• Asian Journal for Public Opinion Research
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• v.6 no.1
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• pp.18-30
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• 2018

Patients with advanced cancer cope with various issues, especially psychological symptoms, such as anxiety about death. Previous research from various countries indicates that most advanced cancer patients perceive distress before death, which means they cannot accept death peacefully. The purpose of this study was to examine the factors associated with death acceptance of Thai patients with advanced cancer. The participants were 242 adult patients with advanced cancer from three tertiary hospitals in Bangkok, Thailand. The research instruments consisted of 7 questionnaires: a personal information questionnaire, the death anxiety questionnaire, Buddhist beliefs about death questionnaire, the unfinished task questionnaire, general self-efficacy scale, family relationship questionnaire, and death acceptance scale. These instruments were tested for their content validity by a panel of experts. All instruments except the first one were tested for reliability, and their Cronbach's alpha coefficient were .86, .72, .74, .74, .89, and .70, respectively. Descriptive statistics, Pearson's correlation, Point-biserial correlation coefficient, and stepwise multiple regression were used to analyze the data. The results revealed that a total of 42% of variance of death acceptance among Thai patients with advanced cancer was explained by death anxiety, Buddhist beliefs about death, and self-efficacy. Knowing these factors provides further information for nurses to help patients to cope with their death. From this crucial knowledge, nurses can develop interventions in decreasing or controlling anxiety about death, promoting Buddhist beliefs about death, and enhancing self-efficacy of advanced cancer patients. Therefore, a better quality of life and good death can be achieved.

• 보존과학연구
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• s.31
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• pp.131-140
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• 2010

This study shows the comparison of chemical compositions of main component with other bronze bells after the research on the component analysis by non-destructive XRF analysis. There are shrinkage cavities caused by the shrinkage defect and pores with pollutants on Bronze Bell of Heungguksa Temple with gamma radiation images and 77.3% of copper, 8.4% of tin and 10.9% of lead were determined as the main components of it with XRF analysis The tin content of Brozen Bell of Heungguksa Temple is less than those (11~18%) of other bronze bells but the lead content of that is higher. The lead content of it shows 10.91% which is quite high while generally the lead contents of other bells were controlled lower than 2.1%. Buddhist bells have the different lead content according to the period. The lead content was low until Silla Dynasty and Unified Silla period but it has been getting higher since some point of Koryo Dynasty. It is assumed that expensive copper and tin were replaced with lead.

• Conservation Science in Museum
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• v.15
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• pp.4-25
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• 2014

Chuncheon National Museum currently own a bronze Buddhist gong that was discovered in 1987 at the Sudasa Temple site of in Suhangri, Pyeongchang. Significantly, showing many casting defects and areas where was repaired, the Gong offered crucial information about the casting technique. To better understand the production technique, scientific analysis was conducted on various aspects of the gong, including its materials, moulds, chaplets, and defects. Composition analysis revealed that the gong was composed primarily of copper ^71.6wt%, tin ^18.2wt%, and lead ^7.2wt%, along with about 1wt% of both arsenic and antimony. The lead content of the chaplets was higher than that of the gong, and the lead content was the highest in the solder, which was used to fill holes after casting. Surface analysis, based on the parting line, indicated that the gong was most likely produced with the sand casting process. Radiography and close examination of the surface disclosed various casting defects ^{e.g., Cold Shut, Surface Folds, Misrun, and Blowholes Adjacent to Chaplets} and their possible causes. The casting defects of a few holes were filled with soft solder.

• 한국문화재보존과학회:학술대회논문집
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• 2001.11a
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• pp.27-34
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• 2001

Following the recommendations made by the cultural authorities the wooden cultural properties (WCP) had been treated with fire-retardants for fire protection. However, visual inspections of some of the WCPs treated with fire-retardants showed microbial decay. The work was extended to examine the micromorphological characteristics of the WCPs in a Buddhist temple which had been treated with fire-retardant. Microscopic examination showed the presence of typical soft rot cavities along the length of microfibrils in the secondary wall. Bacterial attack was also observed by scanning and transmission electron microscopy. It is interesting that the decay patterns observed in the Buddhist temple were very similar to those observed in the waterlogged woods. Presumably chemicals in the fire-retardants used rendered the wood susceptible to attack by soft-rot and bacterial decay by causing an increase in the moisture content of wood. Further studies are needed to investigate the effect of fire-retardants used currently on the hygroscopicity and the strength of wood materials in the WCPs. Microbial attacks caused degradation of the secondary cell walls and in some cases also of the middle lamella. In addition, the cell walls in the outer parts of wood were also degraded due to weathering, and cell separation occurred from total disintegration of the middle lamella.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.38-55
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• 2019

