• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.183-208
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• 2021

In order to examine the origin of Image-Number Theory in Cho Hoik (曺好益)'s Yixiangshuo (易象說), it is necessary to review Hu Yigui (胡一桂)'s Zhouyi Benyi Fulu Zuanzhu (周易本義附録纂注). Hu Yigui based his work on Zhu Xi's Zhouyi Benyi, he took related contents such as the Zhu Xi's writings and phrases and organized them into a fulu (附録), and he collected commentaries that matched the meaning of Zhouyi Benyi among the theories of many Confucian scholars and produced a zuanzhu (纂注). In addition to these, there are 'Yuwei (愚謂)' and 'Yuan (愚案)' which allowed him to add his own opinion. The system of Hu Yigui's Zhouyi Benyi Fulu Zuanzhu almost coincides with Cho Hoik's Yi-ological writing system. In other words, Cho Hoik appears to have written Yizhuan Bianjie (易傳辨解) and Zhouyi Shijie (周易釋解) as a fulu and zuanzhu of Zhouyi Benyi Fulu Zuanzhu. And there is Yixiangshuo which corresponds to 'Yuwei' and 'Yuan' of Zhouyi Benyi Fulu Zuanzhu. Yixiangshuo was not originally an independent Yi-ological book, but was compiled by later generations from what was recorded in the form of the head notes of Zhouyi (周易). Thus, Yixiangshuo takes almost the same form as the 'Yuwei' and 'Yuan' of Zhouyi Benyi Fulu Zuanzhu. In addition, Cho Hoik's Yixiangshuo cites many contents from 'Yuwei' and 'Yuan' of Zhouyi Benyi Fulu Zuanzhu. On the other hand, in order to examine the origin of Image-Number Theory in Cho Hoik's Yixiangshuo, the Yi-ology of Zhu Zhen (朱震) cannot be overlooked. This is true not only due to the fact that Yixiangshuo is quoting Zhu Zhen. The more significant reason is Yixiangshuo is a fundamental aspect of Zhu Zhen's Yi-ology. As demonstrated in the main body of this article, the methodology of Image-Number Theory in Yixiangshuo and its counterpart in Hanshang Yizhuan (漢上易傳) are almost identical. In conclusion, the origin of Image-Number Theory in Cho Hoik's Yixiangshuo can be found in both the Hu Yigui's Zhouyi Benyi Fulu Zuanzhu and Zhu Zhen's Hanshang Yizhuan. In particular, it can be said that its origin can be found in both the 'Yuwei' and 'Yuan' of Zhouyi Benyi Fulu Zuanzhu and the methodlogy of Image-Number Theory in Hanshang Yizhuan.

• Journal of The Association for Neo Medicine
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• v.2 no.1
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• pp.35-54
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• 1997

