• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.5
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• pp.113-121
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• 2010

Shumi-sen(須彌山), built by Nohjagong(路子工) in the southern garden of the Palace Garden during the Asuka Period, is understood as being Sumeru based on an Indian perspective of the theory of the origin of universe. It is also viewed as Mt. Myogoh from a Chinese Buddhist worldview. It is thought to be a type of assembled stone structure with Poong-ryoon (風輪)-Su-ryoon(水輪)-Geum-ryoon(金輪)-Ji-ryoon(地輪) carved into each of the 4 stone pieces. These building shapes are thought to have been utilized as stone for exterior construction as opposed to those structures built during the Shilla Period of China and Korea. Aside from Nohjagong's record of Shumi-sen, most of the records from Japan's period of the time suggest that Shumi-sen was an important element that played a role in the scenery of the seasonal outdoor gardens. It is also thought, from the sentences and expressions surrounding the records, that a combination of the seasonal sceneries was utilized centered on Shumi-sen, and that they were all used during festival events. From a perspective of analysis and interpretation dependent on the limited literature and on observation, it cannot be verified whether the Mt. Sumeru Stone(須彌山石) excavated from the Stone God Ruins is the same Shumi-sen that Nohjagong built along with Okyo(吳橋), but it is thought that the 'Shumi-sen type stone structure' that was later built repeatedly as part of the palace garden facilities is identical to the Shumi-sen built at the Imperial Palace's southern garden, or at least a re-built structure based on the Shumi-sen that Nohjagong built with stones and ponds used to create the foundation. Thus, Shumi-sen that Nohjagong supposedly built along with Okyo is suspected to be a figurative rock arrangement and, at the same time, a miniaturized scenic rock arrangement(縮景樹石) that maximized the shape of Buddhism's Shumi-sen. On the other hand, the surface pattern on Mt. Sumeru Stone is very similar to the multi -layers of mountainous pattern icons expressed in the patterns of the Great Golden Incense Burner(百濟金銅大香爐) or Mountain-Water Scenery Sculptural Brick(山水山景紋?) that were built during the Baekjae pcriod aod the rear side of Hwalsuk-jebul Basal Byungipsang(滑石諸佛菩薩竝立像); it is suspected that similar patterns would have been used if patterns were made on Shumi-sen that Nohjagong built. Also in consideration of the physical theory of MI. Sumeru Stone, the Siphon theory of using a pressure difference in water level was applied to the fountain facilities of Mt. Sumeru Stone that seemed to have been built from the practical rock arrangement perspective for the purpose of feasts, etc.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.36-47
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• 2017

In this research, sematic comparative study on formative idea and landscape elements composition was made between Soswaewon which was a remote villa garden in Joseon Dynasty and Canglang Pavilion which was built at a time when Neo-confucianism had been created in Song dynasty. From which the summary was resulted as below: Firstly, Soswaewon was fully devoted to Neo-confucianism among Korean remote villa gardens, Canglang-Pavilion was deeply affiliated with Neo-confucianism the deep-rooted thought. Adding a comment, as a richly historied Chinese private garden it was the best preserved even now and the farmost point from now and approximately 500 years advanced than Soswaewon, moreover Sosunheum the builder belonged to gentry society in Song dynasty. Secondly, Both Soswaewon and Canglang-Pavilion were remarkable thank to nature friendly concept which was deeply rooted in the eremitic thought(隱逸思想). Most of all, it might be interpreted the location of Soswaewon lay down in a mountain, as to be swallow hidden(小隱) but that of Canglang-Pavilion lay down in a city, as to be middle hidden(中隱). Thirdly, approaching with comparative study to gardens' factors implicated in symbolization when naming both Soswaewon and Canglang-Pavilion, neo-confucianism in Song dynasty in which diverse thoughts ranging Confucianism and Buddhism and Taoism had formed ensemble and developed was deeply built in Soswaewon, as to be in consistency to nature and to be a basis for comprehending diverse symbolization factors found in Canglang-Pavilion. Fourthly, given that forms or factors of gardens was tangibly came up with thoughts' variation we surely underwent to comparative study. Through which we could know Soswaewon was made by maximizing use of nature but minimizing addition of artificial things. In other words, it was trial of expressing semantic feature of the site in a way blending natural circumstance and liberal one. One of the representatives, Daebongdae in Soswaewon was a site where the owner's idea came up with. Scenary was recreated and nature was represented in interspace of Canglang-Pavilion with the high wall around the border, for which it renounced the world. To the end, it was understood there was the location characteristic of Canglang-Pavilion which let us look down from mountain and take some time for introspection. It might be said that the cultural root was in common between Korea and China, however it was found there were lots of differences in forms and features of gardens. We were able to interpret that social and cultural background were led to gardens' formation in which individual characteristic of two nations were blended, from which difference was resulted.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.160-171
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• 2018

