• Korean Journal of Breeding Science
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• v.40 no.4
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• pp.474-478
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• 2008

A new covered barley variety, "Geungangbori" was developed from the cross between Milyang 55 which have lodging tolerance and easy brittleness and Suweon 260 with good quality by barley breeding team in the Yeongnam Agricultural Research Institute (YARI) in 2002. A promising line, YMB3855-3B-14-1-1-1, was selected in 1999. It was designated as the name of Milyang 110. It was prominent and had good result from regional adaptation yield trials (RAT) for three years from 2000 to 2002 and released as the name of "Geungangbori". Geungangbori is resistant to barley yellow mosaic virus and moderately resistant to powdery mildow. The average maturing date was same with Olbori on paddy field in regional adaptation yield trials for 2000-2002. Its culm length is 17 cm shorter than that of Olbori and the spike length is 4.4cm, it's longer than olbori. The 1,000 grain weight of Geungangbori was 34 g, same as Olbori, but the number of spikes per $m^2$ and test weight ware lower than those of Olbori. The yield potential of Geungangbori was 4.22 MT/ha on paddy in regional adaptation yield trials for 2000-2002. which was 7% higher than that of Olbori. The cooking quality of Geungangbori were similar to Olbori such as water absorption rate and expansion rate. But the crude protein content is lower than Olbori. This variety is suitable for double cropping system with rice in the southern part of the Korean Peninsula.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.104-121
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• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• Journal of The Korean Society of Grassland and Forage Science
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• v.38 no.4
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• pp.253-259
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• 2018

A new barley (Hordeum vulgare L.) cultivar 'Mihan' having ruminant-palatable semi-smooth awn and good silage quality was developed at National Institute of Crop Science(NICS), RDA in 2016. This cultivar was derived from a cross of the 'SB00T2064' and 'Suwon385' in 2001. And its promising line showed high yielding through the preliminary yield trials(PYT) and advanced yield trials (AYT) in Iksan from 2012 to 2013. It was designated as the 'Iksan487'. 'Iksan487' was conducted to regional yield trials (RYT) in one upland field and five paddy fields around Korea for three years from 2014 to 2016. And it was released as the name of 'Mihan'. It has growth habit of IV, erect plant type, green leaf and semi-smooth awn. Its heading date was April 23 in the paddy field and maturing date was May 24. Plant height of 'Mihan' was 96cm. Mihan's spikes per $m^2$ was 665. It has better winter hardiness and resistance to BaYMV (Barley Yellow Mosaic Virus) than that of barley cultivar 'Youngyang'. The average dry matter of 'Mihan' was about $10.9ton\;ha^{-1}$ in paddy field. And average feed quality of 'Mihan' was 10.3% of crude protein content, 26.1% of ADF (Acid Detergent Fiber), 46.9 % of NDF (Neutral Detergent Fiber) and 68.2% of TDN (Total Digestible Nutrients). 'Mihan' had grade I of silage quality. This cultivar would be suitable for the area above the daily minimum average temperature of $-8^{\circ}C$ in January in Korean peninsula.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.1-34
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• 2016

This paper aims to understand how Daesoonjinrihoe perceives the Later World. Daesoonjinrihoe supports to establish an earthly paradise through the re-creation of the real world unlike other religions which tend to relegate ultimate fulfillment to the afterlife. In other words, Daesoonjinrihoe endeavors to achieve their objectives in the human world rather than outside of it in a potential act of escapism. The new religions in Korea have been characterized by ethnocentrism and doctrines which present Koreans as the new chosen people by emphasizing Korea's crucial role in world leadership. However, the doctrine of Daesoonjinrihoe differ with other new religions of Korea in this regard as its purpose is to redeem the whole world. Daesoonjinrihoe proposes an open embrace of the religious diversity found in Korean society. Daesoonjinrihoe argues that the Later World has not come yet, even though the Former World is over and progress towards the Later World has already been set in motion. The meaning of human nobility is akin to anthropocentricity. According to a variety of myths and legends, animals and supernatural often attempt to become human. Moreover, it would not be an overstatement to assert that the re-creation of the real world and the Daesoon concept of human nobility correspond with these myths and legends. There were not definite interpretations regarding heaven in Confucianism historically, yet Daesoonjinrihoe differentiates clearly that heaven and Sangje are cosmic structures. Buddhism perceives that heaven separately exists as a cosmic structure and that Buddha is a transcendental entity, however; that entity is not accessible for intercession. On the contrary, the ways to save the world have been adduced in Daesoonjinrihoe. In addition, the earthly paradise of the Later World has likewise been introduced. Specifically, it is Sangje that opens the door to that paradise. Unresolved issues in the formation of a world view still persist. There are no shortage of studies on the notion of gods or divine beings, however; most of these studies focus on genealogical classification, forms, functions and other such topics. The concept of god, ghost, or soul does not seem to have been clearly defined in these studies nor has the relationship among these entities and humanity been satisfactorily examined. For example, if human beings become either gods or divine beings, questions regarding divine beings who have acted as protectors or guardians of human beings then arises. The Daesoon cosmology should be specifically compared to cosmology in Daoism. By conducting additional studies such as a comparative research with Daoism, it will be possible to interpret mantras and Daoist art as they appear in Daesoonjinrihoe in a thought-provoking way which can in turn be compared with other religions.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.