We tried to observe the features of ancient medical practice by analysing the records related to medicine in the book, ${\ulcorner}$the Historical Records of the Three Kingdom${\lrcorner}$ of which content includes the features of medicine in mythology, plague, delivery of twins, drugs, medical system, shamanism, constitutional medicine, psychiatry, forensic medicine, deformity, a spa, medical phrase, health and welfare work, religion, death. physiological anatomy, Taoist medicine, acupuncture, the occult af of transformation and etc. Our initial concern was about where to draw line as of medical field and we defined medicine in more broad meaning. The book ${\ulcorner}$the Historical Records of the Three Kingdoms${\lrcorner}$ describes the world of mythology by way of medicine which is not clearly a conventional one. There appears records of birth of multiple offsprings 7 times in which cases are of triplets or more. Delivering multiple offsprings were rare phenomenon though such fertility was highly admired. This shows one aspect of ancient country having more population meant more power of the nation. Of those medical records conveyed in that book includes stories of childbirth such as giving birth to a son after praying, giving birth to Kim Yoo-shin after 20 months after mother's dream of conception, and a song longing for getting a laudable child. Plagues were prevalent throughout winter to spring season and one can observe various symptoms of plagues in the record. Of these epidemic diseases, cold type might have been more common than the heat one. Appearance of epidemic diseases frequently coincided with that of natural disasters that this suggests a linkage between plague and underlying doctrine on five elements' motion and six kinds of natural factors. There exists only a few names of diseases such as epidemic disease, wind disease, and syndrome characterized by dyspnea. Otherwise there appeared only afflictions that were not specified therefore it remains cluless to keep track of certain diseases of prevalence. Since this ${\ulcorner}$Historical Records of the Three Kingdoms'${\lrcorner}$ wasn't any sort of medical book, words and terms used were not technical kind and most were the ones used generally among lay people. Therefore any mechanisms of the diseases were hardly mentioned. Some of medicinal substances such as Calculus Bovis, Radix Ginseng, Gaboderma Luciderm, magnetitum were also in use in those days. 53 kinds of dietary supplies appears in the records and some of these might have been used as medicinal purpose. Records concerning dicipline of one's body includes activities such as hunting, archery, horseback riding etc. In Shilla dynasty there were positions such as professor of medicine, Naekongbong(內供奉), Kongbong's doctor(供奉醫師), Kongbong's diviner(供奉卜師). As an educational facility, medical school was built at the first year of King Hyoso's reign and it's curricula included various subjects as ${\ulcorner}$Shin Nong's Herbal classic${\lrcorner}$, ${\ulcorner}$Kabeul classic of acupuncture and moxbustion${\lrcorner}$, ${\ulcorner}$The Plain Questions of the Yellow Emperor's Classic of Internal Medicine${\lrcorner}$, ${\ulcorner}$Classic of Acupuncturer${\lrcorner}$, ${\ulcorner}$The Pulse Classic${\lrcorner}$, ${\ulcorner}$Classic of Channels and Acupuncture Points${\lrcorner}$ and ${\ulcorner}$Difficult Classic${\lrcorner}$. There were 2 medical professors who were in charge of education. To establish pharmacopoeia, 2 Shaji(舍知), 6 Sha(史), 2 Jongshaji(從舍知) were appointed. In Baekje dynasty, Department of Herb was maintained. Doing praying for the sake of health, doing phrenology also can be extended to medical arena. Those who survived over 100 years of age appear 3 times in the record, while 98 appears once. The earliest psychiatrist Nokjin differentiated symptoms to apply either therapies using acupuncture and drug or psychotherapy. There appears a case of rape, a case of burying alive with the dead, 8 cases of suicide that can characterize a prototype of forensic medicine. Deformity-related records include phrases as follow: 'there seems protrudent bone behind the head', 'a body which has two heads, two trunks, four arms.', 'a body equipped with two heads' In those times spa can be said to be used as a place for he리ing, convalescence, and relaxation seeing the records describing a person pretended illness and went to spa to enjoy with his friends. Priest doctors and millitary surgeons were in charge of the medical sevice in the period of the Three Kingdoms by the record written by Mookhoja(墨胡子) and Hoonkyeom(訓謙). Poor diet and regimen makes people more vulnerable to diseases. So there existed charity services for those poor people who couldn't live with one's own capacity such as single parents, orphans, the aged people no one to take care and those who are ill. The cause of affliction was frequently coined with human relation. There appeared the phenomenon of releasing prisoners and allowing people to become priests at the time of king's suffering. Besides, as a healing procedure, sutra-chanting was peformed. There appears 10 cases of death related records which varies from death by drowning, or by freezing, death from animals, death from war, death from wightloss and killing oneself at the moment of spouse's death and etc. There also exist certain records which suggest the knowledge of physiology and anatomy in those times. Since the taoist books such as ${\ulcorner}$Book of the Way and Its Power(老子道德經)${\lrcorner}$ were introduced in the period of Three Kingdoms, it can be considered that medicine was also influenced by taoism. Records of higher level of acupuncture, records which links the medicine and occult art of transformation existed. Although limited, we could figure out the medical state of ancient society.

