspectives, some cases documenting the religious experience of Daesoonjinrihoe disciples will be analyzed to see how their religiosity develops from superficial religious perspectives into deep religious perspectives through certain religious experiences. The characteristics of those experiences will also be investigated.

• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.219-255
• /
• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• Korean Association for Visual Culture
• /
• v.23
• /
• pp.463-524
• /
• 2013

En exprimant 'la découverte de l'homme', Valéry, dans la Philosophie de la danse, représente «un plaisir qui allait jusqu'à une sorte d'ivresse, et si intense parfois, qu'un épuisement total de ses forces, une sorte d'extase d'épuisement pouvait seule interrompre son délire, sa dépense motrice exaspérée». Dans le même sens du plaisir, Jayadéva, dans son dithyrambe du Gîta-Govinda, représente la danse de Harî, une des nombreuses formes de Vichnou. Excités par le brûlant désir des jeux de la volupté, Hari et son amante Râdhâ cherchent au cours de la danse Râsa l'énergie vitale. Voilà la source du plaisir mystérieux valéryen. Ensuite l'eau, «élément essentiel de toute vie», est la mesure du temps de même que le soleil, l'eau est le principe de l'harmonie comme celui du monde. Finalement, chez Valéry, sous les diverses infleunces de l'eau mythique, la mer devient l'Océan de lait, soit le lieu de naissance, soit la substance maternelle, soit l'essence da la création universelle. Or tout au long de 「La Dormeuse」, Valéry évoque l'image de 'Vichnou-Narayana' sous l'influence de la mythologie indienne. Et sous une autre influence de Flaubert, Valéry évoque « d'étranges mondes abstraits». Malgré tout, Valéry crée lui-même, dans 「La Dormeuse」, une nouvelle image d'un monde abstrait : 'Vichnou-Narayana' couché sur un lit de lotus, porté par les replis du grand serpent Ananta, qui élève au-dessus du dieu endormi méditant, ses sept têtes formant une éspèce de dais - du sein de Narayana, richement décoré d'un collier d'étoiles et d'une couronne de pierres précieuses en forme de disque, croit un lotus qui porte Brahma dans son calice ; Lakchmi est aux pieds de son divin époux. L'épisode des dieux indiens est à un stade encore plus avancé de la destruction du symbole. Ils sont réduits à des formes symboliques obscures, non commentées et même difficilement identifiables. Le dieu rose qui mord son orteil dans une attitude à la fois mystérieuse et grotesque, c'est Vichnou qui a, selon le vichnouisme, le premier rôle dans la création du monde. Il flottait avant la création sur les eaux, couché sur une feuille de figuier, sous la forme d'un jeune enfant qui porte son pied vers sa bouche. Cette scène évoque la méditation et le repli sur soi de la divinité avant le commencement. Valéry désigne la cosmogonie particulière d'une religion bien déterminée(le vichnouisme) sans la nommer et en la vidant de son sens pouratnt capital, laissant subsister un symbole guetté par le grotesque, un dieu en enfance ; d'autre part, cette cosmogonie est télescopée et intégrée par une cosmogonie d'origine différente : le désemboîtement des trois dieux renvoie à la théorie sivaiste du Lingam, l'arbre de vie. Les dieux de la tirinité iendienne se détachent les un après les autres et il ne reste plus que la fleur sous la garde de Vichnou. Le désemboîtement des dieux paraît bien se référer à cette conception, malgré l'absence du lingam. Enfin toute la forme veille ; et tous les yeux sont ouverts.