At Otani University in Kyoto, Japan, there is a rubbed copy of Tripitaka Koreana, presumably printed in 1381. According to the postscript of the copy, written by Saek Lee himself, the rubbed copy was made at Haeinsa temple in 1381 and was kept at Sinluksa temple in Yeuju. The copy was delivered as a gift to Japan in 1414 and now is kept at the Library of Otani University. Although an approximate summary of the content of the copy was reported in the early 2000s after a basic survey, details of the copy, including the concrete format and packaging paper, are not known yet. In this paper a detailed survey of the copy is conducted on the 109 pages. The copy is divided into two parts: the wrapping and the inner pages. The wrapping paper is divided into yellow and brown colors depending on the material of the paper. The yellow colorwrapping paper was possibly made in 1381 at the time of the rubbed printing, and the brown wrapping paper was repaired after being moved to Japan. Using funds collected in February 1380, the copy of Gyeong(經), Yul(律), and Ron(論) chapters was printed in April 1381. Binding of the copy was completed in September, and the wrapping paper with the title in gold was made in October 1380. The box for keeping Buddhist scriptures was manufactured in November 1380. The copy was moved to Sinluksa temple in April 1382 and delivered to Japan in 1414. At Otani University, the copy is stored in separate rectangular boxes 32.1×25.3cm in size with a height of 23.6cm. The rectangular plate on the four sides is red in external color but black colorinside. The box for keeping Buddhist scriptures was probably made in 1381, but a partial repair was made later. Because of the difficulty of executing a detailed survey of the box for Buddhist scriptures, it is hard to find out its nation and period of production. We look forward to studying the copy as well as the box for Buddhist scriptures in future.

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

• Journal of the Korean Geographical Society
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• v.47 no.6
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• pp.809-824
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• 2012

Stone cultural heritages quantitatively as well as qualitatively occupy a large proportion in the designated heritages in Korea. The Stone Buddha statue in the Gulbulsa temple site, designated as the No. 121 treasure in 1935, is located in the southwestern slope of Mt. Sogeumgang, Dongcheon-dong, Gyeongju-si, Gyeongbuk Province and Buddhist images are sculptured on four sides of a 3.5m-tall gigantic rock. The damage states result from the weathering degree and indicate high correlation with the water contents. The water contents in the Stone Buddha of Gulbulsa temple site are highest at the east side and then decrease in order of north, south and west sides. These are proportional to the durations of sunshine. Moreover, the Stone Buddha of Gulbulsa temple site with dense joints, repaired areas and vegetated areas by lichens shows high water contents and damage states.

• Korean Journal of Community Nutrition
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• v.3 no.4
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• pp.642-654
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• 1998

In order to examine the television(TV)'s role of nutrition education and the nutritional interests and problems of the general public in the 1990s, a comtents analysis was done on two nutrition-related TV programs, a regular round-table talk show and a newscast. Broadcast from January 1993 to July 1997 and from January 1997 to July f1997, respectively. Nutrition-related information was classified into five categories. Food and nutrient(39.5%) and diseases(34.7%) were most frequently telecasted, which were followed by food habits and general health(13.0%), traditional dishes and cookery(8.2%), and food sanitation and safety(4.6%). In becoming the latest year, some trends in the issues displayed increased telecasts about disease, dish and cookery, and food safety, while the telecasting of food and nutrient decreased. The contents about the relations hip between life-style(including diet) and chronic degenerative diseases and the importance of balanced diets and regualr meals for health promotion became particularly emphasized. Overall, two TV programs provided the public with positive, practical, and sometimes practive nutrition education messages for improving eating life and health care. They also raised the public's awareness of the nutritional importance of Korean staple foods such as rice, kimchi, seaweed, and soysauce, and they sometimes satified the audience's curiosities by introducing Korean food culture or foods of Buddhist priests. When the accident of food toxicity occurred concrete information about how to manage it was rapidly given to the public. In addition they played a role in food balance policy by telecasting over-product foods such as garlic and onion. However some negative points appeared. Telecasts on milk and its products and diabetes mellitus showed the least frequently. These shows should be broadcast more often considering the present nutrition and health problems in Korea. Some functions or effects of foods were mostly explained by only physicians of Chinese medicine. Sometimes misinformed, unclear, overemphasized, biased, or unfair information was televised to the public. If these problems could be solved through the sincere cooperation between nutrition faculty and TV produces, become televison could a more complete and effective medium for educating the public about nutrition.

• The Korean Journal of Food And Nutrition
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• v.30 no.5
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• pp.1068-1079
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• 2017

This study was applied to the PCA (Primary Components Analysis) for the sixteen table setting at the 2017 Yeongju local food contest. In this contest, we have developed a seonbibansang and a temple one-dish meal. As a result of the correlation analysis, the applicability and composition were 0.7980, harmony and taste were 0.7747 and easiness and composition were 0.7435. In the Primary Component $Y_1$, all the variables $X_1{\cdots}X_{10}$ mean that the quality of the food had positive values greater than zero. The second Primary Component $Y_2$ has a large positive value while $X_4$, $X_5$, $X_6$, $X_7$, $X_9$ have negative values. $Y_2$ is a value representing the sanitation variable, and can be considered a traditional and characteristic table setting natural to the native food in Yeongju. In addition, we developed an-hyangbansang and seonmyoaecheong food content by applying PCA factors (the elements of harmony, ease and sanitation). Table setting of an-hyangbansang provided energy 61.5%, protein 20.0% and fat 18.5% and seonmyoaecheong provided energy 62.7%, protein 15.4% and fat 22.2%. This satisfied the necessary amount of caloric nutrient intake that could be provided in a meal. Especially through story-telling, a modern interpretation - or rebranding - of local and traditional foods could make these traditional food products familiar to consumers currently. The developed table setting is felt to be conductive to the possible commercialization and introduction of traditional food into the mainstream commercial food service industry.