• Journal of the Korean Institute of Landscape Architecture
• /
• v.51 no.2
• /
• pp.54-67
• /
• 2023

Mount Tai, with an elevation of 1,532 meters, has a reputation as ''The Most Revered of the Five Sacred Mountains (五嶽獨尊)", despite not being the highest mountain in China. A guidebook is a book or pamphlet that contains an introduction and description of specific activities or facilities, especially detailed and accurate information about scenic spots, which provide superior vistas to than other commercially publicized locations. The study aims to investigate Mount Tai's landscape characteristics by analyzing the landscape types and elements, the Kernel Density, the Mean Center and the Standard Deviational Ellipse of the landscape elements appearing in guidebooks introducing Mount Tai. The research results of this study are summarized as follows. First, the landscape type characteristics of Mount Tai are dominated by natural landscapes, which are different from what was shown highlighted in poems and Big Data as they proposed that the landscape characteristics of Mount Tai is dominated by human activities. Second, from the perspective of subdivided landscape types, the landscape elements that appeared in Mount Tai are topography, structure, architecture, plants, semantics, human beings and image orderly, based on the proportion of landscape elements. Third, from the perspective of landscape elements by times series, "Fengshan (封禅)", "sacrifices (祭祀)" and "legends" mostly appeared in the 1950s and 1980s, and after the 1990s, "climbing" and "overlooking" mostly appeared. Fourth, the landscape elements of Mount Tai are concentrated in Daiding (岱顶) and Dai Temple (岱庙) in all periods in terms of spatial distribution. This will become an important space for Mount Tai scenic spots in the future. Moreover, as a whole, the landscape elements of Mount Tai have changed from the concentrated distribution form in Mount Tai scenic spot to the scattered distribution form including Mount Tai and Tai'an City. This will provide necessary enlightenment for the landscape preservation and the re-production of guidebooks of Mount Tai scenic spot in the future.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.1
• /
• pp.427-436
• /
• 2023

Je Baek-seok, who is well versed in poetry, calligraphy, painting, and sculpture, has established himself as the most outstanding painter and pavilion in the history of modern and contemporary Chinese art. During the Ming and Qing Dynasties, the art of the pavilion was developed greatly during the enlightenment period, with the emergence of many masters of the pavilion, including Jeonggyeong, Hwanghwangseokyeo, Oyangji, Jo Ji-gyeom, Hwang Mok-bo, and Oh Chang-seok. Je Baek-seok formed an original ritual under this social background. Je Baek-seok's tactics were formed by imitating works from the Hanwi period, and he harmonized Jin Kwon, Sopan, and Janggunin while using the penmanship of the Cheonbal Shinchambi based on the "Sasam Gongsanbi." In addition, by boldly using the Danipdo method, it is possible to use the human face as much as possible while fully exhibiting the artistry of calligraphy and adding to the atmosphere of gold stone. This paper mainly analyzed and reviewed the process of Je Baek-seok's transcription transformation and humanities practice from two aspects. First, it is planned to summarize the process of Je Baek-seok's transformation into a Jeonseo. Second, Je Baek-seok's humanities practice was analyzed. This paper will further understand Je Baek-seok's humanistic ideas and practical search by clarifying the originality of Je Baek-seok's engraving art with examples of Je Baek-seok's works, and it is believed that this will provide future scholars with learning paths and rich experiences.

• Journal of Digital Convergence
• /
• v.20 no.3
• /
• pp.63-68
• /
• 2022

This After the debut of 5G, our lives have changed a lot. In particular, the proliferation of wireless network services through smartphones and LTE has completely changed the existing mobile communication services that are limited to voice/text communication between individuals and individuals, and new innovative services have emerged in all aspects of personal and corporate activities. This study verified the relationship between the social characteristics of 5G services and users' willingness to use 5G services. It analyzed the influence relationship between independent variables (social reality, subjective norms), media variables (perceived usefulness) and dependent variables (use intention), set hypotheses, and identified the media effects of perceived usefulness. The measurement items of variables are defined, and the research model of 5G service usage intention is designed. A questionnaire survey was conducted on the measurement items for users who have experience in using 5G services. Based on this result, among the social factors of users of 5G services, social reality and subjective norms are suitable factors to improve users' intentions. And through this research we put forward the enlightenment, discussed the limitations of the research and future research directions.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
• /
• v.7 no.3
• /
• pp.151-161
• /
• 2017

