• 건축역사연구
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• 제14권2호
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• pp.41-55
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• 2005

Temple with Multi-Buddha's Pavilions is a temple consisting of more than 2 Buddha's Pavilions. Individual Buddha's Pavilions tend to form distinguished area, or to keep independent axis from other Buddha's Pavilions. This study is to understand the philosophy of layout of individual Buddha's Pavilions located in the Temple with Multi-Buddha's Pavilions. To investigate a relationship to layout of individual Buddha's Pavilions on the basis of Buddhism doctrine makes us to understand philosophies about temple layout which temple constructors had. Bulkooksa, a temple having several pavilions placed in parallel, integrates diverse philosophies such as Vairocana Buddha-Ksetra from Vairocana Buddha's Pavilion, Sakyamuni Buddha-Ksetra from both Sakyamuni Buddha's Pavilion and two stupa, and Amitayus Buddha-Ksetra (Sukhavati) from Amitayus Buddha-Ksetra Pavilion. Sakyamuni Buddha's Pavilion and Amitayus Buddha's Pavilion are placed east to west in parallel, and Vairocana Buddha's Pavilion is placed behind them. Beobjusa, a temple having several pavilions placed cross axis, combines three axes such as the first, main axis linking Kumkang Gate - Chunwang Gate - Palsang Pavilion - Amitayus Buddha's Pavilion - Sakyamuni Buddha's Pavilion, the second axis linking Palsang Pavilion -Maitreya Pavilion, and the third axis linking Amitayus Buddha's Pavilion - Avalokiteshvara Pavilion. Relationship among each Buddha's land is clearly expressed by means of this cross axis layout of Buddha's Pavilions, reflecting a philosophy of rebirth in Nirvana that Wonhyo and Eusang propagated. Buseoksa, a temple having several pavilions placed the before and the behind, combines three Buddha's lands such as Maitreya Buddha-Ksetra, Amitayus Buddha-Ksetra and Vairocana Buddha-Ksetra, by means of arrangement of Maitreya Pavilion, Anyang Pavilion and Amitayus Buddha's Pavilion at bended axis, and east facing Amitayus Buddha. By investigating the philosophy of Temple layout with Multi-Buddha's Pavilions in this study, Buddha's Land conception, for people, that ancient Korean temples have, is understood.

• 건축역사연구
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• 제14권2호
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• pp.7-20
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• 2005

Ceremony is important to Buddhism as a part of the religious practice. Buddhist ceremony is a kind of discipline and it rules the Chan monastery life. This discipline, called $\ulcorner$Qinggui(淸規)$\lrcorner$ also forms a part of the practice for enlightenment in the Chan monastery(禪宗). Qinggui is derived from $\ulcorner$Baizhang's monastic code(百丈淸規)$\lrcorner$ which no longer exists. $\ulcorner$Chanyuan qinggui(禪院淸規)$\lrcorner$ is considered the oldest surviving Chinese monastic discipline. Its success is partly due to the emphasis in the Chan monastery on the succession of monks to abbot hood. Qinggui has been called the only discipline in Buddhist monastic life in religion. Whether it is also the discipline of the architectural space of the Chan temples is the focus of this thesis. The examination of this assumption may expand the meaning of Qinggui as embodying not only the religious form of discipline but also a fundamental part of the architectural archive. The majority of the buildings in the Chan monastery in Qinggui are related to $\ulcorner$Five Mountains Ten Checks figures$\lrcorner$. Most of all, it can be clarified that the elements of Qinggui are expressed through the analysis of the activities in each building. This proves that Qinggui has become a stipulation not only for the regulation of the monastery life but also the architectural code of the Chan temples. In conclusion, this study shows how the meaning of ceremony and monastery life in $\ulcorner$Chanyuan qinggui$\lrcorner$ can be expanded to include the design program of temples. The research proves that there is a basic code in the Chan temples for designing the structure of the monastery space. Similarly, $\ulcorner$Five Mountains Ten Checks Figures$\lrcorner$ was a diagram for examination and analysis as well as a tool for creating drawings of the temples in the Song era.

• 한국조리학회지
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• 제9권4호
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• pp.221-237
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• 2003

중국의 음식문화를 역사적으로 분류하여 올바르게 이해해 보고자 본 연구는 기존의 서적을 중심으로 고찰하여 보았다. 중국을 역사적 시대별로 태고, 중고, 근고, 중세, 근세, 현대로 나누어 살펴본 결과 중국의 식문화는 왕조의 흥망에 따라 많은 변화를 가져 왔으며, 서역의 식재료 유입과 자연의 영향으로 남북으로 주식의 형태가 나눠지게 되고, 테이블과 의자가 유입되어 입식문화가 정착하게 되면서 밥과 국은 개인전용 공기를, 부식은 큰 공용의 식기를 사용하여 제공되는 등 상차림의 변화가 나타났다. 근세(근세)에 들어서는 중국요리가 서방에 전달되기도 하였으며, 제비집과 상어지느러미, 해삼류 등이 고급음식으로 애용되었고, 조리법이 요즘의 요리와 아주 흡사하였다. 젓가락으로 밥과 부식물을 먹고, 숟가락은 국 전용 도구로 받아들이는 등 취식 도구의 사용 또한 현재의 모습을 지니고 있었다. 중국인들의 음식 문화에는 음양오행이라는 우주 만물의 원리가 항상 내재되어 있고, 유교, 불교, 도교의 철학적 사상이 상당히 깊이 내재되어 있음을 알 수 있다. 그래서 중국의 다양한 음식문화의 고찰은 같은 한자와 종교의 영향을 받은 한국, 중국, 일본의 명절음식을 종교와 연관지어 각 국가의 음식문화에 미친 후속 연구로 이어지길 바란다.

