• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

• Journal of the Daesoon Academy of Sciences
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• v.21
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• pp.99-156
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• 2013

This paper is to indicate research tendencies of faith in Daesoonjinrihoe and controversial points of those, and to consider the outlook on Sangje after defining it as theological understanding and explanation for Gu-Cheon-Sang-Je (High-est ruling Entity that is the object of devotion in Daesoon-jinrihoe). As the first introduction to the work, various descriptions for Sangje are arranged and the meanings of those are analyzed. In brief, first, the name of Gu-Cheon-Eung-Won-Nweh-Seong-Bo-Hwa-Cheon-Jon, expresses the fact that the authority of Sangje (the Supreme Entity) is exposed by spatial concept Sangje dwells in Ninth Heaven. This fact can be compared with the doctrines Allah in Islam and Jehovah in Christianity each are dwelled in Seventh Heaven. And the name shows Sangje is the ruler who reigns over the universe by using yin and yang. Second, the name, Gu-Cheon-Eung-Won-Nweh-Seong-BoHwa-Cheon-Jon, is imported from China Taoism because it has been in Ok-Chu-Gyeong (the Gaoshang shenlei yushu). But in fact it's root is in Korea because Buyeo and Goguryeo, the ancient Korean nations, have the source of the name. While the name is not the Supreme Entity in China Taoism, it is the Supreme Entity in Daesoonjinrihoe. This fact is a important difference. Third, arbitrarily or not, the name, Gu-Cheon-Eung-Won-Nweh-Seong-Bo-Hwa-Cheon-Jon, is put on the image of 'resolution of grievances'. The reason is that many peoples in Korea and China has called the name for about 1,000 years ago to help their fortunes and escape predicaments. Forth, not only Gu-Cheon-Eung-Won-Nweh-Seong-Bo-Hwa-Cheon-Jon but also the name, Three Pure Ones and Ok-Cheon-Jin-Wang (Yuqingzhenwang) in China Taoism used as the Highest ruling Entity in Daesoonjinrihoe. But the relations between three Pure Ones and Ok-Cheon-Jin-Wang and Gu-Cheon-Eung-Won-Nweh-Seong-Bo-Hwa-Cheon-Jon in Dae-soonjinrihoe are different from that in China Taoism. Fifth, Sangje is associated with the Polaris divinity of Tae-Eul, view on God in Oriental Cosmology. The description Tae-Eul as well as Gu-Cheon-Eung-Won-Nweh-Seong-Bo-Hwa-Cheon-Jon is indicated Sangje is linked to the faith of Buyeo and Goguryeo. Sixth, Sangje is not only Mugeuk-Sin (The God of The Endless) who supervise the Endless but also Taegeuk-Ji-Cheon-Jon (The God of The Ultimate Reality) who supervise the Ultimate Reality. These descriptions directly display the fact Sangje is a creator. Seventh, in case explaining Sangje, the point of view is necessary that grasps the whole viewpoints Sangje 'was' Hidden God(deus otiosus) and 'is' Unhidden God after Incarnation. Eighth, Sangje is Cheon-Ju in Donghak, but different from that. Cheon-Ju in Donghak has both transcendence and immanence in tightrope tension, but Cheon-Ju in Daesoonjinrihoe emphasize transcendence than immanence. That difference is the result of the fact Cheon-Ju in Donghak was a being having revealed a man and Cheon-Ju in Daesoonjinrihoe was a being having incarnated after revealing a man. Ninth, Sangje is Gae-Byeok-Jang who is the manager of the transforming and ordering the Three Realms of the World by the Great Do which is the mutual beneficence of all life and Hae-Won-Sin who is the God of resolution of grievances.

• Industry Promotion Research
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• v.9 no.1
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• pp.203-212
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• 2024

