• Cartoon and Animation Studies
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• s.39
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• pp.451-472
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• 2015

Lian Huan Hua(連環畵) has occurred in the history of China Cartoon was initially developed as a unique literary style of Chinese painting and narrative combined. Also Lian Huan Hua are also tend to form once the fusion 1920s was also a very creative fashion cartoon style. This is also referred to as chain cartoon. In 1950-1960, China 's Lian Huan Hua also mature a 'golden age' legal group reaches to indicate the unique formal features developed independently. This work is a dramatic expression of Lian Huan Hua narrative, shows a more realistic representation techniques and art forms such as portraiture is a very big breakthrough was achieved artistic maturity of the work increased significantly. by He You Zhi(賀友直) and by Hau San Chuan(華三川) is a masterpiece of artistry and maturity in the period leading side. Chapter 2 looked at the origin and development of Chinese Lian Huan Hua, it was seen by the fact that China achieved new progress in Lian Huan Hua upset every time the combination of content and form, In addition, the work of 1950-1960 in the development process of China's Lian Huan Hua confirmed the fact that they won the biggest achievement in artistry and maturity surface. Therefore, Chapter 3 how 'golden age' masterpiece of and the dramatic narrative of expression by analyzing a specific angle in the multifaceted image of the , realistic portraiture, such as the acquisition of Chinese concrete artistry Lian Huan Hua I want to show. Analysis of the figures depicting nature, landscape screens. consisted of highlights and background and techniques of utilization, production methods. The purpose of this research work is to identify two conditions of great Lian Huan Hua through analysis of concrete work and painting techniques such as framing and directing the Lian Huan Hua's artistic achievements is to investigate the influence of China in the early comics. These two works are focused on a realistic view of life and put out was to create a more effective representation of information it attempts to pass a new production techniques and will have the significance. Also completed was a new style absorbed throughout the aesthetic advantages are compelling own personality writers of Eastern and Western paintings are remarkable in that its performance. But the difference in the two works represent all types and painting techniques has a the mood of common China's lives.

• Journal of Intelligence and Information Systems
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• v.25 no.2
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• pp.1-23
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• 2019

Big data refers to data that is difficult to store, manage, and analyze by existing software. As the lifestyle changes of consumers increase the size and types of needs that consumers desire, they are investing a lot of time and money to understand the needs of consumers. Companies in various industries utilize Big Data to improve their products and services to meet their needs, analyze unstructured data, and respond to real-time responses to products and services. The financial industry operates a decision support system that uses financial data to develop financial products and manage customer risks. The use of big data by financial institutions can effectively create added value of the value chain, and it is possible to develop a more advanced customer relationship management strategy. Financial institutions can utilize the purchase data and unstructured data generated by the credit card, and it becomes possible to confirm and satisfy the customer's desire. CRM has a granular process that can be measured in real time as it grows with information knowledge systems. With the development of information service and CRM, the platform has change and it has become possible to meet consumer needs in various environments. Recently, as the needs of consumers have diversified, more companies are providing systematic marketing services using data mining and advanced CRM (Customer Relationship Management) techniques. KB Kookmin Card, which started as a credit card business in 1980, introduced early stabilization of processes and computer systems, and actively participated in introducing new technologies and systems. In 2011, the bank and credit card companies separated, leading the 'Hye-dam Card' and 'One Card' markets, which were deviated from the existing concept. In 2017, the total use of domestic credit cards and check cards grew by 5.6% year-on-year to 886 trillion won. In 2018, we received a long-term rating of AA + as a result of our credit card evaluation. We confirmed that our credit rating was at the top of the list through effective marketing strategies and services. At present, Kookmin Card emphasizes strategies to meet the individual needs of customers and to maximize the lifetime value of consumers by utilizing payment data of customers. KB Kookmin Card combines internal and external big data and conducts marketing in real time or builds a system for monitoring. KB Kookmin Card has built a marketing system that detects realtime behavior using big data such as visiting the homepage and purchasing history by using the customer card information. It is designed to enable customers to capture action events in real time and execute marketing by utilizing the stores, locations, amounts, usage pattern, etc. of the card transactions. We have created more than 280 different scenarios based on the customer's life cycle and are conducting marketing plans to accommodate various customer groups in real time. We operate a smart offering system, which is a highly efficient marketing management system that detects customers' card usage, customer behavior, and location information in real time, and provides further refinement services by combining with various apps. This study aims to identify the traditional CRM to the current CRM strategy through the process of changing the CRM strategy. Finally, I will confirm the current CRM strategy through KB Kookmin card's big data utilization strategy and marketing activities and propose a marketing plan for KB Kookmin card's future CRM strategy. KB Kookmin Card should invest in securing ICT technology and human resources, which are becoming more sophisticated for the success and continuous growth of smart offering system. It is necessary to establish a strategy for securing profit from a long-term perspective and systematically proceed. Especially, in the current situation where privacy violation and personal information leakage issues are being addressed, efforts should be made to induce customers' recognition of marketing using customer information and to form corporate image emphasizing security.

