• Korean Journal of Heritage: History & Science
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• v.34
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• pp.124-136
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• 2001

Among many different types of wares, we have amazing Sacred Water-pot(따르개, 注子) from Goryo-period(고리, 高麗, 918-1392). The stylistic peculiarity of Jung-Byoung(정병, 淨甁) is described in "Goryo-Dhogyoung, 고리도경, 高麗圖經", the classical design canon. It is said, "A sharpened mouth with narrow and prolonged neck is attached upon the broad mouth with thicker and even longer neck of the pot whose body intimates to the shape of melon." One could find this Jung-Byoung similar to the Indian drinking water jar, Kundika, which has been. even today, an everyday article in houses as well as in temples. In the early Buddhist cult, the object had been adopted as personal belonging of the Bodhisattvas(보살, 菩薩), especially of the Bodhisattva Avalokitesvara(관세음보살,觀世音菩薩). In short, the purifying character of water is met by the sacred ware to deliver the refreshing Sweet-Water(Holy-Water, 깨맑물, 단물, 단이슬물, 정수, 감로, 감로수, 성수, 淨水, 甘露, 甘露水, 聖水): For the holy purpose of fulfilling the thirst of people, of symbolozing the virtuous dharma. Thus, Ggamslkh-Byoung(깨맑병,淨水), the literal Korean name, denotes purifying and clarifying and clarifying water-pot to us. Among many other Asian countries, India, China, Korea, and Japan have a profound cult of the sacred water-pot(Ggamalkh-Byoung, Jung-Byoung, 깨맑병, 정병, 정수병, 감로병, 감로수병, 淨甁, 淨水甁, 甘露甁, 甘露水甁). Therefore, this charming holy object drew much attention not only from master artisans to shape and deliver them to people but also from painters and sculptors for their endowment of the sacred images dedicated to Buddha(부처,佛,佛陀). In China, the sacred water pot emerged in the period of Tang(당, 唐, 618~907)-Period and underwent much sophistication later on, I. e., from earthenware, ceramic-porcelain, bronze, and silver. However, the following represents a challenge to the well-known Goryo-Thangka(고리불화, 高麗佛畵) Painting of Bodhisattva Avalokitesvara to our speculation on the Sacred Water-pot(정병, 淨甁). The image suggests, when examined closely, that the Sacred Water-pot has been accompanied by, or placed in, a transparent glasswere(유리그릇) or crystalbowl(수정그릇)! We have no other physical proof of the existence of such a Holding-Bowl(받침그릇, 承盤), except for in this particular painting. This Holding-Bowl would have not been a mere elaboration on the practicality of controling the drips from the mouth of the pot. As in the chapter on Tang-ho(탕호, 湯壺), or thermal bowl, in the "Goryo-Dhogyoung" it advises readers that this style of bowl is to be filled with hot water, and thus function as a preserver of heat in the water inside the pot. As an offering to the Buddha, the Sacred Water-pot could have been used for serving him hot tea. Hence the sacred bottle is to contain the refreshing water, the water transcends to nectar, and the nectar is prepared as a nectar tea to offer the Buddha. For both the Holding-Bowl of Ggamalkh-Byoung(Jung-Byoung)and the Celestial-Robe(날개옷, 天衣) of the Bodhisattva Avalokitesvara, whose specified character is the Water-Moon(수월, 水月) in this particular Thangka(불화, 佛畵) painting, the transparency is essential. This is to refer to the purity and the lucid clarity of Bodhisattva Avalokitesvara and at a deeper level, to refer to the world of Buddhas-the Tushita(Paradise, Heaven, Eden, 극락, 불세계, 極樂, 佛世界). Howerver, without the discovery of an actual Holding-Bowl, accompanied by a Sacred Water-pot, such speculation will necessarily remain hypothetical. Nevertheless, there is an abundance of evidence of our ancient craftsmanship in jade and ctystal, dating back to the Bronze Age(1000~2B.C.) in Korea. By the time of the Three Kingdom-Period(삼국시대, 三國時代, 57B.C.~935A.D.), and especially the Silla(신라, 新羅, 57B.C.~935A.D.)-Empire, the jade and crystal ornamentation had become very intricate indeed. By the Goryo-Period(918~1392) and Chosun-Period(조선, 朝鮮,1392~1910),crystal-ware and jade art were popular in houses and Buddhist temples, whose master artsanship was heightened in the numerous Sarira-Cases(사리그릇, 舍利器), containing relics and placed inside Stupas(탑, 투, 搭)! Therefore, discovering a tiny part of the crystal or jade Holding-Bowl for the Sacred Water-pot and casting full light on this subject, would not be totally impossible. Lastly the present article shares the tiny hope for a sudden emergence of such a Holding-Bowl.

