• Journal of Korean Historical Folklife
• /
• no.33
• /
• pp.31-72
• /
• 2010

At first, I extract materials on folk religion from four encyclopedic literatures of late Chosun dynasty-Lee, Ji-Bong-Ryu-Seol(『芝峯類說』) by Soo-Kwang(李晬光), San-Lim-Kyung-Jae(『山林經濟』) by Hong, Man-Sun(洪萬選), Sung-Ho-Sa-Seol(『星湖僿說』) by Lee-Ik(李瀷), O-Ju-Yeon-Moon-Jang-Jun-San-Go(『五洲衍文長箋散稿』) by Lee, Kyu-Kyung(李圭景), and present these materials by tables. Second, I examined the contents and characters of these materials on folk religion. The conclusions from this research are as follows. ① There are common features and points of difference between these four encyclopedic literatures. One of common features are that all these four are encyclopedic works, but San-Lim-Kyung-Jae is more practical than another three. ② These encyclopedic literatures regard folk religion as a negative culture, because these literatures based on Confucianism. But they did not deny miraculous virtues of folk religion. ③ These encyclopedic literatures give us many informations on gods and spirits of Korean folk religion, i.e. city gods(城隍神)·Yup-Sin(업신)·spirits of disease, god Kim-Bu(金傅大王神)·god Jung-Duk-Yang(鄭得揚)·god of King Kuan-u(關王神)·god Bu-keun(付根神) etc. So I review these gods and spirits referenced in encyclopedic literatures. ④ These encyclopedic literatures show much interest in ghost in common. The reason of interest is that authors of these encyclopedic literatures are all scholars of Sung Confucianism and Sung Confucian was concern about ghost. The Sung Confucianism denied the ghost as personal being whom Korean folk religion regards to a kind of spirits. Instead of beliefs in ghost of folk religion, they insist on the ghost as Ki(氣), a kind of cosmic principle. But these encyclopedic literatures acknowledge some parts of folk religion's beliefs in ghost, because they admit the miraculous virtues of these parts. ⑤ There are many items on divination in these encyclopedic literatures. But they show dual attitude on divinations. The one is negative attitude to divinations on individual destiny and the other one is positive attitude to divinations on agriculture. ⑥ There are also many items on witchcrafts in these encyclopedic literatures. Through these items, I assumed pervasiveness of beliefs on witchcraft at that time. ⑦ Shamans, as religious specialist, are stand on a central position of Korean folk religion. So it is a matter of course that these encyclopedic literatures concerned on Korean shaman. As Confucians, authors of these encyclopedic literatures did not regards shamans as positive one. But they did not deny miraculous virtues of shamans. In spite of these encyclopedic literatures have negative view points to, and include false informations Korean folk religion, I would like to emphasis on importance of these encyclopedic literatures to understand Korean folk religions, especially Korean folk religions of late Yi Dynasty.

• Journal of Digital Convergence
• /
• v.16 no.5
• /
• pp.391-398
• /
• 2018

Analyzing the shortcomings and shortcomings of the film based on the Webtoon and the artistry as a popular artwork at the time when the filming of the webtoon is becoming the main trend of the Korean film, it is an analysis of the present state of the Korean film industry, Will be an indicator for. The present generation of young people who do not have the experience and knowledge of popular arts and culture that handed down a small number of high-quality arts by reflecting current literary, art, history, and popular consciousness are concentrating only on instinctive emotion, It is regrettable that it is consistently followed by follow-up and follow-up unconditionally. In this study, we will examine the methodology of the ideal webtoon filmization process by analyzing the structure and industry analysis of Webtoons, and analyzing the weaknesses in the transition process to the movie format. The essence of communicating with audiences will be unchanged even in the rapid change of media and technology. In the setting and expression of its essence, it is based on the humanistic authenticity mentioned above, the avant garde internal necessity of the artist seeking ideal, And the reflection of the original character of high-class culture that creates newness can be considered as a proposition that can include artistry in popular culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.1
• /
• pp.1-12
• /
• 2013