This study aims to find an original form of temple flower decoration patterns, considering floral lattice pattern as a view element composing temple landscape. To that end, we analyzed and interpreted the form and symbol expressed in the floral lattice pattern at Nahanjeon of Seonghyel Temple at Yeongju, Gyeongsangbukdo. The front side of Nahanjeon windows shows a sculpture with 176 pure patterns in a form where two squares are in sequence. The basic concept of main front door (the inner gate of Nahanjeon) frames is considered the design language of lotus pond that symbolizes "square land" in traditional gardens. The four leaf clover and arrowhead are water plants discovered in areas nearby ponds, which are a realistic expression conforming to the water ecology of lotus pond. The lotus, which is the most important plant at the main front door, indicates purity, a non-stained state, and the world of the lotus sanctuary, which is the land of blissful happiness in Buddhism. The lotus expressed in the floral lattice pattern is spread in a diverse form, containing the features of creation and destruction, showing the landscape character of the "One Body of Buddha and Lotus". The expression of flying birds such as kingfishers and egrets is an ecologically aesthetic idea to infuse dynamism and vitality into a seemingly static aquatic ecosystem. The floral lattice pattern contains lotus pond scenery showing symbiosis of animals(i.e., dragons, frogs, crabs, fishes, egrets, wild geese, and kingfishers) and plants(i.e., four leaf clovers and arrowheads), which are symbols of relief faith for longevity, wealth, preciousness, and many sons. The pattern is not just an ecological aesthetic expression but a holistic harmony of ecological components such as growth and disappearance of lotus and its leaves, fitting habitats, symbiosis, and food chain.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.14-30
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• 2020

