• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.79-116
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• 2020

This paper examines the nature of the transcendent, absolute, and personal host of ancient philosophical notions of the Higher Power (天觀 cheongwan, literally 'view of heaven'), which flows through Toegye's Principle of Reality (Li), Dasan's Supreme God (Sangje), Suwun's Lord of Heaven (Cheonju), and Jeungsan's Supreme God (Sangje). This confirms the sentiment that despite the conceptual differences relating to appearance, as represented by the Principle of Reality, the Dasanian Supreme God, the Suwunian Lord of Heaven, and the Jeungsanian Supreme God, the contents of these notions do not substantially differ from one another. Moreover, the nature of the ancient philosophical notions of the Higher Power lead to Toegye's Principle of Reality, the Dasanian Supreme God, the Suwunian Lord of Heaven, and the Jeungsanian Supreme God. Toegye emphasized the nature of the Principle of Reality as transcendental and absolute, and also as a personal host. This led to Dasan's Supreme God, and furthermore, it also inspired the Suwunian Lord of Heaven and the Jeungsanian Supreme God. In other words, although Dasan criticizes the Principle of Reality and presupposes a Supreme God, a personal host, this is not especially different from the character or role of Toegye's Principle of Reality. It likewise does not especially differ from the Suwunian Lord of Heaven or the Jeungsanian Supreme God. On the contrary, without the foundation of the religious tradition behind Toegye's Principle of Reality, it would have been difficult to establish a theoretical system leading to the upper system of the Dasanian Supreme God, the Suwunian Lord of Heaven, or the Jeungsanian Supreme God. Of course, the construction of heaven and earth, which in Daesoon Thought is actually performed by the Jeungsanian Supreme God, is, in fact, fundamentally different from Toegye, Dasan, and Suwun's previous notions of the Higher Power. In this sense, it is necessary to present more clearly the religious character of Toegye's Principle of Reality.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.141-190
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• 2021

In early modern Korea, the founders of three main-stream indigenous new religions, Choi Je-woo (崔濟愚), Kang Il-sun (姜一淳), and Park Jungbin (朴重彬), were all ruined yangban, who could no longer maintain the social dignity of yangban. Prior to their regular religious activities, they earned livings as rural teachers, peasants, merchants, and fortune-tellers. They were marginalized for having declined from upper-class nobles to lower-class people. Due to their subalternal status, they religiously represented the inexpressible aspirations and resentments held by various subalterns. The millennial movements of marginal religions in the late Joseon Dynasty exposed and deviated from the fetters of the established order, but they did not propose a new alternative order to replace it. Unlike these millennial movements, Choi Je-woo, Kang Il-sun, and Park Jungbin all proposed utopian visions of post-subalternal alternative religions that systematically presented and practiced new alternative worldviews characterized by the "Great Opening of the Later World (後天開闢)." The world they longed for was one wherein anti-subalternal social regulation were overthrown, the oppression of various subalterns end, and the established social order was replaced. In this article, I have argued that three main-stream indigenous Korean new religions, Donghak (Eastern Learning), the Jeungsan-inspired religious movements, and Wonbulgyo (Won Buddhism) are utopian alternative religions. I made this argument by analyzing some aspects by which they represented subalterns and offered subalterns a new religio-social status.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.152-176
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• 2022

This paper, a basic study on the restoration of arrow quivers during the Three Kingdoms Period, aimed to contribute details to the existing plan to restore the arrow quivers. The arrow quivers of the Three Kingdoms Period consist of a pouch for holding arrows and a backpiece. However, the two parts do not remain, and only metal parts have been excavated. The excavated arrow quivers were classified into three types for restoration. Centered on the pouch, the quivers were classified into type 1 made up of a W-shaped part and ㄷ-shaped part, and type 2 with only the band-shaped piece identified. Type 3 is similar to type 2, but it is assumed to be a separate type where an iron band extending from the hanging piece(吊手金具) is connected to a band-shaped piece. Before proposing a restoration plan for the three types of arrow quivers, the location of the hanging piece (吊手金具) and the observation of organic matter were reflected. In addition, such details as the location of the hanging piece (吊手金具), which cannot be identified by the excavation status alone, were derived from the ways of wearing the arrow quivers observed in the Joseon Dynasty, Shosoin (正倉院), and Haniwa (埴輪) in Japan. Referring to the existing record on the transformation of arrow quivers based on the hanging piece (吊手金具), the arrow quivers change from type 1 to types 2 and 3 in this paper. However, some of types 2 and 3 maintain the ways of wearing of type 1, and there were cases where the old-fashioned parts were kept. In particular, in Haman (咸安), it was confirmed that the typical type 1 was buried up until late periods.