• The Critical Review of Religion and Culture
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• no.32
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• pp.257-287
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• 2017

It seems to be quite an ambitious endeavor to trace back the translation history of Catholic Vulgate Bible from Latin language to Asian languages since 16th century. I try to bring out the translation(translative) procedure of Latin Bible to the Chinese Version, which is eventually come up (and the latter)to the Korean Version. It has been supported and funded by the National Research Foundation of Korea. This task has a three-year plan. For the first step(operation), I examined and searched the European situation of the Vulgate Bible in the Catholic Church, i.e. the ritual use of Vulgate Bible in the Mass and the religious retreat. The liturgical texts, to begin with, were analysed to disclose how the Vulgate Bible was reflected in them. The Lectionary and the Evangeliary were the typical ones. The structure or the formation system of the Lectionaries for Mass was based on the liturgical year cycle. From this point, the Vulgate Bible was rooted in the religious life of European Catholics after the Council of Trent which had proclaimed the Vulgate to be authentic source of the Revelation, therefore, to be respected as the only authoritative Bible. How did the Catholic Church use the Vulgate Bible out of the context and the boundary (sphere) of liturgy? The Meditation guide books for the purpose of instructing the religious retreat was published and (diffused) circulated among the priests, the religious persons and even the laymen. In those books also were included (found) the citation, the interpretation and the commentaries of the Vulgate Bible. The most of the devotees in Europe read the biblical phrases out of the meditation guide books. There are still remained the unsolved problems of how to understand (for understanding) the actual aspect of the Vulgate Bible in the European Catholic Church. All the Biblical verses were translated into French and included in the meditation guide books published in France. What did the Holy See think the French translation of the Vulgate Bible? Unfortunately, there were not found the Vatican Decrees about the European translation of the Vulgate Bible. The relationship between the Vulgate Bible and the Meditation guide (Those) will be much important for the study of Chinese translation of it. The search for the Decrees and the researches on it and the European and the non-European translations of the Vulgate Bible will be a continuous task for me as well as the other researchers on these subjects in the future.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.4-15
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• 2012

