• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.38-49
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• 2021

The maintenance project of the Jeonglimsa temple site started with the objective of restoring the original structure of the temple, however, it was gradually transitioned to a landscaping maintenance project over time that constructs a landscape of the temple area. With paying attention to these facts, this study summarized the characteristics of cultural heritage landscaping of the Jeonglimsa temple site as follows. First, Cultural heritage landscaping is a landscaping act that creates, maintains, and manages landscapes within the spatial scope of the cultural heritage designated under the Cultural Heritage Protection Act and the cultural heritage protection area established around it. It is a work that includes protection and maintenance of the excavated remains, spaces by each function and plans for moving lines, Installation of structures to protect cultural properties, adoption of the facilities and structures for convenience of visitors, and construction of vegetation landscape. Second, the cultural heritage landscaping of the Jeonglimsa temple site has been developed in 5 periods, and these include 'the period of historical site investigation' that the temple name was identified through the designation of cultural assets and excavation investigation by the Japanese rule, 'the construction period of Baekje Tower Park' after the liberation from the Japanese rule, 'the period of Baekje Cultural Area Development Project' designated as a historical site, 'the period of the Comprehensive Development Project for a Specific Area of Baekje Culture',which was proceeded with the establishment of the park and museum instead of restoring the temple building due to the difficulty in gathering the pieces of historical evidence, and 'the period of the Jeonglimsa temple site restoring project', which was designated as a World Heritage Site while restoring the buildings deployment in the Buddhist temple at the time of foundation era of Baekje Dynasty. Third, this study verified the landscape changes of the Jeonglimsa temple site that have been transitioned, for instance, the creation of a commemorative park linked to the outer garden of Buyeo Shrine, the implementation of urban planning of the Japanese colonial era, the creation of a protective environment for the excavated historical structures and temple area, the restoration of building deployment in the Buddhist temple, and the sincerity restoration and utilization of cultural assets. Fourth, the landscape of Jeongnimsa temple site is determined by the subject and scope of cultural property designation, land use, movement lines and pavement, repairing methods of remains, structures, facilities, and vegetation. The characteristics of the cultural heritage landscape of Jeongnimsa Temple were derived, such as creating a procedural landscape considering the expansion of the cultural heritage designation scope, securing authenticity by maintaining relics in consideration of reversibility, creating a vegetative landscape suitable for historical and cultural landscapes, and enhancing the value of cultural heritage enjoyment by providing an open space.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.102-111
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• 2022

Termites are a group of social insects that are one of the primary causes of damage to wooden architectural heritage. Since termite damage impairs the authenticity and structural stability of cultural heritage, it is imperative to prevent it. This study examines the extent of termite damage to wooden architectural heritage as part of efforts to prevent termite damage to nationally designated wooden architectural heritage sites across the country. The extent of termite damage to each cultural heritage was assessed qualitatively and quantitatively and comparatively analyzed by region using the results of the "Investigation on Biological Damage to Wooden Architectural Heritages" conducted by the National Research Institute of Cultural Heritage from 2016 to 2019. It involved 362 nationally designated wooden architectural heritages(25 national treasures, 157 treasures, 180 national folklore cultural heritages) and 1,104 buildings. The results were as follows: termite detection dogs reacted at 317(87.6%) of the 362 wooden heritages, with visible termite damage observed in 185 cases(51.1%). Furthermore, termite damage was confirmed using one of two methods(detection dogs or visual inspection) in 324 cases(89.5%). Of the 1,104 buildings, termite detection dogs reacted at 668(60.5%), while 339(30.7%) showed visible termite damage. Employing one of the two methods, damage was confirmed in 702 buildings(63.6%). The country was categorized into nine regions(Seoul Metropolitan Area, Gangwon, Chungbuk, Chungnam, Jeonbuk, Jeonnam, Gyeongbuk, Gyeongnam, and Jeju) to examine the termite damage rate and the degree of damage to each cultural heritage according to location. Termite detection dogs reacted to more than 70% of the cultural heritage in all regions. Visible damage was minimal in the Seoul metropolitan area(32.1%) and Gangwon(21.4%) but severe in Chungnam(65.6%), Jeonnam(67.3%), and Gyeongnam(68.2%). By quantifying the degree of termite damage of each cultural heritage as a ratio of the absence of termite damage among the total absence, the average termite damage of the cultural heritage across the country was 9.2%. Regional variance analysis showed that the cultural heritage in Jeonbuk and Jeonnam showed a statistically significantly higher degree of termite damage than the cultural heritage in the Seoul metropolitan area, Chungbuk, and Gyeongbuk. This paper comprehensively analyzed termite damage to nationally designated wooden architectural heritage. The findings are expected to be valuable in establishing policies for the preservation and management of cultural heritage sites in the future.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.55-85
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• 2019

