• Title/Summary/Keyword: dragon[龍]

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A Study on the Danxihuqianwan(丹溪虎潛丸) analyzed by the dragon-tiger and lead-mercury theory(龍虎鉛汞說) of Su Shi(蘇軾) (소식(蘇軾)의 용호연홍설(龍虎鉛汞說)을 통한 단계호잠환(丹溪虎潛丸) 해석)

  • Eun, Seok-Min
    • Journal of Korean Medical classics
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    • v.26 no.3
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    • pp.53-73
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    • 2013
  • Objective : This study will analyze the constitution of Danxihuqianwan(丹溪虎潛丸) with the dragon-tiger and lead-mercury theory of Su Shi(蘇軾). It would help understand more the usage of Danxihuqianwan over the scope of Sa-nam and bo-buk(瀉南補北) theory that has been well known until now. Methods : This study tried to analyze the explanation about Danxihuqianwan in Yixuerumen(醫學入門) that had used the dragon-tiger and lead-mercury concept with the theory of this kind that appears in Sushenliangfang(蘇沈良方). Results & Conclusion: Based on the internal alchemy theory, Su Shi proclaimed that dragon[龍] corresponds to mercury[汞] Jeong(精) Hyul(血), and tiger[虎] corresponds to lead[鉛] Qi(氣). It is said to be in good position that dragon appears from fire and tiger is hidden in water. Su Shi also expalined the relation between dragon and tiger as the relation of water[水] and fire[火] between heart and kidney. As Li Yan(李梴) did, the dragon-tiger theory could be applied to the analysis about Danxihuqianwan, and it explains well the effect of this prescription that makes tiger hidden in water and thus help cure the diseases such as atrophy syndrome.

A Study on the Meaning of Geometric Analysis of Gameun Temple's Taegeuk Shapes (감은사 태극문양의 기하학적 의미 연구)

  • Kim, Il-Hwan;Park, Tae-Bong
    • The Journal of the Korea Contents Association
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    • v.21 no.6
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    • pp.435-444
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    • 2021
  • This paper discusses the geometrical interpretation of the Taegeuk Shapes of Kameun Temple through the geometric analysis of mathematics. Based on the literature, This paper attempted to clarify that the origin of Gameunsa's founding of the spirit of patriotism may coincide with historical records through historical literature and geometric meaning. First, the background of the founding of Kameun temple, geographical location located near the East Sea, especially the history of the ancient Chinese mathematics at the time, And that mathematical knowledge influenced all fields such as agriculture, architecture, and art. Secondly, it is related to the historical record as the space of about 60 centimeters, which is uniquely underground, was identified as the structure of the excavated space. It is thought that there is a strong correlation with the origin that the King Munmu changed into a dragon, and set up the temple to be able to stay. Based on these, the clues of the interpretation of the taegeuk and the triangular pattern were searched in the samcheon yanggi(參天兩地) of the Oriental and circumference of the Western. The taegeuk and triangular patterns represent the symbols of yin-yang harmony, which correspond to the origin of its creation. the Korean people regarded the mysterious dragon as a symbol of yinyang harmony. In conclusion the Shapes of Kameun temple's stone is consistent with the contents mentioned in the historical record.

Inflow at Ssangyongmun Gate During the Goryeo Dynasty and Its Identity (고려시대 쌍룡문경(雙龍紋鏡) 유입(流入)과 독자성(獨自性))