• Journal of Intelligence and Information Systems
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• v.26 no.2
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• pp.57-78
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• 2020

With the development of the Internet, consumers have had an opportunity to check product information easily through E-Commerce. Product reviews used in the process of purchasing goods are based on user experience, allowing consumers to engage as producers of information as well as refer to information. This can be a way to increase the efficiency of purchasing decisions from the perspective of consumers, and from the seller's point of view, it can help develop products and strengthen their competitiveness. However, it takes a lot of time and effort to understand the overall assessment and assessment dimensions of the products that I think are important in reading the vast amount of product reviews offered by E-Commerce for the products consumers want to compare. This is because product reviews are unstructured information and it is difficult to read sentiment of reviews and assessment dimension immediately. For example, consumers who want to purchase a laptop would like to check the assessment of comparative products at each dimension, such as performance, weight, delivery, speed, and design. Therefore, in this paper, we would like to propose a method to automatically generate multi-dimensional product assessment scores in product reviews that we would like to compare. The methods presented in this study consist largely of two phases. One is the pre-preparation phase and the second is the individual product scoring phase. In the pre-preparation phase, a dimensioned classification model and a sentiment analysis model are created based on a review of the large category product group review. By combining word embedding and association analysis, the dimensioned classification model complements the limitation that word embedding methods for finding relevance between dimensions and words in existing studies see only the distance of words in sentences. Sentiment analysis models generate CNN models by organizing learning data tagged with positives and negatives on a phrase unit for accurate polarity detection. Through this, the individual product scoring phase applies the models pre-prepared for the phrase unit review. Multi-dimensional assessment scores can be obtained by aggregating them by assessment dimension according to the proportion of reviews organized like this, which are grouped among those that are judged to describe a specific dimension for each phrase. In the experiment of this paper, approximately 260,000 reviews of the large category product group are collected to form a dimensioned classification model and a sentiment analysis model. In addition, reviews of the laptops of S and L companies selling at E-Commerce are collected and used as experimental data, respectively. The dimensioned classification model classified individual product reviews broken down into phrases into six assessment dimensions and combined the existing word embedding method with an association analysis indicating frequency between words and dimensions. As a result of combining word embedding and association analysis, the accuracy of the model increased by 13.7%. The sentiment analysis models could be seen to closely analyze the assessment when they were taught in a phrase unit rather than in sentences. As a result, it was confirmed that the accuracy was 29.4% higher than the sentence-based model. Through this study, both sellers and consumers can expect efficient decision making in purchasing and product development, given that they can make multi-dimensional comparisons of products. In addition, text reviews, which are unstructured data, were transformed into objective values such as frequency and morpheme, and they were analysed together using word embedding and association analysis to improve the objectivity aspects of more precise multi-dimensional analysis and research. This will be an attractive analysis model in terms of not only enabling more effective service deployment during the evolving E-Commerce market and fierce competition, but also satisfying both customers.

• (The) Research of the performance art and culture
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• no.34
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• pp.383-421
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• 2017