• The Journal of Korean Philosophical History
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• no.50
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• pp.201-234
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• 2016

This thesis examined interpreting methodology of Do Won Lew Seung Kug(1923~2011) is based on the principle of Juhng-yaug. His lifelong academic aim was searching for the theory that enables global community to co-exist peacefully through humanitarianism that leads to reconciliation and mutual benefits. The research of the history of Korean thoughts provided him with the clue for his theory. According to Do Won, Korean thoughts pursue the Juhng-yaug's value of 'Yin and Yang accordance' rather than the I-Ching's value of 'suppress Yin and elevate Yang'. He furthermore asserts the concept of the middle (中), which harmonizes the two extremes by human beings as main agents, has been consistently observed from the action of divination during the ancient period through Juhng-yaug in the late 19th century. Do Won identifies 'human maturity that integrates the extremely conflicting insistences and values and seeks to be reconciled' as the basic character of Korean thoughts. He explains 'Hongikingan[弘益人間, becoming beneficial to the human world] is the idea that embraces the conflicting values symbolized by heaven and the earth. He also illuminates that Choe Chi Won(崔致遠)'s created Poongliu Do by integrating heterogeneity among Confucianism, Buddhim, and Daoism and it was attainable through the various works of mature human beings. Both Toe Gye' s philosophy of Ingeuk(人極, the Great Ultimate of Person) and the concept of Innaecheon(人乃天, Human Being right is Heaven) of Donghak are excellent examples of Humanitarianism that sublate two extremes. In Korea, the prototype of this thought has penetrated its entire history in the various circumstances of the period. The grand finale is Juhng-yaug of which the pursued values are 'Yin and Yang accordance' and mature humanitarianism revealed by the thoughts of the Person of the Central Ultimate (皇極人,至人) and Central Ultimate (皇極). Therefore, Humanitarianism in Korean thoughts clearly makes its appearance by the time of Juhng-yaug and it functions as a keyword to illuminate the entire history of Korean thoughts in reverse.

• (The)Study of the Eastern Classic
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• no.49
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• pp.7-38
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• 2012

This study is an argument that Yeoheon Jang Hyun Gwang's Yeok-Hak-Do-Seol has been on the context of the typical Confucian methodology of self-organization for a sage's or superman's character (爲己之學) and completed the methodology. Therefore the context from Confucius to Southern Song China Era is argued as a context of development and systematization of the methodology. In addition the fact that Zhuxi(朱熹) and his students had systimatization of the methodology with the publications of some important textbooks is also explained. The most stressed thing of this study is Yeoheon's Yeok-Hak-Do-Seol is just the text that succeeded them as the methodology of self-organization and had a special purpose of completion of the methodology not only with comprehensive items of practice but also intuition into the human's life and the world by his mastery of Yeokhak(易學). The viewpoint this study keeps is the Confucian methodology of self-organization is considered for the purpose of development and upholding the Confucian truth, and thus the methodology itself has been regarded as the necessary one that is the closest approximation to a pursuit of Confucian truth. According to this viewpoint we can observe the features of methodology of the pursuit of Confucian truth from the Yeok-Hak-Do-Seol. However the Yeok-Hak-Do-Seol has its purpose merely on a human being's self-organization but also on an enormous enterprise to make the universe peace or sustainability of the world. His stress on the enterprise shows that his methodology is not a merely repetition of the tradition of the Zhuzixue but a creative deveopment of the tradition. The other feature is that his methodology is systematization on the basis of Yeokhak, or the study of Yi-jing(易經). The main method he intensified is easiness and simplification that is the main point which he extracted from Yi-jing as the most important and necessary way of life.