The purpose of this study is to examine the validity of Hidden Stems (支藏干) in the Four Pillars of Destiny with regard to the use of human governance periods in the hidden stems (人元用事). First, there is a theory of assigning period of governance for designated constituents (司令論) in the Hidden Stems of the Earthly Branch. Second, there is a theory that determines the structure of the Four Pillars by the Exposed Constituent from the Hidden Stems (透出論) in the Month Earthly Branch. Since these two theories conflict with each other and cause confusions, this study examined the theory of Hidden Stems in the Four Pillars Classics and examined the historical development of governance period for constituent hidden stems and their validity. The results of the study are as follows: Firstly, the number of dates assigned to respective constituents does not correspond to the calendarical principle, and the assignment of the governance dates for each constituent does not correspond to the principles proposed in ancient books of Four Pillars. Second, though it is said in the Classics that 72 days are equally assigned to each of the Five Elements, actual distributed days for the five elements was 65 days for Wood, 55 days for Fire, 100 days for Earth, 65 days for Metal, and 65 days for Water. Third, though it is said that 7 days should be designated to Yang Earth Mu for the months of Tiger 寅, Monkey, Snake, and Pig, it is logically more legitimate to assign those days to Yin Earth Ki since the month before Tiger is Ox, and the month before Monkey is Goat. Lastly, rationale behind assigning Ki Earth only to Horse Oh as constituting Hidden Stem while disregarding months of Rat, Rabbit, and Rooster is considered not reasonable. Looking at these results comprehensively, it is concluded that the Exposed Constituent theory is logically more appropriate than Assigned Governance theory.

• Journal of the Daesoon Academy of Sciences
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• v.48
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• pp.199-237
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• 2024

Donghak-gyo, the Teaching of Eastern Learning, is a new religious order founded by Kim Ju-hee, centered around the Donghak (Eastern Learning) lineage. The core thought conveyed in the lyrics of Donghak-gyo songs (gasa) can be identified as the concept of 'Return to the Former World (先天),' considering the frequency of the term and the content of the recited verses. The view of time and destiny (時運觀) held by Eastern Learning emphasizes the concept of 'Another Great Opening.' Donghak-gyo's perspective on time and destiny is further rooted in the concept of 'Return to the Former World.' Donghak-gyo particularly emphasizes the term 'Former World,' and incorporates the Study of Changes (易學) into their songs. They recite verses that depict the situation of the Great Opening as an interaction between yin and yang. In Donghak-gyo, it is emphatically asserted that the completion of the Later World's destiny leads to the achievement of the 'Return to the Former World.' It is sung that with the restoration of destiny associated with the 'Return to the Former World,' the symbolic 'Spring (春)' represented by the virtue of Wood (木德) will return. Donghak-gyo describes the unfolding of a new cycle of destiny (運數) as the 'restoration of Changes (易).' When this occurs, they refer to the emerging new world, characterized by a new order and norms, as the 'Return to the Former World,' asserting that a 'moral world' will be established, leading to the development of a moral civilization. It is also sung that the restoration of the destiny associated with the Return to the Former World is akin to the restoration of the Heavenly Dao (天道). The characteristics of the concept of the Return to the Former World are threefold: firstly, it advocates a nostalgic system; secondly, it is a backward-looking thought; and thirdly, the idea of 'cyclical repetition' encourages tangible actions such as 'returning to the origin' or 'restoring fundamentals.' The concept of Return to the Former World in Donghak-gyo, unlike many new religions of those days, provided a unique conceptualization and understanding of the Former World and presented a new framework for interpretation. It moved away from the notion of discarding the Former World as a relic of an outdated era, and instead interpreted it as a new era to be embraced. Therefore, the concept of 'Return to the Former World' in Donghak-gyo should be re-assessed as one of the ideologies that inherits the pursuit of returning to and restoring the past in Eastern traditions. However, it can be criticized for lacking a concrete methodology with regards to the 'Return to the Former World.' Additionally, it is noted for deficiencies in ethical consciousness and moral virtues. Furthermore, its explanation about the Former World come across as insufficient. Thus, the concept of the 'Return to the Former World' in Donghak-gyo seems to be characterized more by declarative slogans than substantive content.

• Sim-seong Yeon-gu
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• v.26 no.1
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• pp.67-88
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• 2011

