• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.93-121
• /
• 2011

This article is concerned with the withdrawal of the compositional principle of Jinogigut which has been performed in Seoul and the identification of its meaning based on the withdrawal. Jinogigut is a world where a god is connected to humans in complicated manners, this world and the world of the dead coexist, and it is a process of demonstrating that the dead, who have stayed in the world of humans, enter the world of a god. Jinogigut shows the process of leading the dead to the world of the dead one after another. First, the god-centered street is continued, and the gut displays through which process a god will guide the dead to the world of the dead. Next, is a human-centered street, which exhibits the appearance of the dead heading to the world of the dead following the death angel, more in detail. Finally, a human-centered structure shows how humans enter the world of the dead. Through this repetition, it reveals that the dead take a seat in the world of the dead, at last. The organization of the later part of the world of the dead-oriented gut in Jinogigut, which is god-centered, continues to a human-centered gut through the meeting between a god and humans. and , which are continued, followed by , are ceremonial rituals that confirm the dead entering the world of the dead without any problem. Begareugi shows that the entering of the dead into the world of the dead was completed with perfection by cutting hemp cloth, and informs the living that the dead expressed gratitude for holding the ritual for him/her by appearing at the venue of the gut once again and that the dead settled into the world of death. , which finally holds ancestral rites to the god of ancestors who is seated in the world of the dead, reveals that the dead, who had been a human, has been transformed into the god of ancestors through Jinogigut. Jinogigut also performs the function of comforting a client (who is the family of the dead) of the gut, who has faced a sudden death in his/her family. What is the most important for consoling the client is to display that the dead has entered the world of the dead without any problem. Jinogigut shows this process through a three-layered structure. It exhibits how the dead would be moved to the world of gods, as well as the safe entering of the dead who followed Jeoseung-saja(envoy from the world of the dead) and who had appeared to this world from the world of the dead. Then, it demonstrates again the appearance of the dead entering the world of the dead following Barigongu; thus, it placates the heart of the client's family.

• The Journal of Korean Philosophical History
• /
• no.27
• /
• pp.39-61
• /
• 2009

Numerous Researches on the Buddhist perspective of Wonhyo agree that the Mind is the core principle of Wonhyo's Buddihist perspective. Based on prior research, this paper identifies the philosophy of Mind-only(vijñaptimātratā) in the broader perspective, that is, "Mind is the first principle of the existence", as the core thought of Wonhyo. The objective of this paper is to reorganize the systematic theories of consciousness, one of the principle sectors of Wonhyo's philosophy of vijñaptimātratā. One can find most systematic texts of consciousness of Wonhyo in 『GiSilRonSo』 and 『GiSilRonByeolGi』. Although 『GeumGang SamMaeGyeongRon』 includes some interpretations of consciousness, it is difficult to formulate a consistent structure based on it. Beside tā.JangEui』, which discusses the meaning of vijñaptimātratā centering around affliction, Wonhyo's opinion about important issues of vijñaptimātratā philosophy such as ālayavijñāna, permeation, bījadharma, and aspects of perception appears in fragments. Thus, this paper focuses on 『GiSilRonSo』 and 『GiSilRon ByeolGi』, Wonhyo's interpretation of 『Awakening of Mahāyāna Faith』(大乘起信論), as well as 『IJangEui』, 『PanBiRyangRon』 and 『Geum GangSamMaeGyeongRon』. The researcher examines how one-mind, tathāgatagarbha, and ālayavijñāna become the principles of 'neither arising nor ceasing'(不生滅) and 'arising and ceasing'(生滅) of all beings. The process of how one-mind develops mind in terms of the Absolute(心眞如門) and mind in terms of Phenomena(心生滅門) and its ontological structure are also investigated. In addition, the philosophical significance of Wonhyo's interpretation of tathāgatagarbha and ālayavijñāna analyzed. Besides, the method how various theories about vijñāna from Tathāgatagarbha's and Yogācāra's philosophy can be synthesized is examined based on Wonhyo's arguments. The four aspects of existence(caturākāra 四相) -arising(生), abiding(住), changing(異), and ceasing(滅)- which is transformed according to stages and dimensions of 'arising and ceasing', and phases of mind such as delusion of three fine states(三細) and six rough states(六麤), five consciousness(五意), and six defiled states(六染) are interpreted based on Tathāgatagarbha's and Yogācāra's philosophical system.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.1
• /
• pp.27-37
• /
• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• (The)Study of the Eastern Classic
• /
• no.69
• /
• pp.593-622
• /
• 2017