• Journal of Ginseng Culture
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• v.3
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• pp.90-118
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• 2021

Gaeseong fostered the conditions necessary for modern capitalism, as huge capital was accumulated through the cultivation and trade of ginseng, which were activities that flourished in the 18th century. During the Japanese colonial era, ginseng merchants were not simply limited to acquiring landowner capital from ginseng trade but actively converted such resource to productive and financial capital, thereby becoming modern entrepreneurs. Ginseng merchants led the joint management and investment of Gaeseong Electric Co., Ltd., Daehan Cheonil Bank, Gaeseong Brewing Co., Ltd., and Songgo Textile Company, founded in the early 20th century. They pursued corporate profits and, as leading individuals of society, spearheaded regional development by supporting educational and cultural projects in Gaeseong. These projects included the establishment of the Gaeseong Commercial School, the publication of Goryeo Times, and the operation of the Gaeseong Jwa Theater. Although liberal economics prioritized shareholder interest, the 21st century witnessed an emphasis on social responsibility among stakeholders asthe major purpose of enterprises. A trend that emerged was ESG (environment, social, governance) management, in which non-financial factors are valued more highly than financial performance. A successful business, which was denoted only by high profits in the past, is now defined by whether a company fulfills its social responsibility. In the early 20th century, the corporate activities of ginseng merchants in Gaeseong reflected entrepreneurship and stakeholder-centered ESG management, which later emerged as essential elements of modern business management. The modern management philosophy ahead of its times stemmed from the regionality of Gaeseong. The political discrimination against Gaeseong residents in the Joseon Dynasty precluded them from becoming government officers, and under a strict social hierarchy, yangban ("noblemen"), the intellectuals of the Joseon Dynasty, were forced to serve as merchants. Son Bong-sang and Kong Seong-hak, aside from being representative ginseng merchants, were both Confucian scholars and writers. The second and third generations of ginseng merchant families who had received higher education abroad returned to Gaeseong to carry on with their family businesses, then established modern companies with capital accrued from the ginseng industry. An analysis of the commercial activities of ginseng merchants in the early 20th century confirmed that these individuals were pioneering entrepreneurs who adopted the ESG management philosophy. In ginseng merchants, one sees a dimension of capitalism with a human face, as with ginseng thatsaves human life.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.117-152
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• 2020

In Daesoon Thought, Matteo Ricci is regarded highly as a Jongjang, 'religious leader,' (of Christianity). This paper deals with the life and philosophical/theological thought of Matteo Ricci as homo-religiosus from the perspective of phenomenology of religion. Examining his historical background and biographical sketch, I will analyze Ricci's understanding of God, humanity, and salvation and re-evaluate his relationship with Daesoon Thought. Matteo Ricci, born in Italy, became a Jesuit missionary to China and transmitted various products of western civilization. Accepting the pro-cultural approach of Jesuit mission, he applied it to Chinese culture and language by learning the Chinese language and regarding Chinese people as his friends. This was a sympathetic way to transmit Western religion and culture while on Chinese soil. He suggested eight reasons to look towards the future of China with optimism and taught Chinese people his Christian message through his indirect means of understanding and persuasion. In China, Jesuit missionaries called the Christian God 'Tianzhu (Cheonju in Sino-Korean),' meaning Lord of Heaven. Ricci identified the Confucian notion of 'Shangdi (Sangje in Sino-Korean),' meaning Supreme Emperor (or God) with Tianzhu. While translating Confucian scriptures, he found the common ground between Confucianism and Christianity to be the monotheism of ancient Confucianism. He criticized the concepts of God in Buddhism and Daoism, and justified the Christian doctrine of God by way of a Confucian understanding of deity. Ricci's understanding of humanity was based on his Christian faith in creation, and he criticized the Buddhist concept of transmigration. He proposed Christian ethics and doctrine of salvation by using discourse on the afterlife and in particular, the concepts of heaven and hell. Concerning the relationship between Daesoon Thought and Ricci, the following aspects should be examined: 1.) Ricci's contribution to the cultural exchanges between East and West, 2.) his peaceful approach to his mission based on dialogue and persuasion, 3.) the various activities conducted by Ricci as a Christian leader, and 4.) his belief in miraculous healings. His influence on Korea will likewise be explored. Ricci's ultimate aim was to communicate with Asian people and unify East and West under a singular worldview by emphasizing the similarities between the Christian and Confucian concepts of God.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.15-31
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• 2022