Pungsu is an ancient logic that systemizes geography based on the Yin-Yang and The Five Elements Principle. It is defined as the unique and highly systemized ancient Eastern art of selecting auspicious sites and arranging harmonious structures such as graves, houses, and cities on them by evaluating the surrounding landscape and cosmological directions. Pungsu helps allegedly one improve life by receiving vital energy(Shengqi, 生氣)-energy flow that flows under the ground. It is traditional belief that the living lead their lives on the ground, indirectly receiving the energy coming out of the ground, whereas the dead are buried under the ground, allowing them to directly absorb energy from the ground, which makes Shengqi the dead receive bigger and more obvious than that the living receive. This energy absorbed by the dead from the ground was believed to be passed on to their descendants. This phenomenon is called "Induction of vital energy between Ancestors and Descendants". People searched for the sites which were believed to contain rich and positive vital energy flow. They also tried to bury their ancestors under such sites hoping to receive the Shengqi coming from underground which they believed would help them thrive and prosper. The efforts to locate the sites which have the most vital energy, auspicious sites or "Bright Yard(明堂)", are easily observed in Asia including China and Korea. The ultimate goal of searching for auspicious sites lies in human(whether alive or dead) receiving vital energy from the nature to enjoy happy lives. In choosing a place to live or to bury their dead ancestors, people tried to understand the energy flow of the site considering the factors related with mountain, water, and direction. If we take a closer look into the methods of finding auspicious sites, we can see that people have tried to see the outer conditions of lands, mountains and waters within the perfect harmony if possible. Auspicious site or Bright Yard is the site with those elements in perfect order and harmony, that is, it is the place which derives the most vital energy from the best order and harmony of nature. As this shows, an auspicious site symbolizes totality-the Self, and it seems to be projected to the land. It is believed to be an attempt that the reason why we try to find auspicious sites to internalize the totality that we projected to the outer world. Therefore, this auspicious site is what our foremost values, symbol of the Self, such as harmony, equilibrium, perfection, and uniqueness are reflected to the land. Through the process of finding such a site, we try to gain totality of psyche.

• Economic and Environmental Geology
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• v.46 no.2
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• pp.179-198
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• 2013

The Boziguoer A-type granitoids in Baicheng County, Xinjiang, belong to the northern margin of the Tarim platform as well as the neighboring EW-oriented alkaline intrusive rocks. The rocks comprise an aegirine or arfvedsonite quartz alkali feldspar syenite, an aegirine or arfvedsonite alkali feldspar granite, and a biotite alkali feldspar syenite. The major rock-forming minerals are albite, K-feldspar, quartz, arfvedsonite, aegirine, and siderophyllite. The accessory minerals are mainly zircon, pyrochlore, thorite, fluorite, monazite, bastnaesite, xenotime, and astrophyllite. The chemical composition of the alkaline granitoids show that $SiO_2$ varies from 64.55% to 72.29% with a mean value of 67.32%, $Na_2O+K_2O$ is high (9.85~11.87%) with a mean of 11.14%, $K_2O$ is 2.39%~5.47% (mean = 4.73%), the $K_2O/Na_2O$ ratios are 0.31~0.96, $Al_2O_3$ ranges from 12.58% to 15.44%, and total $FeO^T$ is between 2.35% and 5.65%. CaO, MgO, MnO, and $TiO_2$ are low. The REE content is high and the total ${\sum}REE$ is $(263{\sim}1219){\times}10^{-6}$ (mean = $776{\times}10^{-6}$), showing LREE enrichment HREE depletion with strong negative Eu anomalies. In addition, the chondrite-normalized REE patterns of the alkaline granitoids belong to the "seagull" pattern of the right-type. The Zr content is $(113{\sim}1246){\times}10^{-6}$ (mean = $594{\times}10^{-6}$), Zr+Nb+Ce+Y is between $(478{\sim}2203){\times}10^{-6}$ with a mean of $1362{\times}10^{-6}$. Furthermore, the alkaline granitoids have high HFSE (Ga, Nb, Ta, Zr, and Hf) content and low LILE (Ba, K, and Sr) content. The Nb/Ta ratio varies from 7.23 to 32.59 (mean = 16.59) and the Zr/Hf ratio is 16.69~58.04 (mean = 36.80). The zircons are depleted in LREE and enriched in HREE. The chondrite-normalized REE patterns of the zircons are of the "seagull" pattern of the left-inclined type with strong negative Eu anomaly and without a Ce anomaly. The Boziguoer A-type granitoids share similar features with A1-type granites. The average temperature of the granitic magma was estimated at $832{\sim}839^{\circ}C$. The Boziguoer A-type granitoids show crust-mantle mixing and may have formed in an anorogenic intraplate tectonic setting under high-temperature, anhydrous, and low oxygen fugacity conditions.