Because the Jitsori and the Hotsori of the Beompae(the Korean Budhhist chant) has no meter and no Jangdan(a Rhythmic cycle of the Korean Music), so it is hard to analyze the melody of the Beompae. Also the melody of the Beompae is different from that of the other Korean traditional music, so studying of the Beompae has been out of the limelight of many scholars, studying the Korean music. But the melody of Beompae had been handed down for thousands of years in Korea, it and other Korean trditional music, had exchanged the impacts each other for a longtime. So I thinks that the Korean Beomapae have shared the similarity of the musical features with the other Korean traditional music. Because the Beompae of the Bulmosan Yeongsanjae on the Geongsangnamdo province has also no meters and no Jangdan, it is difficult to understand, too. But because the Onghoge of Bulmosan Yeongsanjae have a well-regulated melodic structure in comparison with the Beompae of the Seoul province, so called Geongjae Beompae, it seem to be easy to analyze its melody. So I will analyze the melody of Bulmosan Yeongsanjae Onghoge. This analyze should be contribute to investigate the rule of the melodic progress method on the convoluted Beompae melody. Onghoge has been sung on the procedure for Siryeon, Samsiniun(Goebuliun), Jojeonjeoman, Sinjungjakbeop. And the monk for the ritual has sung the chant first to purify the ritual place and to protect the soul. They has called the song, Onghoge a Jitsori at the Bulmosan Yeongsanjae preservation society of the Gyeongnam province. Commonly, there were Jitsori and Hotsori in the Beompae melody, and the melody of Jitsori is longer than that of the Hotsori. So, the melody of Onghoge is lengthened. In other word, the melody of the Onghoge show the lengthened and curved melodic feture of the Beompae very well. Hahn Manyeong, who had studied on the Beompae, Budhhist chant, said that the Hotsori has five letters in a phrase, and there were 4 phrases in a song. And he had insisted that the form of the song, Hotsori, is ABAB. I analyze the melody of the Onghoge by the Hahn's method. I will extract the Wonjeom(a primary tone of a skeletal melodic structure) from the melody of Onghoge, and in the progress of the Wonjeom of Onghoge melodies, I will arrange the repeat of the Wonjeom melody. It is a structural melody of Onghoge. The first phrase of Bulmosan Yeongsanjae Onghoge, 'Pal bu geum gang ho do ryang(八部金剛護道場)' have 4 structural melodies, the second phrase 'Gong sin sog bu bo cheon wang(空神速赴報天王)', the third phrase 'Sam gye je cheon ham le jip(三界諸天咸來集)', the firth phrase 'Yeo geum bul chal bo jeong sang(如今佛刹補禎祥)' have 2 structural melodies each. The structural melodies of Onghoge are 10 in total. And the structural melody of the Onghoge is formed the shape of 'Mi - La - do - La - Mi'. All of the Onghoge melodies is repeated 10 times by the melodic shape. The form of the Onghoge is not ABAB by Hahn, but is 10 times repeat of the shape.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.22-53
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• 2020

This paper analyzes the contents, characteristics, and historical significance of the dedicatory inscriptions (josanggi) on the Amitabha Buddha and the Maitreya Bodhisattva statues of Gamsansa Temple, two masterpieces of Buddhist sculpture from the Unified Silla period. In the first section, I summarize research results from the past century (divided into four periods), before presenting a new perspective and methodology that questions the pre-existing notion that the Maitreya Bodhisattva has a higher rank than the Amitabha Buddha. In the second section, through my own analysis of the dedicatory inscriptions, arrangement, and overall appearance of the two images, I assert that the Amitabha Buddha sculpture actually held a higher rank and greater significance than the Maitreya Bodhisattva sculpture. In the third section, for the first time, I provide a new interpretation of two previously undeciphered characters from the inscriptions. In addition, by comparing the sentence structures from the respective inscriptions and revising the current understanding of the author (chanja) and calligrapher (seoja), I elucidate the possible meaning of some ambiguous phrases. Finally, in the fourth section, I reexamine the content of both inscriptions, differentiating between the parts relating to the patron (josangju), the dedication (josang), and the prayers of the patrons or donors (balwon). In particular, I argue that the phrase "for my deceased parents" is not merely a general axiom, but a specific reference. To summarize, the dedicatory inscriptions can be interpreted as follows: when Kim Jiseong's parents died, they were cremated and he scattered most of their remains by the East Sea. But years later, he regretted having no physical memorial of them to which to pay his respects. Thus, in his later years, he donated his estate on Gamsan as alms and led the construction of Gamsansa Temple. He then commissioned the production of the two stone sculptures of Amitabha Buddha and Maitreya Bodhisattva for the temple, asking that they be sculpted realistically to reflect the actual appearance of his parents. Finally, he enshrined the remains of his parents in the sculptures through the hole in the back of the head (jeonghyeol). The Maitreya Bodhisattva is a standing image with a nirmanakaya, or "transformation Buddha," on the crown. As various art historians have pointed out, this iconography is virtually unprecedented among Maitreya images in East Asian Buddhist sculpture, leading some to speculate that the standing image is actually the Avalokitesvara. However, anyone who reads the dedicatory inscription can have no doubt that this image is in fact the Maitreya. To ensure that the sculpture properly embodied his mother (who wished to be reborn in Tushita Heaven with Maitreya Bodhisattva), Kim Jiseong combined the iconography of the Maitreya and Avalokitesvara (the reincarnation of compassion). Hence, Kim Jiseong's deep love for his mother motivated him to modify the conventional iconography of the Maitreya and Avalokitesvara. A similar sentiment can be found in the sculpture of Amitabha Buddha. To this day, any visitor to the temple who first looks at the sculptures from the front before reading the text on the back will be deeply touched by the filial love of Kim Jiseong, who truly cherished the memory of his parents.