This study interpreted the logical validity of the landscape restoration and maintenance patterns of Changgyeonggung Palace, where modern landscapes coexist. The results of the study are as follows; First, the changes in the landscape restoration and maintenance attitude concerning the Changgyeonggung management organization were identified. With the establishment of the Office of the Imperial Garden, an imperial property was nationalized. The Cultural Heritage Managing Department was opened in 1961, and Changgyeonggung Palace were preserved as designated as historical sites in 1963. An environmental purification was implemented by the Changgyeonggung Office as a follow-up measure for restoration in 1983. As the Cultural Heritage Administration promoted in 1999 and the Royal Palaces and Tombs Center was established in 2019, the palace has been managed professionally as a palace landscape to provide a viewing environment. Second, In the 'Purification Period of Changgyeongwon(1954~1977)', environmental purification was carried out to restore amusement facilities, install facilities for cherry blossom viewing, and develop the place into a national zoo. In the 'Reconstruction Period of Changgyeonggung(1983~1986)', restoring function as an urban park, reserving green areas, the outside space was recreated in the traditional feel, and the forest area was generally maintained. In the 'Supplementation Period of Traditional Landscape Architecture Space(1987~2009)', a uniform green landscape was created with pine trees and various vegetation landscapes centered on the flower beds. In the 'Improvement and Maintenance Period of Viewing Environment(2010~2022), a master plan was reestablished on the premise of utilization, but maintenance has been carried out in a small scale centering on unit space. Third, regarding the validity of the landscape restoration and maintenance, It was found in terms of 'originality' that the recovery of the palace system has not been expanded for over 40 years in existing areas. The 'characteristics of the times', which shows whether multi-layered history was taken into account, Changgyeongwon was excluded from the discussion in the process of setting the base year twice. In terms of 'integrity,' the area of the Grand Greenhouse where the historic states coexists needs a maintenance policy that binds the greenhouse, carpet flower bed, and Chundangji Pond. The 'utility' identified as the utilization of spaces suggests the establishment of a sense of place in the Grand Greenhouse area, which is concentrated with programs different from other areas.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.63-73
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• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.

• Sim-seong Yeon-gu
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• v.37 no.2
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• pp.184-254
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• 2022

Through this thesis, the psychological meaning of the Korean folktale 'the servant who ruined the master's house' was examined. The opposition between the master and the servant is a universal matter of the human psychology. It can be seen as a conflict between the hardened existing collective consciousness and the new consciousness to compensate for and renew it. From different angles, it has become the opposition between man's spiritual and instinctive aspects, between the conscious and the unconscious, or between the ego and the shadow. In the folktale, the master tries several times to get rid of the youngest servant, but the servant uses tricks and wits to steal food, a horse, the youngest sister, and all money from the master, and finally, take his life. It ends with the marriage of the youngest sister and the servant. Enantiodromia, in which the master dies, and the servant becomes the new master, can be seen that the old collective consciousness is destroyed, and the new consciousness that has risen from the collective unconscious takes the dominant position. In an individual's psychological situation, it can be seen that the existing attitude of the ego is dissolved and transformed into a new attitude. In the middle of the story, the servant marries the youngest sister by exploiting naive people to rewrite the back letter written by the master to kill him. This aspect can be understood negatively in the moral concept of collective consciousness, but it can also be seen as a process of integrating mental elements that have been ignored in the collective consciousness of the Joseon Dynasty, symbolized by a woman, a honey seller, and a hungry Buddhist monk. The new consciousness, represented by the servant, has the characteristics of a trickster that is not bound by the existing frame, so it can encompass the psychological elements that have been ignored in the collective consciousness. Such element may represent compensation or an alternative to the collective consciousness in the late Joseon Dynasty. The master puts the servant in a leather bag and hangs it on a tree to kill the servant. However, the servant deceives a blind man; he opened his eyes while hanged. Instead of the servant, the blind man dies, and the servant is freed. As the problem of the conflict between master and servant is finally entrusted to the whole spirit (Self) symbolized by a tree, the blind man gets removed. It can be understood as an intention of the Self to distinguish and purify the elements of recklessness, stupidity, and greed included in the trickster. Through these processes, the servant, which symbolizes a new change in collective consciousness or a new attitude of ego, solves the existing problems and takes the place of the master. While listening to the cunning servant's performance, the audience feels a sense of joy and liberation. At the same time, in the part where the blind man and the master's family die instead and the servant becomes the master, they experience feelings of fear and concern about the danger and uncontrollability of the servant. The tricksters appearing in foreign analogies are also thoroughly selfish and make innocent beings deceive or die in order to satisfy their desires and escape from danger. Efforts to punish or reform these tricksters are futile and they run away. Therefore, this folktale can also be seen as having a purpose and meaning to let us know that this archetypal shadow is very dangerous and that consciousness cannot control or assimilate it, but only awe and contemplate it. Trickster is an irrational manifestation of revivifying natural energy that rises from the unconscious as a compensation for hardened existing structure and order. The phenomenon may be destructive and immoral from the standpoint of the existing collective mind, but it should be seen as a function of the collective unconscious, a more fundamental psychic function that cannot be morally defined. The servant, a figure of the trickster archetype, is a being that brings transformation and has the duality and contradiction of destructiveness and creativity. The endings of this folktale's analogies are diverse, reflecting the diversified response of the audience's mind due to the ambivalence of the trickster, and also suggesting various responses toward the problem of the trickster from the unconscious. It also shows that the trickster is a problem of inconclusive and controversial contradictions that cannot be controlled with a conscious rational attitude, and that we can only seriously contemplate the trickster archetype within us.