In this article, we examine the real meaning behind the stories in which the N-po Generation (Millennial Generation) is depicted, through the observation of entertainment programs, TV series, and movies. This could be an opportunity to investigate the aspects of emotional customs of our era, which have been described by television media as portraying the complex and multifaceted reality in the most mundane and popular manner while influencing the public. Problems with youth unemployment, the polarization of life, and instability are not only global issues but situations that specifically occur in South Korea. It is thus vital to pay attention to the inner side of the N-po Generation who enjoy Sohwakhaeng (small but certain happiness) by eating alone as the placebo effect of this tough reality. This is an agenda that should be viewed as a problem in the fundamental design of South Korean society. The consciousness of the problem shown in the TV series has been drawing attention. The TV series Because depicts a love narrative that concentrates on emotions in a relationship that started between housemates due to poverty and housing problems, leading to marriage. Thus, the TV series persuasively dramatized 'confluent love' in the N-po Generation. In the movie , Miso can be regarded as a symbol that represents the emergence of a new generation of cultural sensitivity. There is a suggestion in the sequence of that identifies the pursuit of taste with the discovery of identity. The TV series is a growth narrative that deals heavily with youth unemployment, temporary workers, fragmented families, and dating violence. The housemates in find emotional stability through interaction with each other, and courageously approach their individual problems. In the process, images of women, who are empathetic towards others and are willing to jointly solve their problems, are calmly depicted to reveal a story of growth revolving around a ground emotional community. The current problem that South Korean society should contemplate is how to be fully human beyond mere survival, and how to further seek the conditions of human existence. In that sense, what we should pursue is a notion of 'publicness', which can put several generations together. Because of the reality that confliction between generations must be triggered, in order to make a passage of sympathizing, mass media's sensitivity training becomes more important. This may be the duty of mass media.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.6-20
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• 2023

The World Heritage Subcommittee of the Cultural Heritage Administration which examine The World Heritage Subcommittee of the Cultural Heritage Administration which The World Heri The World Heritage Subcommittee of the Cultural Heritage Administration which examined the Placenta Chamber of King Sejong's Princes applied for the world heritage priority list in 2020 recommended expanding it to the royal placenta chambers of Joseon distributed nationwide for successive registration instead of registering the Seongju placenta chamber only. On account of that, the issue of selecting items has become one of the important topics to be discussed in the registration of world heritages. Accordingly, this researcher investigated the subjects of successive registration based on such conditions as excellent universal value, heritage protection and management, authenticity, and completeness among the real estate cultural properties demanded by the UNESCO World Heritage Committee. First, 22 placenta chambers, the real estate cultural properties designated as cultural properties and protected and managed by the state and local governments, are subject to it. Second, it seems that placenta chambers that can be restored through research and historical investigation and become designated as cultural properties can additionally be added. Third, items such as the Seosamneung Royal Tombs built by Lee Wang-jik in the Japanese colonial era or Seongjong Placenta Chamber relocated as an example to realize the completeness of Joseon's Royal Placenta Chambers can be included as well. Meanwhile, many of the items designated as cultural properties are not in the original location, and they can be divided into those that were relocated for the intentions of the Japanese Empire and those that were not. Therefore, the researcher insists that it is necessary to select and add items with which we can understand the historicity in the relocation of placenta chambers during the Japanese colonial era and also to quickly designate those that have not been designated as cultural properties yet. Therefore, regardless of designation as cultural heritage, local governments must promote both restoration and designation and strive to include them in the list of successive registration of world heritages grounded on thorough historical investigation. Moreover, to add them to the list of successive registration of world heritages, the Cultural Heritage Administration and local governments should promote continuous research and genuine restoration of individual placenta chambers.

• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.4
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• pp.18-31
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• 2024

This study examines the inscription trends and characteristics of 121 cultural landscapes inscribed on the UNESCO World Heritage List to gain a comprehensive understanding of their inherent values and attributes. By employing a dual methodology involving descriptive statistical analysis and in-depth case studies, this research investigates the geographical distribution, temporal inscription patterns, selection criteria, and typologies of these landscapes. The data for this study were collected from official documents and databases available on the UNESCO World Heritage Center website, ensuring the reliability and authenticity of the information. The analysis reveals that cultural landscapes are predominantly concentrated in Europe and Asia, with a steady increase in inscriptions since 1992. These landscapes are primarily recognized for their uniqueness in reflecting human-nature interactions, as well as the importance of traditional culture and land-use practices, resulting in their inscription mainly under criteria (iv), (iii), (v), and (ii). Furthermore, cultural landscapes can be broadly categorized into three types: designed landscapes, organically evolved landscapes, and associative landscapes. Among these, organically evolved landscapes, formed through long-term interactions between human activities such as agriculture and industry and the natural environment, constitute a significant proportion. These findings suggest that UNESCO World Heritage cultural landscapes possess a complex value system encompassing nature and culture, tangible and intangible elements, and material and non-material aspects. This necessitates a fundamental shift in the perception and preservation approaches to cultural heritage, requiring an integrated approach that emphasizes the overall context rather than individual elements and focuses on the dynamic process of landscape evolution itself. Moreover, cultural landscapes have the potential to contribute to sustainable development models by fostering regional identity, strengthening community resilience, and promoting sustainable economic growth. Therefore, the preservation and management of cultural landscapes require a perspective that holistically views the dynamic evolution process of the landscape and a governance system based on the active participation of local communities and stakeholders. This study contributes to enhancing the in-depth understanding of the characteristics and values of cultural landscapes and provides a foundation for the selection and management of future cultural landscape heritage sites.

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.

• Journal of Intelligence and Information Systems
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• v.26 no.3
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• pp.91-108
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• 2020

Korea's famous soccer players are steadily performing well in international leagues, which led to higher interests of Korean fans in the international leagues. Reflecting the growing social phenomenon of rising interests on international leagues by Korean fans, the study examined the overall consumer perception in the consumption of uniform by domestic soccer fans and compared the changes in perception following the transfers of the players. Among others, the paper examined the consumer perception and purchase factors of soccer fans shown in social media, focusing on periods before and after the recruitment of Heung-Min Son to English Premier League's Tottenham Football Club. To this end, the EPL uniform is the collection keyword the paper utilized and collected consumer postings from domestic website and social media via Python 3.7, and analyzed them using Ucinet 6, NodeXL 1.0.1, and SPSS 25.0 programs. The results of this study can be summarized as follows. First, the uniform of the club that consistently topped the league, has been gaining attention as a popular uniform, and the players' performance, and the players' position have been identified as key factors in the purchase and search of professional football uniforms. In the case of the club, the actual ranking and whether the league won are shown to be important factors in the purchase and search of professional soccer uniforms. The club's emblem and the sponsor logo that will be attached to the uniform are also factors of interest to consumers. In addition, in the decision making process of purchase of a uniform by professional soccer fan, uniform's form, marking, authenticity, and sponsors are found to be more important than price, design, size, and logo. The official online store has emerged as a major purchasing channel, followed by gifts for friends or requests from acquaintances when someone travels to the United Kingdom. Second, a classification of key control categories through the convergence of iteration correlation analysis and Clauset-Newman-Moore clustering algorithm shows differences in the classification of individual groups, but groups that include the EPL's club and player keywords are identified as the key topics in relation to professional football uniforms. Third, between 2002 and 2006, the central theme for professional football uniforms was World Cup and English Premier League, but from 2012 to 2015, the focus has shifted to more interest of domestic and international players in the English Premier League. The subject has changed to the uniform itself from this time on. In this context, the paper can confirm that the major issues regarding the uniforms of professional soccer players have changed since Ji-Sung Park's transfer to Manchester United, and Sung-Yong Ki, Chung-Yong Lee, and Heung-Min Son's good performances in these leagues. The paper also identified that the uniforms of the clubs to which the players have transferred to are of interest. Fourth, both male and female consumers are showing increasing interest in Son's league, the English Premier League, which Tottenham FC belongs to. In particular, the increasing interest in Son has shown a tendency to increase interest in football uniforms for female consumers. This study presents a variety of researches on sports consumption and has value as a consumer study by identifying unique consumption patterns. It is meaningful in that the accuracy of the interpretation has been enhanced by using a cluster analysis via convergence of iteration correlation analysis and Clauset-Newman-Moore clustering algorithm to identify the main topics. Based on the results of this study, the clubs will be able to maximize its profits and maintain good relationships with fans by identifying key drivers of consumer awareness and purchasing for professional soccer fans and establishing an effective marketing strategy.

