• Title/Summary/Keyword: DRAGON

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A Research on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty with priority given to Buncheongsagisanggamunryongmunho, National treasures (조선 초기 용준(龍樽), 분청사기 상감 운룡문 호의 특징과 성격)

  • OH, Youngin
    • Korean Journal of Heritage: History & Science
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    • v.55 no.1
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    • pp.85-110
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    • 2022
  • This study investigates the production and use, development of Buncheongsagisang-gamunryongmunho, focusing on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty. The Buncheong Jar with dragon and cloud patterns(龍樽) which is the size of a large bottle as high as 50cm is a form of stability to have gorgeous decorativeness with the inlaid and stamped pattern. The Buncheongsagisanggamunryongmunho is the Buncheong Jar with dragon and cloud patterns(龍樽) used for Flower Vessels(花樽) at Royal Ritual in King Sejong(世宗) era. In the 1420s and 1430s, made in Premium ceramic factory of Sangju-mok, it is Blue and white porcelain in reference to dragon and cloud patterns in the Yuan and Ming Dynasties in aspects of shapes and patterns, to the inlaid Celadon in the period of Late Goryeo Dynasty in aspects of patterns, and to Joseon porcelain in aspects of shapes and decoration techniques. The Joseon Royal family found out the appropriateness of the founding of the dynasty and the base for the system of civilization from Ming dynasty, to follow Ming dynasty by choosing white porcelains as the King's vessel. Jars passed down from Emperor Ming served as a standard for Royal Ritual Jars, to use Blue and White Porcelain Jar with dragon and cloud patterns as Flower Vessels(花樽) and Liquor Vessels(酒樽) for ages. Consequently, the Buncheong Jar with dragon and cloud patterns(龍樽) as Royal Ritual Jar had been used till 1430's when Blue and white porcelain Jar with dragon and cloud patterns(靑花雲龍白磁酒海) was passed down from Emperor Ming, Xuande Emperor(宣德帝), only to lose its Meaning and Use as the Royal Jar with dragon and cloud patterns(龍樽) during the early Joseon Period gradually.

Inflow at Ssangyongmun Gate During the Goryeo Dynasty and Its Identity (고려시대 쌍룡문경(雙龍紋鏡) 유입(流入)과 독자성(獨自性))

  • Choi, Juyeon
    • Korean Journal of Heritage: History & Science
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    • v.52 no.2
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    • pp.142-171
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    • 2019
  • The dragon is an imaginary animal that appears in the legends and myths of the Orient and the West. While dragons have mostly been portrayed as aggressive and as bad omens in the West, in the Orient, as they symbolize the emperor or have an auspicious meaning, dragons signify a positive meaning. In addition, as the dragon symbolizes the emperor and its type has been diversified considering it as a divine object that controls water, people have tried to express it as a figure. The records related to dragons in the Goryeo dynasty appeared with diverse topics in 'History of Goryeo' and are generally contents related to founding myths, rituals for rain, and Shinii (神異), etc. The founding myth emphasizes the legality of the Goryeo dynasty through the dragon, and this influenced the formation of the dragon's descendants. In addition, the ability to control water, which is a characteristic of the dragon, was symbolized as an earth dragon related to the rainmaking ritual, i.e., wishing for rain during times of drought. Since the dragon was the symbol of the royal family, the use of the dragon by common people was strictly restricted. Furthermore, the association of a bronze dragon mirror with the royal family is hard to be excluded. The type and quantity of bronze double dragon mirrors discovered to have existed during the Goryeo dynasty is great, and the production and the distribution of bronze mirrors with double dragons seem to have been more active compared to other bronze mirrors, as bronze mirrors with double dragons produced during Goryeo and bronze mirrors originating in China were mixed. Therefore, in this article, the characteristics of diverse bronze mirrors from the 10th century to the 14th century in China were examined. It seems that the master craftsmen who produced bronze mirrors with double dragons during the Goryeo dynasty were influenced by Chinese composition patterns when making the mirrors. Because there were many cases where a bronze mirror's country of origin could not easily be determined, in order to identify the differences between bronze double dragon mirrors produced during the Goryeo dynasty and bronze mirrors produced in China, meticulous analysis was required. Thus, to ascertain that Goryeo mirrors were not imitations of bronze mirrors with double dragons originating in China but produced independently, the mirrors were examined using the bronze double dragon mirror type classification system existing in our country. Bronze mirrors with double dragons are classified into three types: Type I, which has the style of the Yao dynasty, includes the greatest proportion; however, despite there being only a small quantity for comparison, Types II and III were selected for the analysis of the bronze mirrors with double dragons made in Goryeo because they have unique composition patterns. As mentioned above, distinguishing bronze mirrors made during Goryeo from bronze mirrors made in China is challenging because Goryeo bronze mirrors were made under the influence of China. Among them, since the manufacturing place of the bronze mirrors with double dragons found at the nine-story stone pagoda in Woljeongsa Temple in Pyeongchang is questionable and the composition pattern of the bronze mirror is hard to find on bronze mirrors with double dragons made in China, the manufacturing place of those bronze mirrors were examined. These bronze mirrors with double dragons were considered as bronze mirrors with double dragons made during the Goryeo dynasty adopting the Yao dynasty style composition pattern as aspects of the composition pattern belonged to Type I, and the detailed combination of patterns is hard to find in mirrors produced in China.