• 한국환경과학회지
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• 제24권2호
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• pp.221-228
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• 2015

In this research traditional Buddhist dietary life style was studied as an alternative for both saving water and decreasing water pollution from household. A traditional dietary life style for the Buddhist monks, called Balwoo Gongyang, and its modernized one for citizens, called Dish Gongyang were examined with water use amount, wastewater quality and pollutant loading rate, and were compared with the kitchen wastewater from household. And several types of natural detergent were also examined to compare their effect on the wastewater quality and pollutant loading rate. This research was carried out using the wastewater from Balwoo and Dish Gongyang in J building located in Seoul. Wastewater generation from Balwoo Gongyang that was about $1.0{\ell}$/capita/day was very low compare to that from dish washing in normal household($32.6{\ell}$/capita/day). In case of Dish Gongyang, water generation was 1.8 times higher than that from Balwoo Gongyang, but it was just 1/19.2 of normal household. When the wastewater quality of Balwoo Gongyang was compared with the kitchen wastewater of normal household, SS was 1/16($15mg/{\ell}$), COD was 1/7($22.1mg/{\ell}$), BOD was 1/9($24.1mg/{\ell}$) and T-N was 1/16($1.7mg/{\ell}$). Pollutant loading rate from Balwoo Gongyang was very low, COD 18.0 mg/capita/day, SS 12.3 mg/capita/day and it was 1/290, 1/639 of that from dish washing wastewater from normal household, respectively. Pollutant loading rate from Dish Gongyang was also low 1/13(SS)~1/144(TN) compared to dish washing wastewater from normal household. As a natural detergent, used water from washing rice showed very low pollutant loading rate. It was concluded that Dish Gongyang that was a modernized and simplified dietary life style of Balwoo Gongyang, was very eco-friendly. Especially when it was combined with natural detergents using by-product from cooking process, its effect on the water pollution was very low.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 한국가구학회지
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• 제21권1호
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• pp.72-82
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• 2010

The objective of this study is to identify the species of 17 wooden Buddhist statues of the late Joseon Dynasty (the 17th and 18th century) in Jeollado, southwestern region of Korea. The bodies of statues were made of Ginkgo (Gingko biloba L.: 88%) and alder (Alnus spp.: 12%). The hands of statues were alder(64%), willow (Salix spp.: 27%) and Ginkgo(9%). The bottoms of hollow bodies were covered all with Japanese red-pine (Pinus densiflora S. et Z., 'sonamu') panels. The main species of statue body, Ginkgo tree was known to be introduced to Korea from China with Buddhism. The results indicated that Ginkgo trees of Korea in the 17th century had already become large and rich enough to be used for most of statues. Ginkgo wood has low shrinkage and even texture, which are crucial for carving sculptures. Alder and willow woods used for statue hands have fine and firm textures. The pedestals for these statues were also made of red pine wood. Red pine woods have rather high shrinkage and low hardness, but it is versatile woods strong enough to support heavy statues.

• 한국의류학회지
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• 제21권1호
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• pp.129-143
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• 1997

This study is about'The Costumes of Ch'oyong dance. (namely Ch'oyong-mu-bok; 처용무복)': emphasis on its structure and change. 1 studied Akhakguebum (the book of music and dance; 낙학궤범), Eui-Gue-Do (a collection of a series of paintings showing the whole processes of the royal courtesies and ceremonies; 의궤도) and some genre painting (풍증화). 'The costumes of Ch'oyong-Dance'were composed of robe(의), pants-skirt(대) , outer-skirt (상) , scarf-string(천의·길경) , shirt(한삼) , hat with mask (사교·가면) , belt(대) and shoes (혜) . According to the position, the colours of robe(의) and pants-skirt(군) were different. What is called, it is'the Colour of Five-Position (오방색) .'The Costumes of choyong-Dance' can be divided three factors by its symbolic means; i. e. shamanism, buddhism and bureaucratism. The pants-skirt(군), outer-skirts(상), scarf · string(천의·길경) and mask are considered as shamanic factor. However, the scarf(천의) , string(길경) and patterns(만화)which are decorated with many lotus patterns enclosed with vine are considered as buddhistic factor. And the hat (사모) , robe(의) , outer-skirt(상) , belt(대) and shoes(잔) are considered as bureaucratic factor. Ch'oyong is endowed with some power by these factors, and its symbolic means became stronger and enlarged by 'the Colour of five-position'. As time goes, the forms and details of robe had been changed noticeable; sleeve-width, neck-line and patterns. The shamanic, buddhistic and bureaucratic factors are reduced. These changes were derived from the changes of Ch'oyong·Dance. On the ground of the shape of mask and round-neckline robe(단영) , someone has an opinion that Ch'oyong is an aribian. However, according to this study, Ch'oyonh is Korean traditional thing; round-neckline robe already existed and settled in Silla dynasty and Ch'oyong-mask symbolized shamanic power.

