• Journal of the Daesoon Academy of Sciences
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• v.34
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• pp.293-321
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• 2020

The value embodied by "Ascending to Heaven and Being an Immortal" (Yuhua Dengxian in Chinese) implies the core gist of Daoist culture as well as its ultimate value. From the perspective of Philology, each word, "Yu", "Hua", "Deng", and "Xian" benefits us through a philosophy of life, learning skills, the pursuit of the mysteries of Daoist immortality, and the ways of life characteristics and spiritual transcendence. "To become an immortal" is becoming adept at life. "Yuhua" refers to learning transcendental skills, and "Deng" expresses the promotion of life. "Ascending to Heaven and Becoming an Immortal" integrates the goal- oriented values of Daoist Culture, learning transcendental skills, and the state of being alive into a unified whole. Namely, it is the perfect combination of an adept's supreme pursuit of value and zenith of life. By way of contrast, in Daesoon Jinrihoe, the concepts of "Daesoon" and "Perfected Unification with the Dao" not only advocate "physical and mental transformation" and "spiritual development" for Dao cohorts, but also personal cultivation and service to society, and participation in "The Creation of an Earthly Paradise." These are unified under the ideal humanistic value of "the earthly paradise of the Later World."

• Sim-seong Yeon-gu
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• v.31 no.1
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• pp.1-40
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• 2016

This thesis is a study on the symbolism of 'Yeondo', a prayer for the souls in purgatory of Korean Catholic Church as a 'psychic container' for the spiritual transformation in the psyche from a perspective of analytical psychology. Yeondo' could be the 'rites of passage' of the last judgement for the souls in purgatory which is in between the heaven and the hell. And both the bereaved and the dead go through the stages of separation, transition and incorporation which are the schema of the 'rites of passage'. In particular, they have a special sense of solidarity at the stage of transition, a middle state. The symbolic process of 'Yeondo' is a spiritual transformation of recovery of paradise which could access by the confusion of death, purification and the rebirth. A spiritual reborn process of death and rebirth takes place by contacting the collective unconscious. In 'Yeondo', the death is not the end of life but the beginning of the eternal life. The confusion and disintegration caused by death can be purified and start incorporating. The rites of a paradise recovery has the meaning of trying constantly for the recovery of a wholeness. Praying for the blessing of God and a help from saints in paradise for the sake of the dead means to require conscious cooperation for the Self-realization. Integrating and recognizing unconscious also means something beyond the conscious. The blessed souls in purgatory recovers the paradise experiencing specific purifying process heading towards Self. Going into the center, abyss of unconscious will be recognized as an absolute part of oneself. One becomes the inner man, the transformed personality who is reached by the path of self-knowledge, the kingdom of heaven within oneself and can have the transpersonal energy, which enables to access to God's world and union with God. All desire and the will become one with God. In the final analysis, praying for the blessing of God and a help from saints in paradise for the sake of the dead becomes the path for the more and more conscious expansion of the alive. Therefore, 'Yeondo' as an initiation is the individuation process of the alive and the dead to reflect on themselves.

• Journal of architectural history
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• v.17 no.2
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• pp.83-102
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• 2008