In the period of Japanese occupation comic narratives were popular to such an extent as to be published not only newspapers and magazines but also books as 『Yojigyeong』(1910), 『Jeodobaekhwa』(1912), 『Gaegeonhuihui』(1912), 『Angcheondaeso』(1913), 『Kkalkkaluseum』(1916), 『Socheonsoji』(1918), 『Gogeumgidamjip』(1923), 『Mangogidam』(1924), 『Joseonpaldo iksal & jaedam』(1927), 『Segyesohwajip』(1934). This study is to discuss about how those narratives gain modernity with the titles scattered in 『Byeolgeongon』 as the central figure, and to reveal the nature of the comic narratives in 『Byeolgeongon』 by looking into contents. The comic narratives in the magazine are 149, especially from the titles show the editors' agony at that time. The narratives gain modernity by combining the new trend cultural terms which can't be found in our traditional culture as 'sinbu huboja jeonramhwoe.', 'sinrang huboja jeonramhoe.', 'nonsense teuksseolgwan', 'how modern shipbuilding 10 inventions sinjejo', 'sohwabangsongsil', 'sohwabangsongguk', 'freedom march', 'sinchunpoksodaehwoe' and 'humor orchestra'. The narratives give laughter to the readers by carrying the characters such as wit, enlightenment, critics of social conditions, grotesque. The narratives in the magazine 『Byeolgeongon』 represent much to survive with comic story in a time of gloom in the period of Japanese occupation.

• SUVANNABHUMI
• /
• v.1 no.2
• /
• pp.21-41
• /
• 2009

The Art of the Buddha's Life which depicts the life and before-life of Buddha flourished in Sanci and Bharhut in the ancient India and in Gandhara during the Kushan period. More than one hundred scenes from Buddha's life were represented in the form of relief sculpture or wall painting. They are found in Gandhara and Mathura during the Kushan period, Amaravati and Nagarjunakonda during the Satavahana period, in Mathura and Sarnath during the Gupta period, and during the Pala Period. They unfolded in various forms and styles according to the text(Buddhist scripture), layout, and expressive technique. In Mathura, where the Evolution of the Buddha image was made about the same time as in Gandhara during the Kushan period, the Buddha's life was presented in a number of scenes related to the sacred sites; in four or eight scenes. In the case of the Eight Great Events of the Buddha's Life, the four scenes out of eight were different from those that were represented in Sarnath during the Gupta period, manifesting a transitional period. The Gupta period is widely known as the time when the classic artistic style was established. The art of Buddha's Life was produced only in Sarnath during this period, and it was the time when the Eight Great Events of the Buddha's Life was established as iconography, providing a model for those of the Pala period. Also, it was the time when the single image of Buddha was produced such as the 'Buddha delivering his first sermon,' 'Buddha's Enlightenment,' and 'Buddha's Death,' thus showing the emergence of the single Buddha image from the narrative Buddha's life image. In this paper, a general introduction of the relief sculpture of the Buddha's life from Sarnath during the Gupta period was given. The art of Buddha's life gave great influences on that of China, Korea, Japan and Southeast Asia, and can be emphasized as an important subject in understanding the development of the Buddhist art in East Asia. A further study will be made on the art of Buddha's Life of Southeast Asia in the future, which will enhance the understanding of the art of Buddha's Life in East Asia as a whole.

• Journal of Christian Education in Korea
• /
• v.72
• /
• pp.341-366
• /
• 2022

In Korean society, church once witnessed the period of its being considered light and salt. After the liberation, Korean church bestowed Jesus Christ's love to underprivileged neighbors in the industrialization process and organized practical participation activities for human rights and democratization. Nonetheless, church was sunken into quantitative growth without having qualitative growth. As church was cited as the epicenter of the spreading COVID-19, the image of selfish church has started receiving attention and there has appeared a criticism for immoral church tendency, which brought low trust about church. These things are resulted from church's failure to undertake its role with responsibility, in society. Such as this, church has lost its identity as the model of the Kingdom of God. In such a situation, church needs to remind itself of the enlightenment of the Ecumenical Movement, in order to recover trust and perform its mission. The Ecumenical Movement means accomplishing unification of the universe through a renewed church. This movement is aimed to create the earth as 'where humans can stay' and to consider the sustainability of mankinds. This purpose of this study is to examine political activities conducted for responsible participation in the church world and to find the way for church roles in this world. This researcher will attempt to investigate educational methods to help Christians in this world take full responsibility given to them, through an educational discussion about Christianity made in this context. This educational attempt means, in other words, political affairs also.

• The Journal of Korean Philosophical History
• /
• no.29
• /
• pp.281-309
• /
• 2010

The aim of this paper is to investigate the origin of prajñāpāramitā thought in Platform-Sutra, because the practices such as No-thought(無念)·No-image(無相)·No-staying(無住), Samadhi for one act(一行三昧), Seating meditation(坐禪) and Non- distinction of calmness and wisdom(定慧一體) are consolidated into the practice of prajñāpāramitā. The practice of No-thought, No-image and No-staying means an absolute stage which cannot be described in words. It is another expression of prajñā-samadhi or practice of prajñā -pāramitā whose concepts originate from Diamond-Sūtra, Vimalakīrtinirdeśa-sūtra, Mahāparinibbāna-sūtra, and Mahāprajñā-pāramitā-Sūtra. Samadhi for one act is to have an insight into the original nature in everyday life, which is a new development of practicing prajñāpāramitā. Seating meditation is another form of expression of Sudden Enlightenment to see into one's original nature(頓悟見性) through practicing prajñāpāramitā. This can be said a new kind of mixture of Buddhadhātu thought and prajñāpāramitā thought. Therefore prajñāpāramitā thought in Platform Sutra comes from Buddhadhātu thought and prajñāpāramitā thought. Those two thoughts consolidated in Platform Sutra, made the starting point of Zen Buddhism. At the same time, they further continued to be systemized into the thought of Zen Buddhism and eventually into the conclusion of Zen sect of Chinese Buddhism.