• The Journal of Dong Guk Oriental Medicine
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• v.4
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• pp.109-140
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• 1995

As we considered in the main subjects, investigations on the theory of 'Doctrine on five elements' motion and six kinds of natural factors(運氣學說)' through 'Wang Bing's Commentary(王氷 注本)' of 'The seven great chapters in The Yellow Emperor's Internal Classic Su Wen' ("黃帝內經素問 七篇大論") are as follows. (1) In The seven great chapters("七篇大論")' Wang Bing supplement theory and in the academic aspects as a interpreter, judging from 'forget(亡)' character. expressed in the 'The missing chapters("素問遺篇")', 'Bonbyung-ron("本病論")' and 'Jabeob-ron(刺法論)', 'The seven great chapters("七篇大論")' must be supplementary work by Wang Bing. Besides, he quoted such forty books as medical books, taoist books, confucianist books, miscellaneous books, etc in the commentary and the contents quoted in the 'Su Wen(素問)' and 'Ling Shu("靈樞")' scripture nearly occupy in the book. As a method of interpreting scripiure as scripture, he edited the order of 'Internal Classic("內經")' ascended from the ancient time and when he compensated for commentary, with exhaustive scholarly mind and by observing the natural phenomena practically and writing the pathology and the methods of treatment. We knew that the book is combined with the study of 'Doctrine on five elements motion and six kinds of natural factors(運氣學說)' (2) When we compare, analyze the similar phrase of 'The seven great chapters in The Yellow Emperor's Internal Classic Su Wen'("黃帝內經素問ㆍ七篇大論") through 'Wang Bing's Commentary(王氷 注本)', he tells abouts organized 'five elements(五行)' and 'heaven's regularly movement(天道運行)' rather than 'Emyangengsangdae-ron("陰陽應象大論")' in 'The seven great chapters("七篇大論")'. Also the 'Ohanunhangdae-ron("五運行大論")' because the repeated sentences with 'Emyangengsangdae-ron("陰陽應象大論")' is long they are omitted. And in the 'Youkmijidae-ron("六微旨大論")', 'Cheonjin ideology(天眞四象)' based on the 'Sanggocheonjin- ron("上古天眞論")', 'Sagijosindae-ron("四氣調神大論")' is written and in the 'Gigoupyondae-ron("氣交變大論")', the syndrome and symptom are explained in detail rather than 'Janggibeobsi-ron("藏氣法時論")', 'Okgijinjang-ron ("玉機眞藏論")' and in the 'Osangieongdae-ron("五常政大論")', the concept of 'five element(五行)' of the 'Gemgwejineon-ron("金櫃眞言論")' is expanded to 'the five elements' motion concept(五運槪念)' and in the 'Youkwonjeonggidae-ron("六元正紀大論")', explanations of 'The five elements' motion and six kinds of natural factors(運氣)' function are mentioned mainly and instead systematic pathology is not revealed rather than 'Emyangengsangdae-ron("陰陽應象大論")'. And in the 'Jijinyodae-ron("至眞要大論")', explanations of the change of atmosphere which correspond to treatment principle by 'The three Yin and Yang(三陰三陽)' as a progressed concepts are revealed. Therefore there are much similarity between the phrase of 'Emyangengsangdae-ron("陰陽應象大論")' and 'chapters of addition(補缺之篇)'. Generally, the doctrine which 'The seven great chapters("七篇大論")' are added by Wang Bing(王氷) is supported because there are more profound concepts rather than the other chapter in 'The seven great chapters("七篇大論")'. (3) When we study Wang Bing's(王氷) 'Pattern on five elements motion and six kinds of natural factors(運氣格局)' in 'The seven great chapter("七篇大論")', in the 'Cheonwongi-dae-ron("天元紀大論")', With 'Cheonjin ideology(天眞思想)' and the concepts of 'Owang(旺)'${\cdot}$'Sang(相)'${\cdot}$'Sa(死)'${\cdot}$'Su(囚)'${\cdot}$'Hu(休)' and 'Cheonbu(天符)'${\cdot}$'Sehwoi(歲會)' are measured time-spacially to the concept of 'Three Sum(三合)' the concept of 'Taeulcheonbu(太乙天符)' is explained. In the 'Ounhangdae-ron("五運行大論")', 'The calender Signs five Sum(天干五合)' is compared to the concepts of 'couples(夫婦)', 'weak-strong(柔强)' and in the 'Youkmijidae-ron("六微旨大論")', 'the relationship of obedience and disobedience(順逆關係)' which conform to the 'energy status(氣位)' change and 'monarch-minister(君相)' position is mentioned. In the 'Gikyobyeondae-ron("氣交變大論")', the concept of 'Sang-duk(相得)', 'Pyungsang(平常)' is emphasized but concrete measurement is mentioned. In the 'Osangieongdae-ron("五常政大論")', the detailed explanation with twenty three 'systemic of the five elements' motion(五運體系)' form and 'rountine-contrary treatment(正治. 反治)' with 'chill-fever-warm-cold(寒${\cdot}$熱${\cdot}$溫${\cdot}$凉)' are mentioned according to the 'analyse and differentiate pathological conditions in accordance with the eight principal syndromes(八綱辨證)'. In the 'Youkwonjeonggidae-ron("六元正紀大論")', Wang Bing of doesn't mention the concepts of 'Jungwun(中運)' that is seen in the original classic. In the new corrective edition, as the concepts of 'Jungwun, Dongcheonbu, Dongsehae and Taeulcheonbu(中運, 同天符, 同歲會, 太乙天符)' is appeared, Wang Bing seems to only use the concepts of 'Daewun, Juwun, and Gaekwun(大運, 主運, 客運)'. In the 'Jijinyodaeron("至眞要大論")', Wang Bing added detailed commentary to pathology and treatment doctrine by explaining the numerous appearances of 'Sebo, sufficiency, deficiency(歲步, 有餘, 不足)' and in the relation of 'victory-defeat(勝復)', he argued clearly that it is not mechanical estimation. (4) When we observe the Wang Bing's originality on the study of 'the theory of Doctrine on five elements' motion and six kinds of natural factors(運氣學說)', he emphasized 'The idea of Jeongindogi and Health preserving(全眞導氣${\cdot}$養生思想)' by adding 'Wang Bing's Commentary(王氷 注本)' of 'The seven great chapters("七篇大論")' and explained clearly 'The theory of Doctrine on five elements' motion and six kinds of natural factors(運氣學說)' and simpled and expanded the meaning of 'man, as a microcosm, is connected with the macrocosm(天人相應)' and with 'Atmosphere theory(大氣論)' also explained the meaning of 'rising and falling mechanism(升降氣機)'. In the sentence of 'By examining the pathology, take care of your health(審察病機 無失氣宜)'. he explained the meaning of pathology of 'heart-kidney-water-fire(心腎水火)' and suggested the doctrine and management of prescription. In the estimation and treatment, by suggesting 'asthenia and sthenia(虛實)' two method's estimation, 'contrary treatment(反治)' and treatment principals of 'falling heart fire tonifyng kidney water(降心火益腎水)', 'two class of chill and fever(寒熱二綱)' were demonstrated. There are 'inside and outside in the illness and so inner and outer in the treatment(病有中外 治有表囊)'. This sentence suggests concertedly. 'two class of superfies and interior(表囊二綱)' conforming to the position of disease. Therefore Wang Bing as an excellent theorist and introduced 'Cheoniin ideology(天眞思想)' as a clinician and realized the medical science. With these accomplishes mainly written in 'The theory of Doctrine on five elements' motion and six kinds of natural factors(運氣學說)' of 'The seven great chapters("七篇大論")', he interpreted the ancient medical scriptures and expanded the meaning of scriptures and conclusively contributed to the development of the study 'Korean Oriental Medicine(韓醫學)'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.14-26
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• 2011