• Journal of the Daesoon Academy of Sciences
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• v.26
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• pp.1-41
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• 2016

The script of the Fellowship of Daesoon Truth, 『Jeongyeong』 consists of seven sectors and 17 chapters. The seven sectors include 「Life of Sangje」, 「Reordering of the Universe」, 「Passing on of Teaching」, 「Law of Teaching」, 「Wisdom」, 「Cure of the Sick」, and 「Foreseeing」. The chapter 「Reordering of the Universe」 has the most records about Sangje, while the 「Law of Teaching」 has the most variety of materials in many passages about Sangje. This shows that the chapter 「Reordering of the Universe」 puts emphasis on the unique religious activities of Sangje and 「Law of Teaching」 is important for its edifying elements. "Law of teaching" is 敎法(Gyobeop) in Chinese character. 敎 means "teaching" and 法 "laws". What is law? A law becomes the rules for maintaining order of a society. In the view of religion, the law is ethical rules set by Kang Jeungsan to keep an order in the world. The first and second chapters of 「Law of Teaching」 have writings on 1. What Sangje said in person to the disciples, 2. The teachings Sangje gave to the disciples in certain occasions, 3. Reality of the society in late Joseon Dynasty, 4. Teachings related to the historical figures and old stories, and 5. Literatures. The third chapter has two special types of writing, which is about Taoism myths and statements written only in Chinese characters. In 『Daesoon Jeongyeong Volume 6』, the chapter 「Words of Law」 has more contents on edification for disciples, Cheok and resolving grudges with more detailed expression of woman resolving their piled up grudges. This chapter also has writings about discriminating old evil customs of Confucianism, emphasizing virtue and act of reciprocating for offered graces while training of one's mind and working on one's daily practice (shown in Sangje's saying about certain historical figures, quoting the Song of Suwun, statements in Chinese characters), Sangje's opinion about Japan, China, ancestral beings, eating raw foods, Byeokgok and others. In comparison with 「Words of Law」 in 『Daesoon Jeongyeong Volume 6』, which was issued in 1965 as the previous generation literature, 「Law of Teaching」 in 『Jeongyeong』 has many additional statements made to existing passages. Also, some passages were combined of two previous passages, some words were corrected, and in some passages, additional statements were made about the same person mentioned in another passage. And some passages were dropped. For the contents, 『Jeongyeong』 has additional statements about spiritual training of one's mind and practicing the teaching in daily lives, which indicates that 『Jeongyeong』 is focusing more on actual daily practice and the idea of overcoming hardships during the practice and realizing the principle of Resolution of all grudges.

• Journal of the Daesoon Academy of Sciences
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• v.24_2
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• pp.117-164
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• 2015

Religion is not fixed and permanent and is constantly transforming and changing phenomenon. But in some religions, religious culture happens that emphasize the original and authentic teaching of the founder and removes the other accumulations among the accumulated religious tradition. So some religious communities advocate the original teaching of the founder and insist that they are the orthodox and the others are heresy and make the theory of true transmission etc. Jongtonglon(宗統論) of Daesoonjinrihoe(大巡眞理會) looks similar to the theory of true transmission on the surface. The aim of this paper is the contribution to the understanding of Daesoon thought and the religious culture of Daesoonjinrihoe by studying the characteristics of Jongtonglon. I want to highlight on the characteristics of Jongtonglon by comparing it to Bubmaeklon(法脈論) of Korean Buddhism. Bubmaek(法脈) of Korean Buddhism is well showed in the constitution of Jogaejong(曺溪宗) that represents Korean Buddhism. The constitution says that Jogaejong considers SakyaMuni the main Buddha and Doyi (道義) the founder of Jogaejong and BojoJinul(普照知訥)·TaegoBou (太古普愚) the restorer of tradition and also says that Jogaejong succeedes Cheongheo(淸虛) and Buhyu(浮休). Between SakyaMuni and Doyi, there are several monks of Seocheon(西天)-28Choseol (祖說) and China-6Choseol(祖說). Jinul is highly praised for enhancing the atmosphere of performance of Jogaejong and Bou was regarded as the founder of Jogaejong since late Joseon dynasty. In modern times there were conflicts between Bojojongjoseol(普照宗祖說) and Taegojongjoseol(太古宗祖說), but today's Bubmaek(法脈) of Korean Buddhism was erected after the conflicts was controled. Jongtong of Daesoonjinrihoe was erected by Jo Jengsan(趙鼎山) Doju(道主) who was received Heaven's will through divine revelation. Dojeon(都典) succeeded Jongtong by Doju's will and he didn't say a word when he went to Heaven. So the succession of Jongtong is ended. The first characteristic of Jongtonglon of Daesoonjinrihoe is that the succession of Jongtong was decided by Heaven and has been expected from long ago. The second, Jongtonglon has the sacred characteristic which is not shown in Bubmaeklon. The third, the distinction between Yeonwun(淵源) and Yeonun(緣運) is not appeared in Bubmaeklon. The fourth, Jongtonglon has more anti-syncretic feature than Bubmaeklon. The fifth, Yeonun(緣運) and Bubmaeklon are different in that feature. As Jongtonglon occupies a prominent place in Daesoonjinrihoe, the understanding of it can contribute to grasp the doctrine and culture of Daesoonjinrihoe.