• (The) Research of the performance art and culture
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• no.20
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• pp.5-30
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• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.

• The Mathematical Education
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• v.62 no.3
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• pp.381-400
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• 2023

As the era of solving various and complex problems in the real world using artificial intelligence and big data appears, problem-solving competencies that can solve realistic problems through a mathematical approach are required. In fact, the 2015 revised mathematics curriculum and the 2022 revised mathematics curriculum emphasize mathematical modeling as an activity and competency to solve real-world problems. However, the real-world problems presented in domestic and international textbooks have a high proportion of artificial problems that rarely occur in real-world. Accordingly, domestic and international countries are paying attention to the reality of mathematical modeling tasks and suggesting the need for authentic tasks that reflect students' daily lives. However, not only did previous studies focus on theoretical proposals for reality, but studies analyzing teachers' perceptions of reality and their competency to reflect reality in the task are insufficient. Accordingly, this study aims to analyze in-service mathematics teachers' perception of reality among the characteristics of tasks for mathematical modeling and the in-service mathematics teachers' competency for designing the mathematical modeling tasks. First of all, five criteria for satisfying the reality were established by analyzing literatures. Afterward, teacher training was conducted under the theme of mathematical modeling. Pre- and post-surveys for 41 in-service mathematics teachers who participated in the teacher training was conducted to confirm changes in perception of reality. The pre- and post- surveys provided a task that did not reflect reality, and in-service mathematics teachers determined whether the task given in surveys reflected reality and selected one reason for the judgment among five criteria for reality. Afterwards, frequency analysis was conducted by coding the results of the survey answered by in-service mathematics teachers in the pre- and post- survey, and frequencies were compared to confirm in-service mathematics teachers' perception changes on reality. In addition, the mathematical modeling tasks designed by in-service teachers were evaluated with the criteria for reality to confirm the teachers' competency for designing mathematical modeling tasks reflecting the reality. As a result, it was shown that in-service mathematics teachers changed from insufficient perception that only considers fragmentary criterion for reality to perceptions that consider all the five criteria of reality. In particular, as a result of analyzing the basis for judgment among in-service mathematics teachers whose judgment on reality was reversed in the pre- and post-survey, changes in the perception of in-service mathematics teachers was confirmed, who did not consider certain criteria as a criterion for reality in the pre-survey, but considered them as a criterion for reality in the post-survey. In addition, as a result of evaluating the tasks designed by in-service mathematics teachers for mathematical modeling, in-service mathematics teachers showed the competency to reflect reality in their tasks. However, among the five criteria for reality, the criterion for "situations that can occur in students' daily lives," "need to solve the task," and "require conclusions in a real-world situation" were relatively less reflected. In addition, it was found that the proportion of teachers with low task development competencies was higher in the teacher group who could not make the right judgment than in the teacher group who could make the right judgment on the reality of the task. Based on the results of these studies, this study provides implications for teacher education to enable mathematics teachers to apply mathematical modeling lesson in their classes.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.