A Study of Local Festival for the China Hebeisheng (중국 하북성 마을제 연구 - 하북성조현범장이월이룡패회중룡신적여인(河北省趙縣范庄二月二龍牌會中龍神的與人) -)

  • Park, Kwang-Jun
    • Korean Journal of Heritage: History & Science
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    • v.36
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    • pp.347-377
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    • 2003
  • China is a country with large agricultural areas and subject to frequent calamities. Drought is the top of them. It has been a key problem for development of agriculture in the country. In the long struggle against drought, Chinese have accumulated many rational and irrational experiences. The Dragon Kings Belief, which is popular in North China and discussed in a thesis, is one of their irrational experiences. The belief was passed together with Buddhism from India to China in the Tang Dynasty. After it settled down, it was incorporated with the local five dragons belief and a set of beliefs in dragon kings came into existence. The emergence of the dragon kings belief ended the history that the title of rain got was not clear in China and Dragon kings finally got the status. Irrigation is the lifeblood of agriculture in China. In a Chinese mind, Dragon kings are the most important gods who take charge of rain and thus offer the lifeblood. In understanding the nature and characteristics of Chinese traditional culture, it is important for us to make clear the origin and evolution of the belief, find out its nature, function and operation. In the every year beginning of February of the Fanzhuang calendar in the people of Hebeisheng Zhaoxian, would all hold a festival to offer sacrifices to the $^{{\circ}TM}^{\prime}longpai$. Longpai was regarded as the core of the temple fair, thus the native sons came to call this festival; "longpaihui". In this region the'Fanzhuang longpaihui'developed into a well knownand grand temple fair. It was able to attract numerous pilgrims with its special magic power, occupying a place in $China^{{\circ}TM}$ 'eryueer'festival with festive dragon activities. The dragon is a common totem among Chinese nationals. The belief worship of the dragon dates from the start time of primitive societies. Dragon oneself the ancients worship's thunder lightning. In the worship of the great universe, at first afterwards this belief with the tribe's totem worships to combine to become the animal spirit. In ancient myths legends, along with folk religion and beliefs all hold a very important position. The longpaihui is a temple fair without a temple; this characteristic is a distinction between longpaihui and other temple fairs. As for longpaihui must of the early historical records are unclear. The originator of a huitou system has a kind of organized form of the special features rather, originator of a huitou not fix constant, everything follows voluntarily principle, can become member with the freedom, also can back at any time the meeting. There is a longpaihui for 'dangjiaren', is total representative director in the originator of a huitou will. 'banghui' scope particularly for extensive, come apparently every kind of buildup that help can return into the banghui, where is the person of this village or outside village of, the general cent in banghui work is clear and definite, for longpaihui would various businesses open smoothly the exhibition provides to guarantees powerfully. Fanzhuang longpaihui from the beginning of February to beginning six proceed six days totally. The longpai is used as the ancestry absolute being to exsits with the community absolute being at the same time in fanzhuang first took civil faith, in reality is a kind of method to support social machine in native folks realize together that local community that important function, it provided a space, a kind of a view to take with a relation, rising contact, communication, solidify the community contents small village, formation with fanzhuang. The fanzhuang is used as supplies for gathering town, by luck too is this local community trade exchanges center at the same time therefore can say the faith of the longpai, in addition to its people's custom, religious meaning, still have got the important and social function. Moreover matter worthy of mentioning, Longpai would in organize process, from prepare and plan the producing of meeting every kind of meeting a longpeng of the matter do, all letting person feeling is to adjust the popular support of, get the mass approbation with positive participate. Apart from the originator of a huitou excluding, those although not originator of a huitou, however enthusiasm participate the banghui of its business, also is too much for the number.