In the book of , it is recorded that the names of ingressive stone stairs to the main shrine were Cheongwoongyo(blue cloud bridge) and Baekwoongyo(white cloud bridge) and the names of stairs to the paradise hall were Yeonwhagyo(lotus bridge) and Chilbogyo(seven treasure bridge). But, the ingressive stone stairs to the main shrine and the paradise hall are single consecutive stairs with 2 levels respectively. Because of this, it is rather hard to clearly designate the names to the upper level and the lower level stairs. But, of the stairs to the Paradise hall, the lower stairs have a carving of lotus, and the upper stairs have seven stairs. In this aspect of artifacts, we can safely assume that the upper stairs are Chilbogyo and the lower are Yeonwhagyo. But, for the ingressive stairs to the main shrine, there is no such artificial hint. So, it is difficult to designate the upper and the lower stairs for the two bridges. Especially, it is not clear whether the descriptive order of "lower stairs upper stairs" in the names of Yeonwhagyo and Chilbogyo can be applied to the names of stairs to the main shrine. It is because the general descriptive order is "upper lower" rather than "lower upper." Even though there have been many studies on the Bulguksa temple, the study on the ingressive stone stairs to the main shrine has not made till now. Therefore, the study on the position of Cheongwoongyo and Baekwoongyo stairs can have its validity. In this paper, the positional approach to Cheongwoongyo and Baekwoongyo has been made in following aspects: First, the temple structure of Bulguksa; Second, the five element theory of oriental philosophy and the Book of Changes; Third, the directional consciousness of Buddhism. Through the aspects, the validity of up-down position of Cheongwoongyo and Baekwoongyo has been sought. In this research, it can be concluded that the upper level of ingressive stone stairs to the main shrine of Bulguksa is Cheongwoongyo and the lower level is Baekwoongyo. When considered in the Buddhist directional consciousness, it forms the total structure of "East-Cheongwoongyo South- Baekwoongyo West-Yeonwhagyo North-Chilbogyo."

• Journal of the Korean housing association
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• v.13 no.3
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• pp.11-20
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• 2002

The purpose of this study is to find out the meanings of water and water spaces in the Western architecture. The meaning of water is investigated by means of mythology and literature studies. It is found that water has ambivalent meanings, i.e. life and death, creation and destruction, chastity and sensuality. The meanings of water spaces in the Western architecture are dramatic, secret and dynamic, and represent publicity, verticality, formality in addition to desire for authority and realization(embodiment) of paradise. Water space is an essential component of beautiful and dynamic spaces and is used to revitalize dreary spaces.

• Journal of architectural history
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• v.16 no.5
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• pp.7-20
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• 2007

Bong-amsa Temple is a special temple in the custody of Jogye sect, a branch of Buddhism in Korea. Due to limited public access to this temple, its Geungnakjeon(paradise shrine) has been little known to outside. But it is known that the Geungnakjeon has been not yet explored from academic standpoints in terms of its historical establishment as well as applications, and it would be two-storied wooden pagoda or the like. In order to examine its historical establishment, this study investigated historical records related to Bong-amsa Temple and its intrinsic architectural style. As a result, it was estimated that the building was established around the transitional period ranging from the late Koryo dynasty to the early Joseon dynasty. And it was found that the Geungnakjeon is not the two-storied wooden pagoda, but the unique building including an incidental component called Chayanggan(遮陽間; a sort of stepped penthouse) in Korea. In order to examine its possible applications, this study compared this building with other Buddhist funeral articles in forms similar thereto, such as Buddhist pagoda(僧塔), sarira container(舍利器) and Gamnodo(甘露圖) which depicts Byeoknyeon Daeban(碧蓮臺畔; a palanquin carrying malignant spirit). Then, this study estimated its possible applications on the basis of relevant historical literatures. As a result, it was found that this building was used as Wondang(願堂; a sort of Buddhist prayer house) to wish royal family's going to Nirvana after death, and it was not Confucian-style architecture popularized in the era of Joseon dynasty, but Buddhist-style architecture built widely from the era of Koryo dynasty to the early Joseon dynasty.

• Journal of Bio-Environment Control
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• v.19 no.4
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• pp.223-228
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• 2010

This experiment was conducted to select optimal cultivars of long leaf vase life for flower arrangements among 21 Hosta cultivars that were selected based on their ornamental value. As a result of the investigation, the cultivar with the longest leaf vase life was 'June' with 29 days record. The cultivars with a more than 10 days record were 'Remember Me', H. lancifolia var. grandiflora, 'Grand Marquee', 'Dress Blue', 'Blue Dimples', 'Frosted Dimples', 'Birchwood Park's Gold', 'Krossa Regal', and 'Paradise Power'. These 10 cultivars had a high chlorophyll content, and had low chlorophyll content changes over time and were high in water absorption. The 10 selected cultivars had equal characteristics of increase in chlorophyll content within a certain period of time. These cultivars have a longer vase life when compared to others. This indicates the potential to develop better materials be use with flower arrangements.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.182-208
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• 2000