This study focuses on the fact that pictorial maps in the late Joseon Dynasty were conceptual diagrams with the place names perceived by the people at the time of their production. In this regard, targeting on five pictorial maps, the humanistic landscape characteristics of Pyongyang, which had cultural identities such as a historically old, commercial, and Pungnyu(appreciation for the arts) city, were derived as follows. First, the historic legitimacy of Pyongyang Castle was represented by ritual and religious facilities. They include 'Dangunjeon' and 'Gijagung' related to the nation founder, 'Munmujeong': the remains of Goguryeo, 'Sajikdan' & 'Pyongyanggangdan': the place of the national rites, Hyanggyo and Seowon: education & rite functions, Buddhism and Taoist facilities, 'Yongsindang', 'Sanshindang', and 'Jesindan': folk religion facilities. Gija-related facilities, which became symbols of Pyongyang due to the importance of Small-Sinocentrism and Gija dignity tendency, were distributed throughout Pyongyang Castle though, the facilities related to King Dongmyeong of Goguryeo and the spaces of religion praying for blessings are spread in Bukseong and on the riverside of Daedonggang each. Second, as a Pyongando Province's economic center, Pyongyang's commercial landscape was represented by logistics and transportation facilities. The Daedonggang River, which was in charge of transportation functions, had many decks such as 'Yangmyeongpo', 'Cheongryongpo' and 'Waeseongjin' and bridges, such as 'Yeongjegyo' and 'Gangdonggyo', which connected major transportation routes. The road network was created in Oeseong area to facilitate logistics transportation and management, and many warehouses named after the jurisdiction of Pyongyangbu were distributed near the roads and Provincial Offices of the main gates. In addition, it was characterized by the urban area systematically divided with hierarchical roads, 'Bukjangnim' of willow trees planted on the main entrance roads of Pyongyang Castle, a linear landscape created by 'Simnijangnim' consisting of mixed forests with elm trees. Third, Pungnyu City is realized by the distribution of amusement facilities. The riverside of Daedonggang adjacent to Naeseong exhibits characteristics of artificial landscape such as a canal leading to the inside of the castle, a docking facility with embankments, and a port with cargo ships anchored. However, Bukseong of the natural surroundings had numerous pavilions and platforms such as 'Bubyeongnu', 'Eulmildae', 'Choeseungdae', 'Jebyeokjeong' and engraved letters such as 'Cheongnyubyeok', 'Jangbangho'. 'Osunjeong', 'Byeogwolji', 'Banwolji' near 'Sachang', and 'Aeryeondang', built on the island of a square pond, created waterscape in Naeseong invisible from the Daedonggang, and for practical purposes, ponds and repeated willow vegetation landscape related to Gija were placed in the western rampart of Jungseong. In addition, 'Seonyeondong', a cemetery of Gisaeng, located near by Chilseongmun, was used as poem titles and themes by literary people, contributing to the creation of the Pungnyu image of Pyongyang.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.97-110
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• 2012

This study aimed at considering the original shape of Iljiam Tea Garden at Mt. Daedun. In order to accomplish our goal, we tried to strengthen the authenticity of construction of Iljiam by comparing its space structure depicted in the poetry of Choeui(艸衣) the monk with its current restored state. According to the clues and situation in the poetry along with symbolic words like 'Choeui' and 'Ilji(一枝)', Iljiam seemed to be a tea garden with elegant and celestial beauties, and with a nice view where Choeui the famous monk searched for the highest state of enlightenment by enjoying and living in nature. When we compared the plural aspects of Iljiam like Dacheon(茶泉), Dajo, Mulhwak, Darim(茶林), Chaewon(菜園), and Yeonji(蓮池) with those of Dasan Tea Garden[茶山草堂], we could see that the basic components of tea-culture space of both gardens are the same, showing the organizational principle of the top and bottom area to stress reading and studying. When it is restored, the authenticity of Iljiam should be pursued by linking spatial, historical, and landscaping characteristics as the space of which Choeui the monk carried out Zen meditation and mastered tea. However, the recent grand scale Buddhist business like the expansion of access road and construction of Buddhist sanctuary and Seolimdang became the biggest threat to the authenticity. Especially, it was emphasized many times in various poetry that the view from Iljiam and its surroundings is extraordinary, so it is critical to get rid of obstacles to the view from Iljiam and its surroundings in order to restore Iljiam as its genuine form. The current Iljiam should be re-made because it is like a leaf-roofed garden, not like a hermitage. However, the opinion that Jawoohongryeon-sa(紫芋紅蓮社) is somewhat a Taoistic and Taoist hermit space with a special shape adopted the pattern of building of the Joseon period rather than a Buddhist building can be accepted as long as other convincing historical evidences are found out, considering the ideology of uniting Confucianism and Buddhism and the spirit of Taoist hermit found out from poetry of Choeui and his friends. In conclusion, the restoration of Iljiam in 1979 was carried out to restore the place of Iljiam rather than to restore the originality of Iljiam by combining and referring domestic cases of tea gardens. However, there is not much material for restoration even though the main frame of Iljiam was distorted. Nevertheless, the top and bottom ponds should be constructed as a rectangle shape. In addition, it can be improved much in terms of plants and trees. It is necessary to restore bamboo forest, which was razed in order to make a tea plantation around Seolimdang, to set vines of arbors above the upper limbs, to plant pine trees and willow trees inside of the garden, and to put Dajeolgu under the corner of the eaves. Especially, the bamboo forest emphasized in poetry and took care of by Choeui himself should be restored inside of the garden.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.14-28
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• 2017