A Study on the Fengshui Shapes of the Four Propitious Sites Recorded in The Canonical Scripture (『전경』에 기록된 사명당(四明堂)의 풍수 물형(物形) 연구)

  • Shin Young-dae
    • Journal of the Daesoon Academy of Sciences
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    • v.41
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    • pp.133-178
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    • 2022
  • This study investigates if four propitious sites (四明堂, sa myeongdang) identified in Daesoon Jinrihoe's The Canonical Scripture correspond with the orthodox descriptions of dragon, energy hub, sand, and water (龍穴砂水, yong hyeol sa su) which are held by Fengshui as conditions necessary for that specific designation. In this study, these conditions, based on the shape of the site-formations, were observed via through on-site surveys and the application of the theories presented by traditional books on Fengshui. First, the dragon veins (龍脈, yongmaek) of the energy hub of the Five Immortals Playing Baduk (五仙圍碁穴 oseonwigi- hyeol) on Mount Hoemun in Sunchang consists of solid soil, is like a spiderweb, rises and lays prone, winds in every direction, and looks almost disconnected while actually remaining connected. Second, the Fengshui characteristics of the energy hub of Worship Held by Buddhist Monks from Abroad (胡僧禮佛穴, hoseungyebul- hyeol) on Mount Seungdal in Muan is that the branching feet (枝脚 jigak) support the mountain range by forming a valley to the left and right of the dragon veins that stretch from the peak of Mount Seungdal. Also, the direction-changing helm (橈棹 yodo) supports the mountain range solidly can be said to be well-developed. It is likewise noted that there is an excellent change in dragon veins in that exhibit curvature that spans being high, low, rising, and lying. This makes it appear as though the dragon is wriggling back and forth. Third, the state of the energy hub of Celestial Maidens Weaving Silk (仙女織錦穴, seonnyojikgeum-hyeol) on Sonryong Ridge in Jangseong County demonstrates overall harmony between mountain and water as it is near Mount Ju and Mount An and has a solid water outlet to which it is tightly fastened such that its energy does not leak out. Meanwhile, the positioning of its blue dragon of the east, red phoenix of the south, white tiger of the west, and black tortoise of the north is so intimate that its long flow can be said to be spinning. The Songryong Ridge area where energy hub was formed between soil and bedrock is the right land for a great favored location as it corresponds with Fengshui logic in an exemplary manner. Fourth, the Fengshui characteristics of the energy hub of Subjects Receiving the Imperial Command (群臣奉詔穴, gunshinbongjo-hyeol) at Baerye-jeon Field in Taein can be described as embracing the village snuggly as it centers around Mount Wangja, and its blue dragon and white tiger respond to each other. Additionally, a clear distinction between host and guest is noticeable in the positions of Mount Ju and Mount An. The flowing body of water in front of the village wraps around that village as a Horizontal Water Formation (橫水局, hoengsuguk), and vigorous vapor from the earth draws breath as the yin-yang energy of the landscape courses through the earth. As dragon veins, the range of the mountain, are like the blood vessels within the human body and the dragon is compared to the limbs, the energy hub of Subjects Receiving the Imperial Command at Baerye-jeon Field in Taein can be identified as a favored location that was formed directly by the sky and earth.