Kwan-gyongdo is a pictorial presentation of a $s{\bar{u}}tra$ that teaches the Buddhist way for a person to be reincarnated in the paradise of $Amit{\bar{a}}bha$ Buddha. It consists of a preface (Kwan-gyong sobun pyonsangdo) and 16 scenes of $S{\bar{a}}kyamuni$ preaching. The preface, a painting illustrating the motivation behind the production of tile kwan-gyongdo, illustrates the "Legend of King $Aj{\bar{a}}tasatru$", a tragic story in which the prince of India's Magadha kingdom murders his father, the king, to usurp the throne. The 16 subsequent scenes show $S{\bar{a}}kyamuni$ teaching the distressed queen how a person can be reborn in paradise through meditation and praying. In the kwan-gyongdo in the Mogao Cave No. 17 in Dunhuang, China, painted during the Tang dynasty (618-907), the preface and the 16 scenes are presented in one painting, whereas they are presented in two paintings in those painted in Korea during the Koryo period (918-1392). The difference is attributed to the stylistic disparity of the two periods. Despite the temporal gap between the Koryo paintings and the Mogao Cave paintings, a comparison of the two can show the characteristic development of kwan-gyongdo. Kwan-gyongdo of the Koryo period do not have the "enmity created in the previous life" scene featuring a heavenly figure and a hare, a result that shows the influence of the Tang school that deleted the scene. The scene of $S{\bar{a}}kyamuni$ preaching on the Mountain of Spirit is included in kwan-gyongdo of both the Koryo period and the Mogao Cave, but the scene of $S{\bar{a}}kyamuni$ emerging from the earth to the Magadha palace is not included in Koryo kwan-gyongdo. Kwan-gyongdo of Koryo are generally a simpler but more faithful rendering of the $s{\bar{u}}tra$.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.1 no.1
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• pp.127-151
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• 2021

The core tenets of Daesoon Jinrihoe in Jeungsanism are encapsulated in the teachings of Eumyang-hapdeok (陰陽合德, Virtuous Concordance of Yin and Yang), Shinin-johwa (神人調化, Harmonious Union between Divine Beings and Human Beings), Haewon-sangsaeng (解寃相生, Resolution of Grievances for Mutual Beneficence) and Dotongjingyeong (道通眞境, Perfected Unification with Dao). Among them, the first three teachings eventually turn towards the prophetic thought of Dotong-jingyeong, which is the process of man becoming a divine figure. While these principles are considered crucial advice for overcoming an unstable life, there are many curious questions that help for better comprehension. What is the reality of Jin-gyeong (眞境) for their followers? How can one reach the ultimate stage under this belief system? Is this ideological concept different from similar perspectives of other major religions? How is this concept related to the idea of Jisang-cheonguk (地上天國, earthly paradise)? This paper analyses these issues of Jin-gyeong from the historical and social narratives of Haengnok (行錄, Acts), Gongsa (公事, Reordering Works), Gyoun (敎運, Progress of the Order), Gyobeop (敎法, Dharma), Gwonji (權智, Authority and Foreknowledge) and Yesi (豫示, Prophetic Elucidations) in The canonical scripture of Jeon-gyeong and also from the ontological approaches of East Asian faiths in order to identify alternative notions of Daesoon cosmology. The paper, based on the sayings of Kang Jeungsan, particularly his philosophy of the Later World, argues the insight that the Jin-gyeong world can be interpreted as created through the Cheonji-gongsa (天地公事, Reordering Works of Heaven and Earth) project in terms of Gaebyeok (開闢, Great Opening) and the earthly paradise as open only for those who achieve the condition of Sin-ingan (新人間, literally means 'new humans' but symbolizing 'being a human-god') by the personal cultivation of Dotong (道通, the unity with Dao).