• Journal of the Daesoon Academy of Sciences
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• v.32
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• pp.109-136
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• 2019

The purpose of this study is to look at the concept of Gaebyeok as used by Kang Jeungsan (姜甑山) from a civilizational perspective. The combination of East Asian civilization during the period of Korea's port-opening and the subsequent inflow of Western powers with material civilization all at the forefront in the late Joseon Korea, served as the driving force for a new civilizational transition. Unlike the Chuk-sa Party and the Gae-hwa Party, modern Korean religions that emphasized Gaebyeok also responded to Western civilization and suggested a new view of civilization. Kang Jeung-san, resisting discrimination and oppression, presented a civilization built upon mutual beneficence while criticizing Western civilizations which centered on reason. Amid this process of the spread of modern Western civilization, Jeungsan declared the construction of a new civilization to the people who were negatively impacted by various social factions, such as class and gender discrimination, political corruption, exploitation via political corruption, and the inflow of Western powers. Jeungsanist Thought developed criticisms of materialism and human alienation, and this resulted in the claim of Gaebyeok. This was an expression of efforts to build a new civilization that aimed to harmonize, integrate, and thrive. The new civilization envisioned by Jeungsan was that of a society run according to mutual beneficence, and it can be summarized as a 'Civilization of Harmonious Union' that integrates philosophical thought and civilizational models of both East and West. This could also be referred to a 'Civilization of Public-commons and Harmony between Divine Beings and Human Beings (神人公共).' The life of Jeungsan was a life spent in the service of curing the world to save the lives of humanity. Since then, his 'movement of mutual beneficence' as observed in Mugeuk-do and Taegeuk-do were also efforts to build the new civilization envisioned by Jeungsan.

• Journal of the Daesoon Academy of Sciences
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• v.26
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• pp.45-75
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• 2016