• Journal of Intelligence and Information Systems
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• v.27 no.4
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• pp.1-22
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• 2021

Aspect Based Sentiment Analysis (ABSA), which analyzes sentiment based on aspects that appear in the text, is drawing attention because it can be used in various business industries. ABSA is a study that analyzes sentiment by aspects for multiple aspects that a text has. It is being studied in various forms depending on the purpose, such as analyzing all targets or just aspects and sentiments. Here, the aspect refers to the property of a target, and the target refers to the text that causes the sentiment. For example, for restaurant reviews, you could set the aspect into food taste, food price, quality of service, mood of the restaurant, etc. Also, if there is a review that says, "The pasta was delicious, but the salad was not," the words "steak" and "salad," which are directly mentioned in the sentence, become the "target." So far, in ABSA, most studies have analyzed sentiment only based on aspects or targets. However, even with the same aspects or targets, sentiment analysis may be inaccurate. Instances would be when aspects or sentiment are divided or when sentiment exists without a target. For example, sentences like, "Pizza and the salad were good, but the steak was disappointing." Although the aspect of this sentence is limited to "food," conflicting sentiments coexist. In addition, in the case of sentences such as "Shrimp was delicious, but the price was extravagant," although the target here is "shrimp," there are opposite sentiments coexisting that are dependent on the aspect. Finally, in sentences like "The food arrived too late and is cold now." there is no target (NULL), but it transmits a negative sentiment toward the aspect "service." Like this, failure to consider both aspects and targets - when sentiment or aspect is divided or when sentiment exists without a target - creates a dual dependency problem. To address this problem, this research analyzes sentiment by considering both aspects and targets (Target-Aspect-Sentiment Detection, hereby TASD). This study detected the limitations of existing research in the field of TASD: local contexts are not fully captured, and the number of epochs and batch size dramatically lowers the F1-score. The current model excels in spotting overall context and relations between each word. However, it struggles with phrases in the local context and is relatively slow when learning. Therefore, this study tries to improve the model's performance. To achieve the objective of this research, we additionally used auxiliary loss in aspect-sentiment classification by constructing CNN(Convolutional Neural Network) layers parallel to existing models. If existing models have analyzed aspect-sentiment through BERT encoding, Pooler, and Linear layers, this research added CNN layer-adaptive average pooling to existing models, and learning was progressed by adding additional loss values for aspect-sentiment to existing loss. In other words, when learning, the auxiliary loss, computed through CNN layers, allowed the local context to be captured more fitted. After learning, the model is designed to do aspect-sentiment analysis through the existing method. To evaluate the performance of this model, two datasets, SemEval-2015 task 12 and SemEval-2016 task 5, were used and the f1-score increased compared to the existing models. When the batch was 8 and epoch was 5, the difference was largest between the F1-score of existing models and this study with 29 and 45, respectively. Even when batch and epoch were adjusted, the F1-scores were higher than the existing models. It can be said that even when the batch and epoch numbers were small, they can be learned effectively compared to the existing models. Therefore, it can be useful in situations where resources are limited. Through this study, aspect-based sentiments can be more accurately analyzed. Through various uses in business, such as development or establishing marketing strategies, both consumers and sellers will be able to make efficient decisions. In addition, it is believed that the model can be fully learned and utilized by small businesses, those that do not have much data, given that they use a pre-training model and recorded a relatively high F1-score even with limited resources.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.52-64
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• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.