Sam-Tai-Ji has been used as one of the korean traditional symbol patterns including the emblem of the Seoul olympic. Despite Sam-Tai-Ji included in 태극(Tai-Ji:太極), it has been interpreted widely as Sam-jae(三才)theory called Tian(天), Di(地) and Ren(人), or Tian, Di and Ren harmony thought(天地人 調和思想) by some religion groups and some intelligent people without exact philosophical poofs. For this reason, this research on Tai-Ji(太極) pattern follows. Although Joseon dynasty selecting Confucianism as a ruling principle, it accepted Buddhism, Taoism and Shamanism by applying them to royal tombs not officially but privately. For example, If Confucianism has to be expressed in the public places, Er-Tai-Ji(二太極) pattern having an expressing type of Li-Ben-Lun(理本論) was employed, in the private places like royal tomb construction, Er-Tai-Ji(二太極) pattern having an expressing type of Qi-Ben-Lun(氣本論) was employed. To figure out clear identification of Sam-Tai-Ji(三太極) and Er-Tai-Ji(二太極), this research was conducted to study on the change process of Tai-Ji(太極). It has been considered that Tai-Ji(太極) pattern has something to do with universe in these countries such as Korea, China and Japan. In Tai-Ji(太極) pattern, Sam-Tai-Ji had been used more widely than Er-Tai-Ji(二太極) untill the Han Dang dynasty. The meaning is also indicated as Yin-Yang-Te(陰陽德) in the books like "Hanseo(漢書)" "Yulryeokji(律曆志)". But, in the chinese history, there was a change of the pattern into white spot Er-Tai-Ji(二太極) in "KoTaiJiDo(古太極圖)". It had been interpreted as "Yin-Yang and vitality(陰陽生氣)." since Song Dynasty when Confucianism settled down. In this process, unlike Wu-Ji(無極), Li(理) means immateriality. So Yin-Yang(陰陽) and Li(理) were expressed with the form of Er-Tai-Ji(二太極). Therefore, Sam-Tai-Ji(三太極) is the pattern that stands for Yin-Yang-Te(陰陽德). It means that Yin-Yang(陰陽) gives a life to all the living things, grows them along with Te(德). It developed and flourished in Taoism and Buddhism accepting spirit existence. It is the universe view that Qi(氣) is an entity.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.57-75
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• 2019

Soundscapes have the potential to help people experience the historical background and cultural traditions by the scenery of a local area and to be used as a cultural and tourism resource. This concept was first explained in detail by M. Schafer and has been developed as a new way of experiencing landscapes using various senses. This research studied the soundscape of Kyodong Island, the so-called "Island of Peace" and designed new cultural acoustic content for education and tourism. Kyodong Island is located right below the Northern Limit Line and the whole island is in the Civilian Controlled Area. The political and economic status of the island has been changed dynamically by the Korean War and the division of the country. These days, the island needs to realize the vision of the "Island of Peace" in a more creative way using local resources, including its "cold war landscape" and the natural scenery of the region. This research applied the concept of a soundscape to document the island, and to reproduce it in an artistic way. A workshop was conducted to learn concepts and techniques of soundscapes with a sound artist. Listening, recording, conducting interviews, and literature research was used to study the soundscape of the island. After that, this research reconstructed the soundscape of the island through a soundscape composition. The main theme of the composition story was the "Hope and Wish for the Harmony and Peace" to show the vision of the "Island of Peace". The initial sub-theme for the introduction part was "First Encounter with Kyodong Island" arranging the representative soundscape, which could be the first impression of the region. The second sub-theme was "War and Tension" using several soundscapes as a metaphor for the tragedy of the Korean War. The third sub-theme was "Everyday Life of Kyodong Island" which described the energy of the present day, after the wounds of the war have healed. The final sub-theme was "Harmony and Peace" using traditional music and keynote sounds of the region as a reminder of the peaceful past, before the war. The recording files were documented as two types of sound maps. One was a two-dimensional map to show the soundscapes from one point of view, and the other used the online application called "Sound Around You". The final artwork was displayed at an exhibition and uploaded on YouTube to be shared publicly. Through this project, we discovered the potential of soundscapes as a medium to preserve the history and local identity, as well as presenting a new vision. The artwork will be exhibited at historically and culturally meaningful places on the Island to utilize the underused places as local tourist attractions and educational resources.

• Korean Journal of Environment and Ecology
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• v.31 no.2
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• pp.152-165
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• 2017