Currently, the object of conservation in heritage conservation is defined as "the value of the heritage" and the value-based management plan has been introduced. Most of traditional temples in korea have been sustained over 1000 years, which make them mixed heritages, including cultural, religious and natural heritages. Therefore, traditional temples should be managed by value-based management plans. This article aims to develop the values and assessment indicators of traditional temple areas and to evaluate the importances of the values and indicators, in order to prepare the basic materials for conserving the values of traditional temples. This study used the diverse research methods such as literature review, in-situ survey, in-depth interview, focus group interview, questionnaire survey. The results showed that the identified values and assessment indicators of traditional temple area were defined as three classes: high class value was consisted of intrinsic value and use value, middle class values were 10 (5 for intrinsic and 5 for use value). 5 middle class values belonging to the intrinsic value were religious/humanity, historical, cultural, environmental/ecological, landscape values. 5 values constituting the use value were social, educational, therapeutic, recreational, and economic values. As a low class, 102 assessment indicators were identified. 60 participants (30 buddhism people, 30 KNPS people) evaluated the importances of the developed values and indicators, using the pairewise comparison for the values and the interval scale for the indicators. It was found that both groups evaluated the use value more important than the intrinsic value and that religious/humanity, landscape, environmental/ecological, economic, recreational values were evaluated more important than the other middle class values. It was also revealed that the two groups were different in their assessments of the indicators. Based on the results, some suggestions were made to improve the management of the traditional temple areas.

• (The)Study of the Eastern Classic
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• no.69
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• pp.297-324
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• 2017

Recognizing that the ideological nature of Taoist Gwonseonseo whose publication was concentrated during the reign of King Gojong was connected to that of Jeoseungjeon, a Hangul manuscript novel in the 19th century, this study set out to examine the periodic significance of Taoist Gwonseonseo in the 19th century and check the ideological nature of Jeoseungjeon. Taoist Gwonseonseo puts an emphasis on Confucian ethics including loyalty and filial piety in a didactic aspect and shows that the practice of Confucian ethics brings good fortune, which was prominent in many private Taoist books that were huge hits in the latter part of Joseon, when Chinese Taoist Gwonseonseo was introduced in Joseon, translated and circulated in Korean, and spread widely among the public. Those works offer very specific cases of individuals doing good or evil deeds in this world and suffering the consequences in the next world. Jeoseungjeon presents the Buddhist experiences with the next world as the foundation with the next world depicted around the Great Jade Emperor, who emphasizes Confucian ethics, and the hierarchy of Taoist gods under the ultimate the Great Jade Emperor, thus clearly demonstrating the combination pattern of Confucianism, Buddhism, and Taoism in the latter half of Joseon. The work describes the scenes of judgment and punishment in the next world according to the witness of the main character and thus gives specific ideas of daily goods, which is a feature found in the latter half of Joseon different from the previous pattern of next world experiences. It is Taoist Gwonseonseo widely spread among the people those days that connects the link.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.139-173
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• 2018