Korea's traditional Sokgasans(a artificial rock mountain) are elements of our excellent rock garden culture that have been inherited from Goryeo Era to Chosun Era. This study is to analyze how the culture of Sokgasans in the Goryeo and the Chosun Eras has been has been representated the implications and inherited in terms of historical aspects. Korea's traditional Sokgasans, which were created in the Goryeo Era by imitating the landscape of mountain ranges, created a small artificial mountain made of oddly shaped stones, imitating a real mountain. People in those days would reproduce mountain landscapes through a miniaturization technique, enjoying the pleasure of deep mountains and valleys as they lay on their gardens at home while having an aesthetic experience of the landscape that supported their emotional stability and healing. The inner side of these Sokgasan was intended to represent the world of the Taoist hermit with miraculous powers in terms of utopia, expressing 5 Ak mountains(Song Shan, Taishan, Huashan, Heng Shan and Hyeong Shan) where the mountain of 3 Gods(Youngju, Bongrae and Bangjang) wishing for 'No aging and living long' and idea of the Taoist hermit with miraculous powers are concentrated beyond the beauty of form in the landscape itself. In addition, people could refine their minds by practicing the Confucianist lesson of loving the mountain and water by watching the Sokgasan and imitating 'Famous mountains and lakes" from China and they had been changed and advanced embracing various implications in inner side of Sokgasans. Korea's traditional Sokgasans not only made it possible for people to experience aesthetic landscapes as a practical element of the scenery but also had deep symbolic implications that go beyond their formal beauty and were sublimated as an ideational space of unlimited imagination.

• Journal of the Korean Society for Library and Information Science
• /
• v.45 no.2
• /
• pp.75-96
• /
• 2011

This research investigated the facts about the place and date of praying for the engraving of the first edition of Tripitaka Koreana. Major findings are as follows: 1) The very first idea of engraving the first edition of Tripitaka Koreana was evidenced in the record of 'The beginning of Tripitaka Koreana' from 'Daejanggakpan Gunsin Gigomun' written by YiGyuBo. 2) After comparing the contents of 'Daejanggakpan Gunsin Gigomun' with the record of the third volume of 'Goryeosa Jeolyo' dated February 13, 1011, this researcher confirmed that 'Daejanggakpan Gunsin Gigomun' also recorded this historical fact. 3) In the third volume of 'Goryeosa Jeolyo' dated February 13th, 1011, it is documented that a ritual was held to pray to the gods of heaven and earth for expelling the Kitan from the country. Further, the document states that this particular ritual consisted of a ceremony of lanterns held at the temporary palace in Cheongju on February 15th, to report to the gods on 'the engraving of the first edition of Tripitaka Koreana' 4) Therefore, it is verified that the date of praying for the engraving of the first edition of Tripitaka Koreana was February 15th of the lunar calendar, 1011(the second year of King Hyunjong's reign), and the place was the temporary palace in Cheongju.

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.365-414
• /
• 2018

This paper studied the type and character of the Divinity in Korean shamanism. The study of the Divinity means the hierarchy of shamanism, the relationship between shamanism and divinity, and the comparison between shamanism and divinity. The study of the shamanistic divinity based on Kim Tae - Gon's collection of anthology by Shaman(1971). The Jaesugut was composed of the contents of the gods blessing human beings. The JaesuGut of Seoul vary from 10 to 18 depending on the author. The JaesuGut of Goseong consists of 8 Gut. The essence of the ritual gut is to pray for the peace of the individual by using the world which is not explained by reason and science. It is a reincarnation that reflects the world of experience that is stored in the memory of human being that both reason and science can not explain. And the desire to escape from fear was reflected in Jaesu Gut. Every Jaesu Gut in Seoul and Goseong has a main divinity. This main divinity is attached to the divinity in another Gut and becomes a subordination divinity. It also becomes a subordinate-subordination divinity to the another Gut. The gods of reincarnation are basically taken in the order of national security ${\rightarrow}$ local security ${\rightarrow}$ home security.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.4
• /
• pp.24-47
• /
• 2013

This study focused on the constructional concepts, landscape design techniques and changes made of the Sandan(山壇) area in the rear garden of Changdeokgung Palace based on the spatial organization of the zone. The results of this study are as below. Constructional layers that have been maintained throughout the centuries from King Injo(仁祖), King Sukjong(肅宗), King Sunjo(純祖), the Japanese colonial period to the present, were found in the Sandan area. The Sandan area, which was developed with the establishment of Chuiseungjeong(取勝亭) during the ruling of King Injo(仁祖), was created as a resting place for the King, and its usage continued until King Sukjong(肅宗) built Nakminjeong(樂民亭). However, the whole area was reorganized to host ritual ceremonies, where ancestral rites were performed for the mountain gods, after Sandan and Baekunsa(白雲社) were built during King Gojong's reign, before the drawing of 'Painting of Eastern Palaces(東闕圖).' The architectural component used then appears to have been designed to serve ancestral ritual formalities for the god of land, or to satisfy the religious desires of the royal family not fulfilled by Confucian courtesy. These are characteristics that define the Sandan area. Meanwhile, the analysis of the ground plan of the Changdeokgung Palace revealed that the Sandan had been maintained until the Japanese colonial era, but was removed sometime after liberation. The area underwent extensive reform in the early 1970s, when the whole area was developed into a tourist destination called Bingcheon(氷泉). Then, a new road that runs through Bingcheon was laid, and the present condition reflects the construction result of the time. An interview with a person who had taken part in the repair work in the 1970s confirmed that the construction work at the time had the goal of establishing two drainage systems for drinking water and copied the Okryuchon(玉流川) well.

