• Journal of the Daesoon Academy of Sciences
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• v.33
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• pp.91-145
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• 2019

This study aims to reveal that Daesoon Jinrihoe Yeoju Headquarters Temple Complex is a sacred place of Gaebyeokgongsa (the Reordering Works of the Great Opening) through the logic of the energy of form in Feng-Shui studies. The Headquarters Temple Complex can illuminate the lamp of coexistence, emerge as a place for cultivation, and support the era of human nobility with Gucheonsangje (the Supreme God of the Ninth Heaven) as an object of faith. Virtuous Concordance of Yin and Yang, Harmonious Union between Divine Beings and Human Beings, the Resolution of Grievances for Mutual Beneficence, and Perfected Unification with Dao are the mission statements of this great site. For this purpose, it is necessary to investigate the headquarters according to integral Feng-Shui Theory. Doing so can provide proof that the geographic location, landscape, yin-yang harmonizing, and flowing veins of terrestrial energy at Headquarters Temple Complex are all profoundly auspicious. At the same time, this data also allows further study into the interactions of dragon-veins, energy hubs, surrounding mountains, and watercourses, which reveal how Daesoon Jinrihoe Yeoju Headquarters Temple Complex promotes the basic works of propagation, edification, and cultivation and three societal works of charity aid, social welfare, and education for the purpose of global propagation, saving beings, and building an earthly paradise by reforming humanity and engaging in spiritual civilization. This must be done on site with proper Feng-Shui in order to open up the era of human nobility upon the Great Opening of the Later World. As the center of the religious order, Daesoon Jinrihoe, Yeoju Headquarter Temple Complex has the general Feng-Shui characteristic of Baesanimsu (a back supported by a mountain and a front facing water). Through discussing the Feng-Shui of Daesoon Jinrihoe's Yeoju Headquarters Temple Complex as the center of humankind's resolution of grievances for mutual beneficence, this study would explore growth-supporting land that delivers future rewards through Feng-Shui symbolism and the ethical practice of grateful reciprocation of favors for mutual beneficence. This exploration will reveal how the geographical features and conditions of the Yeoju Headquarters Temple Complex make it a place fit for spiritual cultivation. It is a miraculous luminous court surrounded by mountains, where auspicious signs in eight directions gather. Its veins of terrestrial energy harmonize with clean water energy as it is affectionately situated within its natural environment. Its location corresponds with the Feng-Shui theory of dragon-veins, energy hubs, surrounding mountains, and watercourses. Thus, with regards to the Feng-Shui of Daesoon Jinrihoe's Yeoju Headquarters Temple Complex, this study examines the flows of mountains and waters and focuses on how the site is based on the logic of Feng-Shui. More generally, the geographical features of the surrounding mountains are likewise examined. An analysis of the relationship between Poguk (布局) of Sasinsa (animal symbols of the four directions, four gods, including blue dragon of the east, red phoenix of the south, white tiger of the west, and black tortoise of the north) and the location will be provided while focusing on the Yeoju Headquarters Temple Complex. This study supports the feasibility of further Feng-Shui studies of the Yeoju Headquarters Temple Complex based on traditional geomancy books that focusing on Hyeonggi (Energy of Form) Theory.

• Journal of the Daesoon Academy of Sciences
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• v.32
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• pp.175-199
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• 2019

This paper aims to define Kang Jeungsan's Reordering Works of Heaven and Earth through the Hegelian concept of 'labor (arbeit),' which is the fundamental medium in which humans substantialize their own absoluteness in an existentialist context. The Reordering Works of Heaven and Earth performed by Jeungsan enabled Heaven, Earth, and Humanity to communicate with each other through the harmony of Sangsaeng (Mutual Beneficence). As Hegel found the possibility of freedom and emancipation of human subjects through labor and Jeungsan exercised His will to free and emancipate human beings, comparative thinkers are led to recognize a relationship between His Reordering Works of Heaven and Earth and the Hegelian concept of labor. The key point of this paper centers around articulating the meaning of the precise situation wherein labor occurs for the Supreme Being. Labor is a concept that occurs for real-live humans. Human beings can be said to exist between the ideological world and the natural world, or between Heaven and Earth, and this dichotomy creates a specific product given the interplay of infinitude and finitude that it entails. In other words, labor is not a passive deployment but is instead a subjective development. From the point wherein this labor occurs for the Supreme Being, a paradigm shift towards unity begins throughout the universe. The occurrence of God's labor happens at a time of great transformation. These occurrences of God's labor form the communication among Heaven, Earth and Humanity and form a qualitative equality. In other words, the fact that God is far from the world of ideology and has come into the world of finitude means that God conveys His absoluteness to the world of finitude. Therefore, the work of God on Earth builds the world of Heaven on Earth. This can also be seen as the Sangsaeng of Heaven, Earth and Humanity.

• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• (The) Research of the performance art and culture
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• no.22
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• pp.253-285
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• 2011

The number of "Performing Arts Festivals" is growing increasingly in South Korea. This trend is mainly held in large cities which are difficult to communicate closely among residents. South Korea, while the pace of city life and speed of development are very fast, increasing number of "Performing Arts Festivals" with communal characteristics is in the natural process of festival evolution in large cities. In the evolution of the contemporary festival, it is natural to see some increase of modern festival after the development of traditional and folk festivals. It is important that the "Performing Arts Festivals" express the two elements, artistic character and festivity, not only in distinctively but also in harmony. The "Performing Arts Festivals" should consider the process of the organization, human resources, networking systems of the human communication process, resource use, etc. For the success of the festival, we must obtain the complementary effects between two attributes:festival characteristics and artistic senses. Therefore, we chose the 'Festival d'Avignon' as the reference of the total representation of artistic characteristics and festivity. From the case of the Festival d'Avignon, we get the implications of the development of performing arts festival in South Korea. To explain the festival value and artistic significance of the Festival d'Avignon, we explained the spontaneity and openness to public participation, the relationship between spectators and works, the representation of memory and communicative image, etc. To explain the artistic attributes of the 'Festival d'Avignon', we explained the mission to reconcile the artistic and the popular, to promote the artistic know-how, understanding how to communicate with the public, to consider more artistic quality than commercial benefits. Essentially, this study shows the meaning and the vision to forecast the future as well as the recent proliferation in various fields of Performing Arts Festivals. This study may help to improve analytical precision of Performing Arts Festivals.