In the study of Guunmong, which is one of the representative classical $17^{th}$ century novels of the Joseon Dynasty, interpretations through The Book of Change(Juyeok) have recently emerged. It is necessary to more concretely investigate the themes of the research. The writer Kim man-jung wrote the work in an exile situation. In that time he composed a poem using Chinese letters with meaning connected to The book of Change. In particular, the discourse of Bok-gwae(復卦, ䷗) concentrating on the meaning of recovery might be a basis to construct the inner world of the work. The sentence of 'Bok goes well' in The Book of Change suitably match up with the hero's life in Guunmong. In addition the sentences of 'There is no illness in going and coming. So it will be no faults if friends arriver' can be applied to the meeting between the hero and heroines of Guunmong. The general declarations of The Book of Change are appropriate for explaining the contents of Guunmong. There are six Hyos that make up Gwae. The Hyos, from the first one at the bottom to the fifth one up above, connect to the characters of Guunmong. The phrase of 'Not going far away' regarding to the first Yang Hyo can be connected to Yang So-yu, hero of Guunmong. The phrase of 'Recovering beautifully' with regard to the second Eum Hyo can also be realized in the life of Jeong Gyeong-pae and Ga Chunun, two heroines of the work. The phrase of 'Danger owing to frequently recovering' regarding the third Eum Hyo can be applied to the position of Gye Seom-weol and Jeok Gyeong-hong. The phrase of 'Going middle with recovering alone' regarding the forth Eum Hyo can be matched with Sim Yo-yeon and Baek Reung-pa. The phrase of 'No regrets during an intense recovery' with regard to the fifth Eum Hyo is applicable to Yi So-hwa and Jin Chae-bong. The phrase of 'Boding of a confused recovering' regarding the sixth Eum Hyo is related to the writer's situation. The boding of confused recovering is owing to anti-royal road. The contrast between the royal road and the anti-royal road reflects Confucianism and Buddhism, dream and reality, and Yang So-yu in a dream and Seong Jin, who is same hero, in reality. Moreover, the structure of Guunmong which is organized in the form of reality-dream-reality, has a basis in this contrast. Considering these relationships, we can say the classical novel Guunmong is a fable of Bok-gwae. The work is a hopeful narration of an effective recovery that the writer anticipated in exile.

• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• Journal of Korean Philosophical Society
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• v.146
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• pp.137-162
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• 2018

Zen Psychology refers to the psychology of Zen Buddhism as a field of Buddhist psychology. This paper examines the psychology of human beings, focusing on the "Platform Sutra" written by Huineng, the founder of Patriarchal Zen, and the southern Zen school. According to the classification of Buddhist psychology, Zen psychology is divided into theory of Zen mind, theory of Zend mind function, and Zen psychotherapy. In theory of Zen mind, Huineng explains the mind based on self-nature, and explains the theory of dharma, theory of humanity, theory of dependent origination, and worldview though self-nature. Every human mind has its own original character of self-nature. When one's own mind with self-nature is revealed, it is the basic mind. When it is covered, it is the mind of common people. Self-nature is characterized by dharma construction, incompetence, non-naming, cleanliness, equality, and self-Buddhahood. In the theory of dharma, dharma is non-dual and is equal. The theory of humanity is divided into two groups according to the sharpness and dullness or capacity of the human being. From theory of dependent origination, you can see the mobility of cover and revealment, enlightment and delusion, sacred and common. In the worldview, the world and phenomena are the functions of self-nature and one's own mind. The theory of Zen mind function deals with wisdom and defilement of common people. The function of wisdom is to know the whole and one at the same time, and is intangible. Defilement of common people is an inner common people that cover the functions of wisdom. In Zen psychotherapy, in order to eliminate the gap between human and dharma, seeing into self-nature is suggested and the goal. In teleology, the goal is to reveal and see the self-nature covered by defilements. As a methodology from cover to revealment, Huineng interprets the traditional methodology as a new interpretation from the viewpoint of the mind, and presents Sammu as its own methodology. Based on the absence of attachment, Huineng proposed a methodology of No-abiding, No-thought and No-form, to gather mind on reality and treat all things equally. Based on this, Huineng proposed a new methodology for dealing with karma through repentance and vows, and a methodology for edification. In view of the Four Noble Truth, it is the phenomenon that self-nature is covered, the cause of defilement and the mind, the aim of seeing the self-nature which is covered, and the way of revealing the covered self-nature is presented. In this sense, the Zen Psychology of Platform Sutra is psychology of self-nature.