• (The)Study of the Eastern Classic
• /
• no.68
• /
• pp.409-437
• /
• 2017

The curiosity of the human afterlife created many imaginations. The Death Angel's Character are also the product of this imagination. This is because we needed a connection between this world and the otherworld in human' imaginations. The Death Angel revealed in detail in Shamanistic Epics. First, It is the person who performs the task assigned by The King of the Otherworld. Second, It is a person who can go to this world and the otherworld. Third, It is the person who takes the deceased to the otherworld. Fourth, It is the person who takes out the soul of human and modify the life list. Fifth, It is the person who sympathetic and humane qualities. This The Death Angel's character is actively accepted in modern contents. The most representative works are <49 Days>, , . Contemporary content, but the otherworld and the afterlife were accepted. And The Death Angel played an important role. Of course, this process also happens that modern changes. Namely, Function and personality retains existing character. And the appearance and background change a modern sense. As a result, The Death Angel became a new character through the encounter between the past and the present.

• Journal of the Daesoon Academy of Sciences
• /
• v.35
• /
• pp.255-293
• /
• 2020

This study examines the God, Jiutian Yingyuan Leisheng Puhua Tianzun (九天應元雷聲普化天尊, 'The Supreme God of the Ninth Heaven, Celestial Worthy of Universal Creation through His Thunderbolt, the Originator with Whom All Beings Resonate' in Daesoon Jinrihoe), in terms of narrative imagination, by investigating the narrative of Wen Zhong (聞仲) in Investiture of the Gods (Fengshenyanyi 封神演義) and the narrative of Kang Jeungsan (姜甑山) in The Canonical Scripture (Jeongyeong 典經). This examination occurs along three dimensions: Firstly, I look into the cultural contexts of the image of the Thunder God (雷神) in Gojoseon (古朝鮮) mythology and the Korean seondo (仙道) tradition both of which are reflected in the narrative of Wen Zhong. At the same time, I also argue that the cultural contexts examined above are able to be found in the narrative of Kang Jeungsan. Secondly, I consider the essential meaning of the concept of "deifying" (封神) in the narrative of Wen Zhong and its connection to "the resolution of grievances" (haewon 解冤) in the narrative of Kang Jeungsan. Thirdly, I consider the traits of embracing heterogeneous things (異類) in the religious group "Jiejiao" (截敎) that Wen Zhong belonged to in relation to the values of "mutual beneficence" (sangsaeng 相生) that Kang Jeungsan pursued. In this study's conclusion, I posit that the "mentalité" of Dong-yi (東夷) culture and tales including Yin (殷) is identifiable in narrative imagination applied to the God, Jiutian Yingyuan Leisheng Puhua Tianzun. This means that the nature of Jiutian Yingyuan Leisheng Puhua Tianzun is closely related to the tradition of Korean seondo and Korean Daoism.

• Journal of Haehwa Medicine
• /
• v.12 no.2
• /
• pp.85-103
• /
• 2004

From the studies on a few specific chapters of Tibetan Medical Painting, following conclusions were obtained. 1. The doctors of Tibet had to be not only academically and morally perfect, but he must show and have respect for his religion and his religous leaders and Gods. 2 The most main causes for all the disease that Tibetan Medicine resumed were hatred, delusion and ignorance of human mind which can make the physiological bile, wind, and phlegm to turn into pathological ones. 3. There is the classification of primary cause, which would be the human mind mentioned above, and the secondary cause which include dietary, behavior, seasonal problems, etc. 4. The Tibetans thought the digestive power is very important in the improvement or degravation of the disease. 5. More chapters were held for explaining the disease of fever, its clssification, stages, and cures which can indirectly show that the Tibetans might have thought it was very serious and could be very harmful. 6. The treatments for all the kinds of disease not only include medication and external therapy but also dietary and behavior regulations.

• Journal of Korea Game Society
• /
• v.18 no.2
• /
• pp.5-14
• /
• 2018

Main purpose of this research is to discuss relationship between digital art works and audience by expansion of Body Schema from Maurice Merleau Ponty's viewpoint, and artistic value of digital art works also became discussed in this research, based on Heidgger's concept called 'Defamiliarization'. We found this 'Defamiliarization' became an important role of digital art works caused by interaction between arts and audience. And we also discussed audience's role as a poet, being-in-between in between the earth and the world, gods and mortals called Heidegger's 'fourfold'. As a conclusion, this unique experience compared to other works is called "A shamanic experience", as an artistic value in interactive digital art works.