The greater long-tail hamster, Tscherskia triton, is widely distributed in Northern China, Korea and adjacent areas of Russia. Except for its distribution, biological characteristics related to life history, behavior, and ecological influences for this species are rarely studied in Korea. This study was conducted to obtain biological information on breeding, growth and development that are basic to species-specific studies. The study adopted laboratory management of a breeding programme for T. triton collected in Jeju Island from March, 2015 to December, 2016. According to the study results, the conception rate was 31.67% and the mice in the large cages had a higher rate of conception than those in the small cages (56.7 vs. 6.7%). The gestation period was $22{\pm}1.6days$ (ranges from 21 to27 days), and litter size ranged from 2 to 7, with a mean of $4.26{\pm}1.37$ in the species. The minimum age for weaning was between $19.2{\pm}1.4days$ (range of 18-21 days). There were no significant differences by sex between mean body weight and external body measurements at birth. However, a significant sexual difference was found from the period of weaning (21 days old) in head and body length, as well as tail length (HBL-weaning, $106.50{\pm}6.02$ vs. $113.34{\pm}4.72mm$, p<0.05; HBL-4 months, $163.93{\pm}5.42$ vs. $182.83{\pm}4.32mm$, p<0.05; TL-4 months, $107.23{\pm}3.25$ vs. $93.95{\pm}2.15mm$, p<0.05). Gompertz and Logistic growth curves were fitted to data for body weight and lengths of head and body, tail, ear, and hind foot. In two types of growth curves, males exhibited greater asymptotic values ($164.840{\pm}7.453$ vs. $182.830{\pm}4.319mm$, p<0.0001; $163.936{\pm}5.415$ vs. $182.840{\pm}4.333mm$, p<0.0001), faster maximum growth rates ($1.351{\pm}0.065$ vs. $1.435{\pm}0.085$, p<0.05; $2.870{\pm}0.253$ vs. $3.211{\pm}0.635$, p<0.05), and a later age of maximum growth than females in head and body length ($5.121{\pm}0.318$ vs. $5.520{\pm}0.333$, p<0.05; $6.884{\pm}0.336$ vs. $7.503{\pm}0.453$, p<0.05). However, females exhibited greater asymptotic values ($105.695{\pm}5.938$ vs. $94.150{\pm}2.507mm$, p<0.001; $111.609{\pm}14.881$ vs. $93.960{\pm}2.150mm$, p<0.05) and longer length of inflection ($60.306{\pm}1.992$ vs. $67.859{\pm}1.330mm$, p<0.0001; $55.714{\pm}7.458$ vs. $46.975{\pm}1.074mm$, p<0.05) than males in tail length. These growth rate constants, viz. the morphological characters and weights of the males and females, were similar to each other in two types of growth curves. These results will be used as necessary data to study species specificity of T. triton with biological foundations.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.115-131
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• 2020

Through literature research and field investigation, this paper attempts to study the distribution, morphology and the typification of the visual and perceptual stone inscription in Wuyi-Gugok of China. The results are as follows: First, there are 350 stone inscriptions in total from the 1^st Gok to 9^th Gok in Wuyi-Gugok. Second, according to the analysis of the stone inscription distribution, 74(21.2%) stone inscriptions in the 5^th Gok, 67(19.2%) in the 6^th Gok, 65(18.6%) in the 1^st Gok, 60(17.2%) in the 2^nd Gok and 53(15.2%) in the 4^th Gok are confirmed. The above five Goks contain 319(91.1%) stone inscriptions, so they have rich cultural landscape. Third, according to the survey, the number of the stone inscriptions existed in the Sugwangseok of the 1^st Gok are 41(22.6%), in the Homagan of Cheonyubong of the 6^th Gok are 29(8.3%), in the Jesiam of the 4^th Gok are 23(6.6%), in the Nyeongam of the 2^nd Gok are 22(6.3%), in the Hyangseongam of the 6^th Gok are 21(6%), in the Unwa of the 5^th Gok are 19(5.4%), in the Bokhoam of the 5^th Gok are 18(5.1%), in the Eunbyeongbong of the 5^th Gok are 17(4.9%), in the Daejangbong of the 4^th Gok are 14(4%), in the Daewangbong of the 1^st Gok and the Geumgokam of the 4^th Gok are 12(3.4%). Thus, a total of 228 (65.1%) stone inscriptions are concentrated in these 11 sites, which represent the popularity and cultural value of these rocks. Fourth, the stone inscription of Wuyi-Gugok, praising the landform and topographical geological landscape of Mount Wuyi, mainly describe the scenic name of each Gok related to Zhu Xi's Gugok culture, appreciate Zhu Xi's tracks and the stone inscription in the sacred land of Neo-Confucianism culture, and also record the Confucian edification of mencius thoughts, Muigun(武夷君) and the myths and legends related to the site names of Wuyi mountain, which can remind people of the worldview of the celestial paradise where the gods live and the fairyland of the land of peach blossoms. In addition, it indicates that the historical and cultural landscape, which is full of colorful history and myths and legends, including allusions related to Confucian, buddhist and Taoist celebrities and the ancestor ancient things related to traditional culture of China is very diverse. Fifth, the results of the classification, based on the content of the stone inscription in Wuyi-Gugok, are classified as the scenery name inscription, the praise scene inscription, the recording travel inscription, the recording event inscription, the philosophy inscription, the expressing emotion inscription, the religion inscription, the inscription for auspiciousness, the slogan and expressing ambition inscription and the official document notice inscription, among which there are 102(29.1%) praise scene inscriptions, 93(26.6%) scenery name inscriptions and 61(17.4%) recording travel inscriptions. The stone inscriptions of Wuyi-Gugok have the characteristics of the special emphasis on scenery names, landscape praise and commemorative tours. Sixth, the analysis of the intertext between the 「Figure of Wuyi-Gugok」 and Wuyi-Gugok rock letters, in the study found that the method of propagation between media was mostly the method of propagation of quotations and maintained intermedia through extension, repetition, extension, and compression.