Imdaejeong Wonlim is located on the verge of Sangsa Village in Sapyeong-ri, Daepyeong-myeon, Hwasun-gun Gyeongsangnam-do toward Northwest. It was planned by Sa-ae, Minjuhyeon in 1862 on the basis of Gobanwon built by Nam Eongi in 16th century against the backdrop of Mt. Bongjeong and facing Sapyeong Stream. As water flows from west to east in the shape of crane, this area is a propitious site standing for prosperity and happiness. This area shows a distinct feature of Wonlim surrounding the Imdaejeong with multi layers as consisting of 5 districts - front yard where landmark stone with engraved letters of 'Janggujiso of Master Sa-ea' and junipers are harmoniously arranged, internal garden of upper pavilion ranging from a pavilion to square pond with a little island in the middle, Sugyeongwon of under pavilionu consisting of 2 ponds with a painting of three taoist hermits, forest of Mt. Bonggeong and external garden including Sapyeong Stream and farmland. According to documentation and the results of on-site investigation, it is certainly proved that Imdaejeong Wonlim was motivated by Byeoseo Wonlim which realized the idea of 'going back to hometown after resignation' following the motives of Janggujiso, a hideout aimed to accomplish the ideology, 'training mind and fostering innate nature,' on the peaceful site surrounded by water and mountain, as well as motives of Sesimcheo(洗心處) to be unified with morality of Mother Nature, etc. In addition, it implies various imaginary landscapes such as Pihangji, Eupcheongdang, square pond with an island and painting of three Taoist hermits based on a notion that 'the further scent flies away, the fresher it becomes,' which is originated from Aelyeonseol(愛蓮說). In terms of technique of natural landscape treatment, divers techniques are found in Imdaejeong Wonlim such as distant view of Mt. Bongjeong, pulling view with an intention of transparent beauty of moonlight, circle view of natural and cultural sceneries on every side, borrowed scenary of pastoral rural life adopted as an opposite view, looked view of Sulyundaero, over looked view of pond, static view in pavilion and paths, close view of water space such as stream and pond, mushroom-and-umbrella like view of Imdaejeong, vista of pond surrounded by willows, imaginary view of engraved letters meaning 'widen knowledge by studying objectives' and selected view to comprise sunrise and sunset at the same time. In the beginning of construction, various plants seemed to be planted, albeit different from now, such as Ginkgo biloba, Phyllostachys spp., Salix spp., Pinus densiflora, Abies holophylla, Morus bombycis, Juglans mandschurica, Paulownia coreana, Prunus mume, Nelumbo nucifera, etc. Generally, it reflected dignity of Confucianism or beared aspect of semantic landscape implying Taoist taste and idea of Phoenix wishing a prosperity in the future. Furthermore, a diversity of planting methods were pursued for such as liner planting for the periphery of pond, bosquet planting and circle planting adopted around the pavilion, spot planting using green trees, solitary planting of monumentally planted Paulownia coreana and opposite planting presenting the Abies holophylla into yin and yang.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.135-169
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• 2016