The aim of this study is to explain characteristics of Maitreya and Maitreya belief from a point of view that 'Jeungsan is the very Maitreya(甑山卽彌勒)'. In 『Jeon-gyeong』, Maitreya is mentioned several times. Thus, new religions of Jeungsan of Daesoonjinrihoe take 'Jeungsan is the very Maitreya' belief for truth. Due to the fact that characteristics of Maitreya are so multi-layered and complicated, it is necessary to explain clearly what kind of feature Maitreya has in 『Jeon-gyeong』. If believing and following 'Jeungsan is the very Maitreya' without clarifying it, they will be faced with a problem that they regard Jeungsan of Supreme being of the Ninth Heaven as one of Maitreya and take its belief for truth. Furthermore, with respect to the characteristics of 'Jeungsan is the very Maitreya' belief, while believing in Mireukasaeng, longed-for Millenarian movement by people through Messianism and Mireukasaeng belief is found in Daesoon Thought, whereas there is a need how to understand the point that we cannot finped Messianism and Millenarian movement in Daesoon Thought. To solve this problem, I draw a conclusion that 'Jeungsan is the very Maitreya' in 『Jeon-gyeong』 has to be understood with two meanings by four demonstrations. First of all, the people perceived late Joseon dynasty as the age of decadence but Maitreya's divinity which is desired by the people is not divinity of Maitreya Sutra(Mileuggyeong). Maitreya's divinity is reflected in the people's cherished desire and it is newly created as the Messiah. Thus, the idea of Jeungsan being the very Maitreya was developed in a way that the people desired the Messiah, encompassing this inclination. That is the Messiah of the people and the divinity of Jeungsan. Although Jeungsan as Supreme being of the Ninth Heaven satisfied the people's desire, it shows a different way to salvation from the way in Maitreya Sutra(Mileuggyeong). It is 'the Great Reordering of the Universe' and 'the Great Reordering of the Three Realms'. Reordering in Jeungsan shows that divinity of Jeungsan is not limited to the people's Messiah. In other words, divinity of Jeungsan is established as The Messiah, surpassing divinity of Maitreya Sutra(Mileuggyeong). And following statements prove this divinity of Jeungsan. Jeungsan's emphasis is not only the people's desire and the Gods' appeal. Jeungsan's emphasis is that only does Supreme being of the Ninth Heaven correct heaven and earth, which is the Gods' appeal. Therefore, 'Jeungsan is the very Maitreya' belief embraces the people's Messianism and at the same time it runs with he Gods' appeal. Thus, Reordering through the Great Reordering of the Universe and the Great Reordering of the Three Realms builds up a new ideal world.

• Journal of Korean Historical Folklife
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• no.57
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• pp.197-228
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• 2019

This study was conducted under the judgement that there was a need to make several mentions by reference to studies about the spatial composition of the traditional village. The judgement was not about the dimension that there was a problem about the spatial composition of the existing village but that it would be effective to make a fresh reorganization of it in a little more detail. As a result, this study presented seven spaces in the spatial composition of the traditional village. It attempted to analyze it by dividing it into four spaces such as ① natural space, ② residential space and work space, ③ moving space and boundary space and ④ play space and ritual space to fit its basic nature. First of all, it made a pictorial presentation of the basic form of the spatial composition of the traditional farming village in the late Joseon Dynasty which was most general and whose form has been handed down up to the present. And it described the composition of each space accordingly. It was not intended for a specific village. So it presented the historical change, the behavior of the members surrounding the village and a difference according to the nature of the village, which were judged to be very important in explaining the items of the composition of each space. As a result, it was found that the spatial composition of the traditiona Korean village well embodied the framework of their life in terms of their view of nature, lifestyle and worldview. The view of nature acted on the spatial composition of the village as a whole and is well reflected in the natural space in particular. Their lifestyle is reflected in the residential space, farming space, moving space and play space, and their worldview is spcifically mirrored in the boundary space and ritual space. In particular, this study focused on how to take a look at the element of Feng-Shui in discussing the spatial composition of the village.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.24-37
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• 2023

This study analyzes the materials and external characteristics of the Angbu-ilgu, a kind of scaphe sundial, which was newly designated as a Korean Treasure in 2022. The Angbu-ilgu Treasure is owned by three institutions - the National Palace Museum Of Korea, Gyeongju National Museum, and Sungshin Women's University Museum - and is similar as a twin in its material, size, outward appearance, as well as production techniques that include casting, silver inlays, and metal joints. The Three-Treasure Angbu-ilgu is made of brass in the ratio of 90.6: 6.0: 1.8 with Cu: Zn: Pb. This composition clearly differs from Treasure No. 845, an Angbuilgu which has a composition ratio of 82.2: 3.7: 11.8 with Cu: Zn: Pb. In this new Angbu-ilgu Treasure, the hemisphere's stand has four vertical pillars sculpted in a dragon pattern and bilateral wings carved in a cloud pattern on the pillars, which are joined to the hemisphere's horizontal ring with rivets and silver solders, respectively. The dragon-in-clouds pillar (雲龍柱) shows the most outstanding formative beauty of the various Angbu-ilgu pillars produced in the late Joseon Dynasty. It can be seen that the altitude of the north pole engraved on the Angbu-ilgu was made after 1713. Production is, however, actually estimated to have occurred close to the 19th century, the era of the Jinju Kang family, who were professional Angbuilgu makers. Hopefully, this study will lead to a historical science and technology review with modern scientific instruments analyzing the materials and external characteristics of the three Angbu-ilgus designated as a Korean Treasure in 2022.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.