• (The)Study of the Eastern Classic
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• no.56
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• pp.35-73
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• 2014

This paper examined the poem world of Simjae(深齋) Cho Geung-seop(曺兢燮: 1873-1933) in the turning point of the modern era, focused on his Hwaunsi (和韻詩: Poems written by using the rhymes of other poets' poems). In his poems, there are lots of Hwaunsi on the poems of Tu Fu(杜甫) and Su Shi(蘇軾), especially. This makes him regarded as a medieval poet, engaged in Chinese poem creation in the most traditional method in the turbulent period. Looking at the Hawunsi(和韻詩) alone, Simjae's creative life became the starting point of turnaround at around 40 years old. Before the age of 40, the poets in the Tang Dynasty and Song Dynasty and Ming Dynasty and Qing Dynasty and Korean figures like Lee Hwang(李滉), as well as Tu Fu and Su Shi were the subjects of his Hwanunsi. After the age of 40, some examples of writing poems using the rhymes of other poets' poems, especially Korean figures related to regions, are often found, reducing Hwaunsi on Tu Fu and Su Shi. Simjae called Tu Fu the integration of poets, talking about the integrity of poetic talent and his being highly proficient in mood and view. As reflecting such an awareness, the themes and moods and views are demonstrated diversely in Simjae's Hwaunsi. Although, he did not reveal his thinking about the poems of Su Shi, he seemed to love Su Shi's poems to some degree. The closeness to the original poems, the poems of Tu Fu are relatively higher than those of Su Shi. Roughly speaking, Simjae tried to find his own individuality, intending to follow Tu Fu, but, he seemed to attempt to reveal his intention using Su Shi's poems, rather than trying to imitate. To carefully examine, Simjae wrote Hwaunsi, but he did not just imitate, but revealed the aesthetics of comparison and difference. In many cases, he made new meanings by implanting his intentions in the poems, while sharing the opportunity of creation, rather than bringing the theme and mood and view as they are. The Hwaunsi on Su Shi's poems reveal the closeness to the original poems relatively less. This can be the trace of an effort to make his own theme and individuality, not being dominated by the Hwaun(和韻: using the rhymes of other poets' poems) entirely, as he used the creative method having many restrictions. However, it is noted that the Hwaunsi on Tu Fu's poems was not written much, after the age of 40. Is this the reason why he realized literary reality that he could not cope with anymore with only his effort within the Hwaunsi? For example, he wrote four poems by borrowing Su Shi's Okjungsi(獄中詩: poem written in jail) rhymes and also wrote Gujung Japje(拘中雜題), in 1919, while he was detained. In these poems, his complex contemplation and emotion, not restricted by any poet's rhymes, are revealed diversely. Simjae's Hwaunsi testifies the reality, in which Chinese poetry's habitus existed and the impressive existence mode at the turning point of the modern era. Although, the creation of Hwaunsi reflects his disposition of liking the old things, it is judged that his psychology, resisting modern characters' change, affected to some degree in the hidden side. In this regard, Simaje's Hwaunsi encounters limitation on its own, however, it has significance in that some hidden facts were revealed in the modern Chinese poetry history, which was captured with attention under the name of novelty, eccentricity and modernity.