• Economic and Environmental Geology
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• v.39 no.4 s.179
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• pp.369-384
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• 2006

Korean Peninsula, located on the southeastern part of Eurasian plate, belongs to the intraplate region. The characteristics of intraplate earthquake show the low and rare seismicity and the sparse and irregular distribution of epicenters comparing to interplate earthquake. To evaluate the exact seismic activity in intraplate region, long-term seismic data including historical earthquake data should be archived. Fortunately the long-term historical earthquake records about 2,000 years are available in Korea Peninsula. By the analysis of this historical and instrumental earthquake data, seismic activity was very high in 16-18 centuries and is more active at the Yellow sea area than East sea area. Comparing to the high seismic activity of the north-eastern China in 16-18 centuries, it is inferred that seismic activity in two regions shows close relationship. Also general trend of epicenter distribution shows the SE-NW direction. In Korea Peninsula, the first seismic station was installed at Incheon in 1905 and 5 additional seismic stations were installed till 1943. There was no seismic station from 1945 to 1962, but a World Wide Standardized Seismograph was installed at Seoul in 1963. In 1990, Korean Meteorological Adminstration(KMA) had established centralized modem seismic network in real-time, consisted of 12 stations. After that time, many institutes tried to expand their own seismic networks in Korea Peninsula. Now KMA operates 35 velocity-type seismic stations and 75 accelerometers and Korea Institute of Geoscience and Mineral Resources operates 32 and 16 stations, respectively. Korea Institute of Nuclear Safety and Korea Electric Power Research Institute operate 4 and 13 stations, consisted of velocity-type and accelerometer. In and around the Korean Peninsula, 27 intraplate earthquake mechanisms since 1936 were analyzed to understand the regional stress orientation and tectonics. These earthquakes are largest ones in this century and may represent the characteristics of earthquake in this region. Focal mechanism of these earthquakes show predominant strike-slip faulting with small amount of thrust components. The average P-axis is almost horizontal ENE-WSW. In north-eastern China, strike-slip faulting is dominant and nearly horizontal average P-axis in ENE-WSW is very similar with the Korean Peninsula. On the other hand, in the eastern part of East Sea, thrust faulting is dominant and average P-axis is horizontal with ESE-WNW. This indicate that not only the subducting Pacific Plate in east but also the indenting Indian Plate controls earthquake mechanism in the far east of the Eurasian Plate. Crustal velocity model is very important to determine the hypocenters of the local earthquakes. But the crust model in and around Korean Peninsula is not clear till now, because the sufficient seismic data could not accumulated. To solve this problem, reflection and refraction seismic survey and seismic wave analysis method were simultaneously applied to two long cross-section traversing the southern Korean Peninsula since 2002. This survey should be continuously conducted.