• Journal of the Daesoon Academy of Sciences
• /
• v.46
• /
• pp.33-68
• /
• 2023

Simwudo (尋牛圖), known as Ox Seeking Pictures, originated in the 11th-12th century and have consistently played a guiding role in the teachings of various religions in East Asia. Some Korean religions that emerged during modern times conveyed their teachings through depictions of ox seeking or herding. Among them, Daesoon Jinrihoe stands out as a representative religion. The belief system of this particular religion elucidates its distinct doctrine and worldview by reimagining Simwudo, into a new set of six panels (seven or nine panels in some variations). The Simwudo of Daesoon Jinrihoe differs from that of Buddhism, particularly in its treatment of meditation (禪), both in terms of context and significance. While they share similarities in the aspect of ox-seeking, the Buddhist Simwudo symbolizes human nature, whereas the Simwudo of Daesoon Jinrihoe represents the great Dao of Heaven and Earth propagated by Kang Jeungsan and brought into completion by Jo Jeongsan. In the Buddhist context, the subject of the search is the Ox, signifying the restoration of a deluded human's pure nature in order to achieve personal salvation and in some version of Simwudo, reenter society to perform salvific actions for others. On the other hand, in the Simwudo of Daesoon Jinrihoe depicts the process of a human attaining immortality and following the teachings of Jeungsan and Jeongsan. This culminates in the final image which is the redemption of the world. The final phase of the Buddhist Simwudo, depending on the version, is either enlightenment (personal salvation) or reentering society to perform salvific actions (as a bodhisattva), whereas the Simwudo of Daesoon Jinrihoe show the simultaneous achievement of the perfection of humanity and the redemption of the world. This distinction highlights the fundamental differences between the Simwudo of these two distinctly different religious traditions. These differences arise from the contrasting purposes pursued by Buddhism and Daesoon Jinrihoe.

• Sim-seong Yeon-gu
• /
• v.25 no.1
• /
• pp.1-26
• /
• 2010

The Ten Ox Herding Pictures by Kuo-an, a Zen Master of China in the Middle Ages are interpreted from the view point of the analytical psychology of C.G. Jung. Basically, I agree with the previous Jungian comments on it by M. J..Spiegelman, M.Miyuki, and H.Kawai at the Ox Herding Pictures are symbolic manifestations of the individuation process in terms of C.G.Jung. In connection with the process of Jungian analysis, I went through, not only the pictures but also the eulogies and critical comments of Zen masters in order to elucidate the symbolical meanings of each stage of spiritual development in Zen meditation. I noticed that the Ox Herding Pictures suggest the preference of suppression and conscious control of shadow in Jung's terms rather than its assimilation through making conscious the unconscious inferior personality. Also, the feminine psyche seems to be not particularly taken into consideration. In another words, different psychic aspects are represented in one single image : Ox. Due to the simplicity of pictorial expressions, the Ox Herding Pictures provide us possibilities to pour abundant imaginations into the pictures. The images comprise multiple irrational meanings; therefore it is warranted to render multiple interpretations of the Pictures as shown in the eulogies and comments by other Zen masters. The sequences of the Pictures need not coincide with a linear process but rather with a circular process of enlightenment, as Miyuki has suggested. Kuo-an's Pictures clearly suggest the danger of ego inflation and the fact that the final goal of Zen meditation should be the capability of the enlightened to serve the people.

• The Journal of the Convergence on Culture Technology
• /
• v.10 no.3
• /
• pp.173-180
• /
• 2024

We This study aimed to quantitatively analyze the theme of 'libertinage' and the associated issues of reason and emotion in 『Dangerous Liaisons』, a novel considered a masterpiece of libertine literature and an epistolary novel of the 18th century, using digital analysis tools. First, based on the frequency analysis of word usage using Voyant and LIWC 22, we confirmed that libertinage is manifested with keywords such as 'love' and 'time'. With Voyant's 'Contexts' feature, it was found that the letters sent by Valmont to Madame de Tourvel and those sent by Madame de Merteuil both have 'love' as the central theme. However, emotional vocabulary was higher in the former, whereas strategic vocabulary was more prevalent in the latter. Additionally, it was observed that the most frequently used word in the letters sent by Madame de Merteuil is 'time', with a higher frequency than 'love'. Thirdly, using LIWC 22, we measured the analytical thinking and emotional tone of the letters exchanged by the main characters, and analyzed how these values changed according to the chapters. Through these analyses, we confirmed that this novel, alongside Rousseau's "New Eloise," anticipates romanticism by embracing the theme of 'emotion,' which was rejected by 18th-century Enlightenment ideals.