Deformation Behavior of Locally Stiffness-variant Stretchable Substrates Consisting of the Island Structure (섬(Island) 구조로 이루어진 강성도 국부변환 신축성 기판의 변형 거동)

  • Oh, Hyun-Ah;Park, Donghyeun;Shin, Soo Jin;Oh, Tae Sung
    • Journal of the Microelectronics and Packaging Society
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    • v.22 no.4
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    • pp.117-123
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    • 2015
  • In order to develop stretchable substrate technology for stretchable devices, locally stiffness-variant stretchable substrates were processed with two polydimethylsiloxane elastomers of different stiffnesses and their deformation behavior was characterized. Low-stiffness substrate matrix and embedded high-stiffness island of the stretchable substrate were formed by using Dragon Skin 10 of the elastic modulus of 0.09 MPa and Sylgard 184 of the elastic modulus of 2.15 MPa, respectively. A stretchable substrate was fabricated to a configuration of 6.5 cm length, 0.4 cm thickness, and 2.5 cm width. The elastic modulus of a stretchable substrate was increased from 0.09 MPa to 0.13~0.33 MPa by embedding a Sylgard 184 island of 1 cm width and 1~6 cm length into the center part of the Dragon Skin 10 substrate matrix. The elastic modulus of a stretchable substrate was improved to 0.16~0.2 MPa by embedding a Sylgard 184 island of 4 cm length and 0.5~1.5 cm width and to 0.1421~0.154 MPa by embedding a Sylgard 184 island of 2 cm length and 0.5~1.5 cm width. With increasing the tensile strain of a stretchable substrate, deformation restriction of the locally stiffness-variant Sylgard 184 island was further enhanced due to substantial increase in the strength difference between Sylgard 184 and Dragon 10 at large strain.

A Study on the Creating Roles in The Golden Dragon - Focused on Production Processes with LMA - (『황금용』(The Golden Dragon) 역할창조 연구 - LMA를 적용한 프로덕션 과정을 중심으로 -)

  • Jung, In-Yong;Cho, Joon-Hui
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.8
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    • pp.117-130
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    • 2020
  • The Golden Dragon is a work that reminds us of the tragic illusion of globalization through the story of Asian workers' lives in Berlin, a strange city. Also, the post-epic nature of the play requires the audience to see it in a new way, more different than before. In Korea, there are theoretical studies on the post-epic theatre, but there is little research on specific acting approaches based on practical production process. Therefore, I first analyze the post-epic characteristics of The Golden Dragon in order to present specific acting approaches. As a result, it would be confirmed that body-centered acting approaches were required in the post-epic theatre to play more different roles than in the realism play. Thus, Laban movement Analysis(LMA) of Rudolf von Laban is applied so that internal impulses could be naturally induced through the utilization of the body. Of the four categories of motion(BESS), Laban seeks to look at the body-centered acting approaches through the effort. Finally, it must be confirmed through the actual production process that Laban's theory of motion could be used as a body-centered acting approach to creating the role of post-epic theatre.

Effects of orthodontic mini-implant position in the dragon helix appliance on tooth displacement and stress distribution: a three-dimensional finite element analysis (교정용 미니임플랜트 식립 위치에 따른 dragon helix의 효과에 대한 유한요소해석)

  • Kim, Min-Ji;Park, Sun-Hyung;Kim, Hyeon-Seong;Mo, Sung-Seo;Sung, Sang-Jin;Jang, Gang-Won;Chun, Youn-Sic
    • The korean journal of orthodontics
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    • v.41 no.3
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    • pp.191-199
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    • 2011
  • Objective: The purpose of this study was to investigate the stress distribution on the orthodontic mini-implant (OMI) surface and periodontal ligament of the maxillary first and second molars as well as the tooth displacement according to the OMI position in the dragon helix appliance during scissors-bite correction. Methods: OMIs were placed at two maxillary positions, between the first and the second premolars (group 1) and between the second premolar and the first molar (group 2). The stress distribution area (SDA) was analyzed by three-dimensional finite element analysis. Results: The maximal SDA of the OMI did not differ between the groups. It was located at the cervical area and palatal root apex of the maxillary first molar in groups 1 and 2, respectively, indicating less tipping in group 2. The minimal SDA was located at the root and furcation area of the maxillary second molar in groups 1 and 2, respectively, indicating greater palatal crown displacement in group 2. Conclusions: Placement of the OMI between the maxillary second premolar and the maxillary first molar to serve as an indirect anchor in the dragon helix appliance minimizes anchorage loss while maximizing the effect on scissors-bite correction.