While examining the religious ideas implied by Jeungsan's Great Works of the Reordering of Universe, we find special ideas which cannot be found in any other religions, and these ideas are presented in diverse ways. Most of all, the representative idea is that of human nobility; a distinctive idea which makes Daesoonjinrihoe different from other religions. Thus, this research focuses on the following questions: when was Human Nobility concretely realized? What kind of organic relationship does human nobility have between the divine world and the world of humanity? In light of the forthcoming Era of Human Nobility, what are some concrete images which can be drawn from the interaction between the realms of heaven and humanity wherein preordinations are plotted in heaven and then carried out by humankind? Prior to formulating my own sense of the subject matter, I consulted 43 previous discussions and dissertations and arranged them chronologically so as to examine their correlation. From these sources and my own insights, I was able to gain a sense of the starting point of the era of human nobility and its tenor. I have found the following problems in previous research on the uniqueness and distinctness of human nobility: ①The conceptual undertones of human nobility have not been adequately gleaned. ②There do not seem to be any dissertations which examine the way in which human nobility is connected with the doctrines of the creative conjunction between yin and yang, the harmonious union of divine beings and human beings, and the resolution of grievances for mutual beneficence. ③In most dissertations, not only is the starting point of the Era of Human Nobility regarded as concurrent with the start of the 50,000 years of earthly paradise in the Later World, but also the point of division between the former world and the later world is widely disputed. ④In-depth and fully realized studies dealing with the subject of human nobility are not easily found. ⑤There is little sense of progression in the research on human nobility because scholars are not sufficiently engage with one another to achieve common consensus. Therefore, in this dissertation, I have provided answers to the problems I discovered in previous research. I have developed my own tenor as follows: ①By giving priority to the Jeongyeong, I have closely investigated the period which divides the Former World and the Later World. Then, I produced a chronological timeline to demonstrate the progression: the Former World → the Era of the Resolution of Grievances → the Later World. This aids in the comprehension of human nobility. ②The Era of Human Nobility was preceeded by the opening of the Era of the Resolution of Grievances of human world which began in 1901. Human nobility is stipulated as a regulatory system for the universe set in motion by the opening the Era of Resolution of Grievances. ③While synthetically examining the aspects of transition which enable the Ear of Human Nobility to be realized, the period to be studied is stipulated as beginning from 1901 and ending at the start of the Later World. The subjects are defined as the flowing from Jeungsan, the first leader of human nobility, to the noble individuals empowered by Dao and the noble populace. In the Era of Human Nobility, studying the transition process by which human nobility is realized requires delving into the resolution of grievances. Although this method is essential to understanding Daesoon ideas, in actuality it does not hinge upon speculative exegetical theorizing but instead it was gained through eisegetical rigor.