• Journal of the Daesoon Academy of Sciences
• /
• v.47
• /
• pp.241-279
• /
• 2023

The Scripture of Myriad Laws was first published in 1986 and then reprinted in 1994 and 1995. It gained widespread recognition as a mysterious text or a Buddhist document containing enigmatic content that deemed difficult to comprehend. Through the analysis of the content of The Scripture of Myriad Laws, it was revealed that the book was published by the Dragon Flower Order, a Jeungsanist religion founded by Seo Baek-Il (徐白一). Therefore, the various texts included in The Scripture of Myriad Laws can be classified as 'Songs of Jeungsanism' (Jeungsan-gyo Gasa 甑山敎歌辭). The contents included in The Scripture of Myriad Laws often mention terms unique to the Jeungsanist orders, such as 'the Reordering Works of Heaven and Earth' (天地公事), 'presiding over cures' (醫統), 'Degree Number' (度數), 'the West God' (西神), 'the nobility of heaven' (天尊), 'the nobility of earth' (地尊), 'the nobility of humanity' (人尊), 'ruling the world for 50 years' (治天下五十年), and 'the era of Resolving Grievances (解冤時代).' It also discusses the birthplace and birth date of Kang Jeungsan, his family name, and the duration of his existence. The contents directly quote the words spoken by Jeungsan and incorporate them into songs. They also mention unique Jeungsan terms such as 'Five Immortals Playing Baduk' (五仙圍碁), 'open-weight wresting match,' 'birth, growth, harvest, and storage' (生長斂藏), 'the god who listens to words' (言聽神), 'pillar of foundation' (基礎棟樑),' 'Ocean Seal' (海印), and 'the higher gods' (上計神). It is also notable that some verses of Chinese poetry that Jeungsan taught his disciples are directly quoted in this scripture. Furthermore, the scripture shows traces of Buddhist salvational beliefs; particularly those that emphasize faith in Maitreya Bodhisattva (彌勒信仰). However, The Scripture of Myriad Laws differs from traditional Buddhist beliefs in that it anticipates and emphasizes the birth of a specific individual endowed with the power and abilities of Maitreya Buddha. While emphasizing Maitreya Buddha (彌勒世尊) and the Dragon Flower Gathering (龍華會上), the scripture also specifically mentions Geumsan-sa Temple (金山寺) located on Mount Moak (母岳山) in North Jeolla Province, and these details are sung about in a special manner. This positive portrayal serves to affirm the belief of followers that Jeungsan, centered around Geumsan-sa Temple, was an incarnation of Maitreya Buddha. Moreover, The Scripture of Myriad Laws subtly asserts that Seo Baek-il, the leader of the Dragon Flower Order, who is mentioned in the scripture, is the absolute savior who has come to this world in place of Jeungsan. In support of this teaching, his birth date, birthplace, years of imprisonment, release date, and honorific name (號) are all recorded in precise detail.

• Childhood Kidney Diseases
• /
• v.3 no.2
• /
• pp.170-179
• /
• 1999

Purpose: To evaluate whether or not sodium restriction had its own beneficial effect and increased the efficiency of the anti-hypertensive drugs on the progression of renal failure. Methods: We studied using the excision remnant kidney model. Treatment groups were as follows: 5/6 nephrectomy and a 0.49% (normal-high) sodium diet (NN); 5/6 nephrectomy and a 0.25% (normal-low) sodium diet (LN); 5/6 nephrectomy, a 0.49% sodium diet and enalapril (NNE); 5/6 nephrectomy, a 0.49% sodium diet and nicardipine (NNN); 5/6 nephrectomy, a 0.25% sodium diet and enalapril (LNE); 5/6 nephrectomy, a 0.25% sodium diet and nicardipine (LNN). Both diets were isocaloric and had the same content of protein, phosphorus and calcium. Proteinuria, remnant kidney weight, mesangial expansion scores, and glomerular volume were assessed. Results: Blood pressure tended to be lower in LN compared to NN (P<0.05). NN developed progressive hypertension. LNE, LU, NNE, and NNN reduced blood pressure. LNE, LNN, NNE, NNN, and LN had significantly less proteinuria than NN at 16 weeks (P<0.05). At 24 weeks, LN developed proteinuria (82 mg/day), which were lessened in LNE (54 mg/day) and not lessened in LNN (76 mg/day). Mesangial expansion scores were significantly less in LN rats compared to those in NN rats. Glomerular volumes at 24 weeks in LN rats were significantly less compared to those at 16 weeks in NN rats. Mesangial expansion scores and glomerular volumes at 4, weeks, 12 weeks, and 24 weeks were not different among LN, LNE, and LNN groups. Conclusion: Dietary salt restriction lessens renal damage, at least in part, by inhibiting compensatory renal growth and reducing blood pressure. Enalapril was particularly successful in reducing proteinuria and glomerular injury when combined with dietary salt restriction.