• 한국의사학회지
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• 제23권1호
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• pp.1-10
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• 2010

Ayurveda is one of the most historic and comprehensive medical system in the world. It was passed down as Buddhist medicine with Buddhism to influence enormously to East Asian medicine. Therefore, researches on Ayurveda is important in studying East Asian medicine as well as in studying Indian traditional medicine and althernative medicine. However, in previous studies, the term, 'Ayurveda', was mistaken and misused frequently. Clarifying the relations between the definition of Ayurveda and Indian traditional medicine is essential in preventing future controversy. Therefore, such relations were studied to draw following conclusions. 1. 'Ayurveda' is the term determining the oldest medicine system in the world that originated in India. Reportedly, the first book about Ayurveda is "Agnivesha samhita", and the oldest existing book is "Charaka Samhita". No records were found on medine books named Ayurveda, and interpreting Ayurveda to be a name of a book is explicitly misunderstanding. 2. There are various divisions of Indian traditional medicine in previous studies. However, divisions in 6 types of Ayurveda, Siddha, Unani, Yoga, Naturopathy and Homoeopathy is the most proper. 3. Ayurveda gained some similarities as it exchanged with other medicine systems. However, since each medicine system has unique characteristics, they must be separately studied. Especially, current Indian traditional medicine system has many divisions. Terms of 'Indian traditional medicine' and 'Ayurveda' must be separately used.

• 한국한의학연구원논문집
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• 제16권3호
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• pp.1-13
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• 2010

Ayurveda is an Indian traditional medicine coming down from ancient times. In the past, it was propagated with Buddhism, and had a great influence on the medicine in East Asia. At present, it is getting a lot attention as an alternative medicine. A variety of researches on ayurveda are being done all over the world, but its domestic research situation is still insignificant, especially rare to find any consideration about its origin. Accordingly, this research arranged and considered the contents on the origin of ayurveda that have already been discovered. The origin of ayurveda can be reviewed roughly in three aspects. First, at a mythological viewpoint, it's possible to trace the origin of ayurveda from Brahma which is described as a fount of all sciences and also the Ruler of the Universe. According to "Sushruta Samhita" and "Charaka Samhita", Brahma made 100,000 g$\={a}$th$\={a}$ in 100 chapters, and then reduced them to 8 lessons. Next, tracing documentary origin, ayurveda is known to originate in veda-Aryan's sanctuary, especially Atharva veda. However, practically considered, the present ayurveda can be judged to form from the 3 major classics in the Brahman period- "Charaka Samhita", "Sushruta Samhita", "Ashtanga Sangraha", of which "Charaka Samhita" is the most ancient and prestigious literature. Lastly, a lot of scholars are explaining the ancient Indian civilizations in connection with ayurveda at a historical viewpoint as "a 5-thousand-year-old history", but ayurveda originated in Aryan's sanctuary-veda; thus, it's impracticable to include the Indian medicine before their migration to India in the origin of ayurveda. Accordingly, it is necessary for scholars to do research by distinguishing the ancient Indian medicine before veda from ayurveda.

• 한국산학기술학회논문지
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• 제11권10호
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• pp.3833-3838
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• 2010

뇌파는 시시각각 변하는 뇌 상태를 가장 효과적으로 측정하는 수단이다. 뇌는 신진대사의 근간인 호르몬과 직접적인 관계가 있으므로 뇌파와 호르몬간의 영향관계를 규명할 필요가 있다. 본 연구는 뇌파만으로 신진대사와 관련된 정보의 산출이 가능함을 밝히는 연구를 수행하였다. 주요 연구변수는, 2007년 3월 3일부터 5월 28일까지 측정한, 직장인 여성들의 스트레스 정보인 뇌파 항스트레스 지수와 코티졸 호르몬 농도이다. 이들 간의 영향관계를 밝히고자, 뇌파훈련 전후에 대한 t검증, 상관분석, 회귀분석을 주된 연구방법으로 수행하였으며, 다음과 같은 결과가 도출되었다. 첫째, 뇌파훈련에 의해 변수들의 변화에 대한 유의한 차이가 검증되었다. 둘째, 변수들 간에 상관성이 존재함을 규명하였다. 마지막으로 회귀분석에서, 변수들 간에 영향력이 있는 것으로 파악되었다. 그러므로 뇌파분석만으로도 호르몬 분석수준의 스트레스 정보를 제공할 수 있다는 결론에 도달하였다.