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.1-15
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• 2015

Changgyeongwon emerged as pleasure grounds following the creation of a museum, zoo and botanical garden in Changgyeonggung Palace during the Japanese colonial period. Pleasure grounds offer space for entertainment and have maintained the image of a paradise apart from reality. This study examined the creation process of pleasure grounds within a royal palace and the following spatial changes. By analyzing the image of Changgyeongwon as an artificial paradise, this study explored its landscape and cultural aspects. Literature reviews on the intention and process showed that the Changgyeongwon pleasure grounds were created as a 'royal garden' for the amusement of Sunjong, as well as 'public pleasure grounds' in the process of colonization. It was one of the first public spaces open to everyone who could afford the entrance fee. The layout of Changgyeongwon was studied by a comparison and analyzation of modern plans and photographs. It was composed of the central museum zone, northern botanical garden zone, and southern zoological garden zone. A conservatory and greenhouse to exhibit and maintain tropical plants were intensively built in the botanical garden zone while an aviary was created on the zoo pond. In the vicinity of the aviary a vivarium was constructed. Museum exhibition facilities included a main building as well as existing buildings, and a western flower garden was created between the buildings. Space for children including a playground and horse-riding course were created in the 1930's. The paradisiacal image and pleasure grounds culture of Changgyeongwon were studied as follows. Firstly, it shows that Changgyeongwon's paradisiacal image where rare animals and exotic plants were open to the public was promoted by the zoo and botanical garden. This led to the creation of new popular leisure activities such as flower appreciation and animal watching. Secondly, Changgyeongwon offered an urban leisure space, symbolizing the 'non-urban nature within the city' where the urban residents could escape from the daily routine. Thirdly, Changgyeongwon was known for its 'fantastic night landscape' by its night opening during the cherry blossom season. This cherry blossom viewing at night sadly degenerated by various shows and drinking, and as a result, an image of a deviant paradise was given to Changgyeongwon. Changgyeongwon contributed to creating a new space with its diverse facilities, and the public embraced the urban culture through experiences of pleasure and entertainment.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.1-34
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• 2016

This paper aims to understand how Daesoonjinrihoe perceives the Later World. Daesoonjinrihoe supports to establish an earthly paradise through the re-creation of the real world unlike other religions which tend to relegate ultimate fulfillment to the afterlife. In other words, Daesoonjinrihoe endeavors to achieve their objectives in the human world rather than outside of it in a potential act of escapism. The new religions in Korea have been characterized by ethnocentrism and doctrines which present Koreans as the new chosen people by emphasizing Korea's crucial role in world leadership. However, the doctrine of Daesoonjinrihoe differ with other new religions of Korea in this regard as its purpose is to redeem the whole world. Daesoonjinrihoe proposes an open embrace of the religious diversity found in Korean society. Daesoonjinrihoe argues that the Later World has not come yet, even though the Former World is over and progress towards the Later World has already been set in motion. The meaning of human nobility is akin to anthropocentricity. According to a variety of myths and legends, animals and supernatural often attempt to become human. Moreover, it would not be an overstatement to assert that the re-creation of the real world and the Daesoon concept of human nobility correspond with these myths and legends. There were not definite interpretations regarding heaven in Confucianism historically, yet Daesoonjinrihoe differentiates clearly that heaven and Sangje are cosmic structures. Buddhism perceives that heaven separately exists as a cosmic structure and that Buddha is a transcendental entity, however; that entity is not accessible for intercession. On the contrary, the ways to save the world have been adduced in Daesoonjinrihoe. In addition, the earthly paradise of the Later World has likewise been introduced. Specifically, it is Sangje that opens the door to that paradise. Unresolved issues in the formation of a world view still persist. There are no shortage of studies on the notion of gods or divine beings, however; most of these studies focus on genealogical classification, forms, functions and other such topics. The concept of god, ghost, or soul does not seem to have been clearly defined in these studies nor has the relationship among these entities and humanity been satisfactorily examined. For example, if human beings become either gods or divine beings, questions regarding divine beings who have acted as protectors or guardians of human beings then arises. The Daesoon cosmology should be specifically compared to cosmology in Daoism. By conducting additional studies such as a comparative research with Daoism, it will be possible to interpret mantras and Daoist art as they appear in Daesoonjinrihoe in a thought-provoking way which can in turn be compared with other religions.