• The Journal of Natural Sciences
• /
• v.7
• /
• pp.133-162
• /
• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.4
• /
• pp.150-169
• /
• 2020

Surveys of Buddhist ruins at Namsan in Gyeongju began in earnest during the Japanese colonial era, undertaken by Japanese scholars. These surveys of Buddhist remains in Namsan made during the colonial period should be seen as previous research which cannot be ignored in any in-depth study of Buddhist ruins in Gyeongju. Full-scale surveys of Buddhist ruins at Namsan began in the 1920s. Previous surveys conducted around the time of the Japanese annexation of Korea in 1910 are generally viewed as only representing preliminary investigations and, thus, have not received much attention. However, these early surveys are significant in that they led to the Buddhist ruins on Namsan becoming widely known in the 1910s and served as the foundations for later studies. The removal of the Seated Medicine Buddha from Samneung Valley in Gyeongju in 1915 and its subsequent exhibition at the Joseon Local Products Expo, which marked the fifth anniversary of the Japanese administration of Korea, was especially important in garnering attention for Namsan's wealth of Buddhist artifacts, as the statue was placed in the main hall of the art museum and attracted a great deal of interest from visitors. It is typically thought that this Seated Medicine Buddha was exhibited in 1915 because it was the most beautiful and well-preserved statue from Namsan. However, the removal of this statue was closely related to the proposed move of the Seokguram statue to Seoul around the time of Korea's annexation. The plan to move Seokguram to Seoul was primarily devised by Terauchi Masatake, and the plan, based on Ilseontongjo-ron ('日鮮同祖論'), a historical theory that prehistoric Korean and Japanese people were of the same blood, and Joseon Jeongcheasoeng-ron ('朝鮮停滯性論'), a historical theory arguing that development had stagnated in Korea, was intended to be a visual demonstration of a new era for Korea. This new era was to proceed under the rule of the Japanese Empire through the dissolution of Gyeongbokgung, the symbol of the Joseon Dynasty, which would be replaced with past glories as symbolized by the statue of Buddha. However, as the plan floundered, the replacement for Seokguram in Seoul ended up being none other than the Seated Medicine Buddha of Samneung Valley. Surveys of the Seated Medicine Buddha began in 1911, administered by Sekino Tadashi, but he likely learned of the statue's location from Moroga Hideo or Kodaira Ryozo, Japanese residents of Gyeongju. It is also probable that these Japanese residents received a request from the Japanese Government General of Korea to find a Buddha statue that was worthy of being displayed at exhibitions. In this way, we can say that the transfer of the Seated Medicine Buddha to Seoul was the result of close cooperation between the Government General, Sekino Tadashi, and Japanese residents of Gyeongju. This also had the effect of removing the magical veil which had shrouded the Buddhist ruins of Namsan. In other words, while the early surveys of Buddhist ruins on Namsan are significant, it is difficult to argue that the surveys were undertaken for purely academic purposes, as they were deeply related to the imperial ambitions of Governor-General Terauchi which encompassed the plans to move Seokguram to Seoul and the successful hosting of the 1915 Expo. It should also be pointed out that the failure of the plan to move Seokguram to Seoul and the preservation of the Seated Stone Buddha of Mireuggok at Namsan was in no small part due to resistance from Korean residents in Gyeongju. Although it is not described in detail in the paper, research is needed which shows that the Korean residents of Gyeongju were not simple bystanders, but agents of history.