  • Choi, Juyeon
    • Korean Journal of Heritage: History & Science
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    • v.52 no.2
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    • pp.142-171
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    • 2019
  • The dragon is an imaginary animal that appears in the legends and myths of the Orient and the West. While dragons have mostly been portrayed as aggressive and as bad omens in the West, in the Orient, as they symbolize the emperor or have an auspicious meaning, dragons signify a positive meaning. In addition, as the dragon symbolizes the emperor and its type has been diversified considering it as a divine object that controls water, people have tried to express it as a figure. The records related to dragons in the Goryeo dynasty appeared with diverse topics in 'History of Goryeo' and are generally contents related to founding myths, rituals for rain, and Shinii (神異), etc. The founding myth emphasizes the legality of the Goryeo dynasty through the dragon, and this influenced the formation of the dragon's descendants. In addition, the ability to control water, which is a characteristic of the dragon, was symbolized as an earth dragon related to the rainmaking ritual, i.e., wishing for rain during times of drought. Since the dragon was the symbol of the royal family, the use of the dragon by common people was strictly restricted. Furthermore, the association of a bronze dragon mirror with the royal family is hard to be excluded. The type and quantity of bronze double dragon mirrors discovered to have existed during the Goryeo dynasty is great, and the production and the distribution of bronze mirrors with double dragons seem to have been more active compared to other bronze mirrors, as bronze mirrors with double dragons produced during Goryeo and bronze mirrors originating in China were mixed. Therefore, in this article, the characteristics of diverse bronze mirrors from the 10th century to the 14th century in China were examined. It seems that the master craftsmen who produced bronze mirrors with double dragons during the Goryeo dynasty were influenced by Chinese composition patterns when making the mirrors. Because there were many cases where a bronze mirror's country of origin could not easily be determined, in order to identify the differences between bronze double dragon mirrors produced during the Goryeo dynasty and bronze mirrors produced in China, meticulous analysis was required. Thus, to ascertain that Goryeo mirrors were not imitations of bronze mirrors with double dragons originating in China but produced independently, the mirrors were examined using the bronze double dragon mirror type classification system existing in our country. Bronze mirrors with double dragons are classified into three types: Type I, which has the style of the Yao dynasty, includes the greatest proportion; however, despite there being only a small quantity for comparison, Types II and III were selected for the analysis of the bronze mirrors with double dragons made in Goryeo because they have unique composition patterns. As mentioned above, distinguishing bronze mirrors made during Goryeo from bronze mirrors made in China is challenging because Goryeo bronze mirrors were made under the influence of China. Among them, since the manufacturing place of the bronze mirrors with double dragons found at the nine-story stone pagoda in Woljeongsa Temple in Pyeongchang is questionable and the composition pattern of the bronze mirror is hard to find on bronze mirrors with double dragons made in China, the manufacturing place of those bronze mirrors were examined. These bronze mirrors with double dragons were considered as bronze mirrors with double dragons made during the Goryeo dynasty adopting the Yao dynasty style composition pattern as aspects of the composition pattern belonged to Type I, and the detailed combination of patterns is hard to find in mirrors produced in China.

Consideration II of Traditional Recognition on Origin of the Han River and Oriental View Point of Water - Centering on Buddhist Idea - (동양사상에서의 물에 대한 관점과 한강의 시원에 관한 전통인식 고찰 II - 불교사상을 중심으로 -)

  • Youm, Jung-seop
    • Journal of Korean Philosophical Society
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    • v.117
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    • pp.191-222
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    • 2011
  • Traditionally, the origin of the Han River has been thought as Utongsu(于筒水) and Geumgangyeon(金剛淵). As both of these places are located in Odaesan(五臺山) the $Ma{\tilde{n}}ju{\acute{s}}ri$(文殊) Holy Place, we can well assume the possibility of Buddhist influence on them. In the Buddhist understanding on the origin of the Han River, what we should first notice are 'the recognition on the water of Buddhism' and 'the recognition on the river in Indian culture.' With the reviews, we may come to see by what standpoint these could become existed, if there were Buddhist influences on the recognition of Han River's origin. Based on these Buddhist and Indo-cultural view points, the author tries to make more dearly the definition of Utongsu and Geumgangyeon that are recognized as the origin of the Han River. Through it, we can check the relation of Buddhism and Indian culture in their influence on the concepts of Utongsu and Geumgangyeon. In Indian culture, what is noticed in relation with the origin of the river is Anavatapta, in which the sacredness of the water named the 8 virtuous waters is recorded. It is the materialistic sacredness which can be compared with the sacred feature of Utongsu that "its color and taste are far greater than other waters, and so is its weight. ${\cdots}$ Its color and taste do not change even after it flows into the Han River." Furthermore, both of Anavatapta and Utongsu have the same symbolism of dragon that the highest dragon king and a divine dragon were told to live in respective lakes. This similar structure found in the recognition of two rivers' origin may become an evidence of Buddhist influence on the recognition of the Han River's origin. The recognition of the Han River's origin is based on the traditional culture. Therefore, it may be natural that there is the Buddhist culture in it. At the same time, some viewpoints of Chinese culture can be found in it. So, the traditional recognition on the Han River's origin comprises diversity and complexity of Indian and Chinese cultures together.