• Journal of Korean Medical Ki-Gong Academy
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• v.7 no.2
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• pp.40-94
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• 2004

Recently, meditation, Zen meditation and Qigong became popular in western. For that reason, Value of Korea traditional methods for health promotion have been evaluated but theoretical evidence about that is insufficient. ${\ll}$The Yellow Emperor's Inner Classic${\gg}$ (黃帝內經). So, I reviewed history of Korea Qigong according to period, in order to produce theoretical evidence of Korea medical Qigong and investigated ${\ulcorner}$Han${\lrcorner}$ thought (${\ulcorner}$한${\lrcorner}$ 思想) as theoretical evidence of Korea Qigong. I have obtained following results by comparing meaning of god, a view of human body and practice method of the ${\ll}$Samilshingo${\gg}$ (三一神誥) with ${\ll}$The Yellow Emperor's Inner Classic${\gg}$ (黃帝內經). Sinsundo(神仙道) of native to race became active during the period of the Three Kingdoms but more disappeared due to under the influence of Taoism. So only has been remained in existence since the period of the unity silla. There could accept positively the foreign ideas belonging to Confucianism, Buddhism and Taoism have been brought since the period of the Three Kingdoms because ${\ll}$Samilshingo${\gg}$ (三一神誥), one of three the scriptures as the origin of ${\ulcorner}$Han${\lrcorner}$ thought(${\ulcorner}$한${\lrcorner}$ 思想) included the original form of three religion belonging to Confucianism, Buddhism, Taoism. Three common results as theoretical evidence of Qigong were found out by comparing ${\ll}$Samilshingo${\gg}$ (三一神誥) with ${\ll}$The Yellow Emperor's Inner Classic${\gg}$ (黃帝內經). First, in meaning of god, there is not only different from the gods of heaven and the gods of human but also keep understanding with each other and there was common feature of logical structure that function of god was divided into three. Second, In a view of human body, there were in common with ${\ll}$Samilshingo${\gg}$ (三一神誥) as theory of only as energy(氣一元論), theory of bisection as truth false(眞妄二分論), theory of trisection as spirit(性) destiny(命) nature(精) and mind(心) energy(氣) body(身)(性 命 精, 心 氣 身의 三分論) and ${\ll}$The Yellow Emperor's Inner Classic${\gg}$ (黃帝內經) as theory of only as energy(氣一元論), theory of bisection as shape and god(形神二分論), theory of trisection as nature(精) energy(氣) god(神) or shape(形) energy(氣) god(神)(精 氣 神, 形 氣 神의 三分論) according to formal part. Also, spirit(性) destiny(命) nature(精) as truths of three(三眞) were understand as nature(精) energy(氣) god(神) as treasure of three(三寶) by part of reason and mind(心) energy(氣) body(身) as false of three(三妄) were understand as nature(精) energy(氣) god(神) as treasure of three(三寶) by part of function. Third, In practice method, pause of thinking(止感) modulation of breath(調息). prohibition of sensibility(禁觸) mentioned in ${\ll}$Samilshingo${\gg}$ (三一神誥) as practice method each were understand regulation of an etiological cause as an internal cause, an external cause and not internal and external cause in oriental medicine. Namely, pause of thinking(止感) was understand as regulation method of emotion, mind and nature. modulation of breath(調息) was not only as modulation of energy from the inner parts of the body but also that from the internal and external parts of the body, prohibition of sensibility(禁觸) was understand as regulation method of ear, eye, mouth, and nose and posture, life style. These results suggest that ${\ll}$Samilshingo${\gg}$ (三一神誥) is worth meaning of Korea medical Qigong because meaning of god, a view of human body, practice method of mentioned in ${\ll}$Samilshingo${\gg}$ (三一神誥) is common with that of ${\ll}$The Yellow Emperor's Inner Classic${\gg}$ (黃帝內經) as theoretical evidence of Qigong.

• 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.