• Economic and Environmental Geology
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• v.20 no.4
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• pp.289-303
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• 1987

당(當) 광산(鑛山)은 1936년(年) 금(金), 은(銀) 광종(鑛種)으로 출원(出願)하였다가 1940년(年) 망간을 추가(追加)하여 망간 광산(鑛山)으로 1975년(年)까지 Mn(30~35%) 110,000여(餘)톤을 생산(生産), 국내생산량(國內生産量)의 70%를 점(占)하였고 1976년(年) Mn광상(鑛床) 하부(下部)에 연(鉛), 아연(亞鉛) 유화광(硫化鑛)을 발견(發見), 현재(現在)까지 Pb十Zn=10% 이상(以上) 원광석(原鑛石) 500,000여(餘)톤을 처리(處理), 연정광(鉛精鑛)(Pb : 62%) 37,000여(餘)톤, 아연정광(亞鉛精鑛)(Zn : 46.5%) 37,000여(餘)톤, 유비광정광(硫砒鑛精鑛)(As : 30%) 5,000여(餘)톤을 생산(生産)하였다. 현재(現在) 일처리(日處理) 220톤 선광장(選鑛場)을 일처리(日處理) 400톤 규모(規模)로 증설계획중(增設計劃中)이다. 당(當) 광산(鑛山)에서 현재(現在)까지 시행(施行)한 갱외시추(坑外試錐)는 75개공(個孔) 18,500여(餘)m, 갱내시추(坑內試錐) 750개공(個孔) 40,000여(餘)m 갱도(坑道) 총연장(總延長) 13,000m에 달(達)하며 지표(地表)(623ML)로 부터 수직(垂直) 300m 하부(下部)까지 갱도(坑道)가 개착(開鑿)되어 있다. 당(當) 광산(鑛山)의 지질(地質)은 여러 조사서(調査書)에 의(依)하여 견해(見解) 차이(差異)를 보여주고 있으나 대체(大體)로 다음과 같은 쪽으로 인정되고 있다. 즉(卽) 본지역(本地域) 루층군(累層群)의 층순(層順)을 하위(下位)로 부터 상위(上位)로 향(向)하여 원남층(遠南層)${\rightarrow}$율리통(栗里統)${\rightarrow}$장산규암층(壯山珪岩層)${\rightarrow}$두음리층(斗音里層)${\rightarrow}$장군석회암층(將軍石灰岩層)${\rightarrow}$동수곡층(東水谷層)${\rightarrow}$재산층(才山層)의 순위(順位)로 보며 장산규암층(壯山珪岩層)과 두음리층(斗音里層)을 조선계(朝鮮系)의 양덕통(陽德統)으로, 장군석회암층(將軍石灰岩層)을 대석회암통(大石灰岩統)으로, 동수곡층(東水谷層)과 함탄층(含炭層)인 재산층(才山層)을 평안계(平安系) 지층(地層)으로 대비(對比)한다. 이들은 본지역(本地域) 북(北)쪽에서는 선(先)캠브리아기(紀)의 원남층(遠南層)과 율리통(栗里統)을 불정합(不整合)으로 덮고 남측(南側)에서는 재산층(才山層)과 원남층(遠南層)이 단층접촉(斷層接觸)하고 있다. 이들 지층(地層)의 주향(走向)은 $N60^{\circ}{\sim}80^{\circ}W$, $N60^{\circ}{\sim}80^{\circ}E$이며 경사(傾斜)는 대체(大體)로 $50^{\circ}{\sim}80^{\circ}N$이며 전체적(全體的)으로 역전(逆轉)된 층서(層序)를 보여주는 바 지질구조(地質構造)에 있어서 단사구조(單斜構造)인지 등사(等斜)습곡의 향사(向斜), 또는 등사(等斜)습곡이 배사구조(背斜構造)인지 아직 밝혀지지 않고 있다. 화성암체(火成岩體)는 본지역(本地域) 서측(西側)에 쥬라기(紀) 춘양화강암(春陽花崗岩)이 불규칙(不規則)한 실입(實入) 접촉면(接觸面)을 보여주며 시대미상(時代未詳)(백악기(白堊紀)?)의 거정화강암(巨晶花崗岩), 반화강암(半花崗岩)이 소암주상(小岩株狀)으로 몇 곳 실입(實入)하고 산성(酸性)~중성(中性)의 맥암(脈岩)과 염기성(鹽基性) 안산암질암(安山岩質岩)이 실입(實入)해 있다. 광상(鑛床)은 장군석회암층(將軍石灰岩層)에 배태(胚胎)되어 있는 열수교대(熱水交代) 연(鉛), 아연(亞鉛), 은등(銀等)의 혼합(混合) 유화광상(硫化鑛床)으로 다량(多量)의 Mn분(分)을 수반(隨伴)하며 지표부(地表部)에 Mn광상(鑛床)을 형성(形成)하고 있다. 광상(鑛床)의 형태(形態)는 괴상(塊狀), 각력(角礫)pipe상(狀), 맥상(脈狀)으로 나타난다. 광상(鑛床)의 성인(成因)과 생성시기(生成時期)에 대(對)하여 많은 논란(論難)이 있다. 즉(卽) 열수교대(熱水交代)냐, 접촉교대(接觸交代)냐, 동시퇴적기원(同時堆積起源)이냐, 또는 생성시기(生成時期)가 쥬라기(紀)인지 백악기(白堊紀)인지에 대해 이론(異論)이 있다. 본지역(本地域) 광상(鑛床)은 남본(南本), 100우(右), 북(北), 유비철(硫砒鐵), 동(東), 서(西), 재남(才南), 재동(才東), 110호(號) 등(等)이 지표(地表) Mn로두광화대(露頭鑛化帶)와 관련(關聯) 명명(命名)된 바 전(前)4자(者)는 하부(下部)에서 유화광상(硫化鑛床)이 확인(確認)되었으나 나머지 후자(後者)에서는 아직 하부(下部)에 유화광상(硫化鑛床)이 확인(確認)되지 않고 있으며 남본광상(南本鑛床)으로 부터 남동(南東) 300여(餘)m 지점에 장군석회암층(將軍石灰岩層)과 동수곡층(東水谷層) 경계부(境界部)에 Fe 55~60% 자철광상(磁鐵鑛床)이 확인(確認)된 바 신례미(新禮美) 자철광상(磁鐵鑛床)과 유사성(類似性)이 있는 것 같아 흥미(興味)롭다. 당(當) 광산(鑛山)의 현재(現在)까지의 탐광(探鑛)은 남본광상(南本鑛床) 지표로두(地表露頭)(Mn) 하부(下部)에서 확인(確認)된 연(鉛), 아연(亞鉛), 은(銀) 유화광체(硫化鑛體) 하부(下部)와 전탐(電探)에 의(依)해 확인(確認)된 북광체(北鑛體), 갱도접근중(坑道接近中)에 확인(確認)된 100우광체(右鑛體), 유비철광체(硫砒鐵鑛體) 등(等)의 하부(下部) 탐광(探鑛)을 주(主)로 하고 지표(地表) Mn로두(露頭) 하부(下部)에 대(對)한 시추탐광(試錐探鑛0을 병행(竝行)하고 있으며 시추(試錐)에 의(依)해서 지표(地表)로 부터 790m 하부(下部)(해발(海拔) 200ML)까지 광화대(鑛化帶)가 확인(確認)되었다. 향후(向後) 탐광방침(探鑛方針)을 확고(確固)히 수립(樹立)하기 위(爲)하여는 광상(鑛床)의 성인구명(成因究明)은 물론(勿論) 광상(鑛床)의 배태조건(胚胎條件)에 있어 지질구조규제(地質構造規制)와 화강암(花崗岩)의 실입상(實入狀)과의 관계(關係), 광액(鑛液)의 통로(通路)에 대(對)한 지질구조(地質構造), 모암(母岩)의 화학(化學) 물리적(物理的) 특성(特性)에 대(對)한 연구(硏究) 검토(檢討)가 었어야 하겠다.