The purpose of this study is to investigate the characteristics of Confucianism, Buddhism, and Taoism and to examine the characteristics of Intermixture of Three Religions in Journey to the West. This novel, which has the structure of satire, hope, and surrogate satisfaction while being the center of satire and humor, is a refuge for the people. Even today, it can be said, however, that for the people, Confucianism, Buddhism, and Taoism was not a distinctly separate system of religions. Journey to the West story is about the liberation of Buddhism that is obtained through Taoism training. In the celestial world, not all gods are perfect, and often make mistakes. In such a story, the mistakes of beings living as human beings are simply insignificant. What is not different from the structure of life in this world is still a world of nature. The world is rife with absurdities, both on earth and in heaven. The characteristics of Intermixture of Three Religions can be summarized in several ways. First, the Trip of Samjang is not just to gain the enlightenment of illegal but rather to seek a greater sense of meaning. Second, the means to gain enlightenment is that it does not claim that one is right or good. Third, mercy, goodwill, and respect for life for oppressed and exploited peoples are common to all religions. Fourth, this story suggests that everything from the beginning is already a matter of mind. Fifth, all of the logic of Three Religions in this novel can be said to be "preliminary." Human life implies that it is going on a planned path, perhaps as a fate. But the important thing is, as in all religions, even if the road is a planned one, Journey to the West is strongly and persuasively speaking that it is the way of life as well as the attitude of living silently in carrying out its duties.

• The Korean Society of Law and Medicine
• /
• v.17 no.2
• /
• pp.85-124
• /
• 2016

The Human gene testing act (GenDG) in Germany starts from the characteristic features of gene testing, i.e. dualisting structure consisted of anlaysis on the one side and the interpretation on the other side. The linguistic distincion of 'testing', 'anlaysis' and 'judgment' in the act is a fine example. Another important basis of the regulation is the ideological purpose of the law, that is information autonomy. The normative texts as such and the founding principle are the basis of the classification of testing types. Especially in the case of gene testing for medical purpose is classified into testing for diagnostic purpose and predictive purpose. However, those two types are not always clearly differentiated because the predictive value of testing is common in both types. In the legal regulation of gene testing it is therefore important to manage the uncertainty and subjectivity which are inherent in the gene-analysis and the judgment. In GenDG the system ensuring the quality of analysis is set up and GEKO(Commity for gene tisting) based on the section 23 of GenDG concretes the criterium of validity through guidelines. It is also very important in the case of gene testing for medical purpose to set up the system for ensurement of procedural rationality of the interpretation. The interpretation of the results of analysis has a wide spectrum because of the consistent development of technology on the one side and different understandings of different subjects who performs gene testings. Therefore the process should include the communication process for patients in oder that he or she could understand the meaning of gene testing and make plans of life. In GenDG the process of genetic counselling and GEKO concretes the regulation very precisely. The regulation as such in GenDG seems to be very suggestive to Korean legal polic concerning the gene testing.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.2
• /
• pp.1-10
• /
• 2018

This study aims to find out the characteristics of the vegetation landscape characteristics and system which led the formation of the urban image in Jeonju in the late Joseon period connected with urban spatial structure, using designated as treasure No. 1586 which was made in the middle of 18C. The vegetation landscape characteristics of Jeonju in the late Joseon Dynasty derived from the analysis of are summarized as follows. Firstly, the vegetation landscape system in Jeonju is composed of the natural vegetation around mountain area of Jeonju-Buseong, the independent vegetation or cluster planting forests linked with the main facilities, the Bibo-Forests connected with topographical characteristics of Jeonju, and the vegetation combined with a private garden. Secondly, planting landscape was specialized using flag species and local species. Thirdly, the garden-type plantation centered on the back yard or front of main facilities, with the background of natural vegetation landscape combined with the mountain area and the vegetation combined with a private garden, dominates vegetation landscape of Jeonju Buseong as objects. Fourthly, in order to overcome the defects of topographical characteristics, the Bibo-Forests were emphasized as an important planting landscape element in addition to the vegetation landscape elements connected with main facilities. Fifth, ecological vegetation landscape technique was taken considering the topographical characteristics. The characteristics of vegetation landscape of Jeonju Buseong, which is derived from , have an important meaning to restore and reproduce Jeonju's historical features. Especially, the vegetation communities of the non-booming concept combined with the geographical features, the ecological landscape harmonizing with the topography, the round house type landscape mixed with the private house, and the specialization of vegetation landscape using local species are important factors in securing the city image based on the historical characteristics and creating a city brand that utilizes vegetation landscape.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.4
• /
• pp.260-285
• /
• 2021

This article deals with the current status of investigation of the royal tombs of Baekje (Gongju Songsan-ri Tomb, Buyeo Neungsan-ri Tomb, Iksan Ssangneung) from the Japanese colonial period to the present. A review of the maintenance status is also conducted to see if the survey content was actually reflected in the restoration maintenance of the ruins. First, the structure scale and characteristics of the royal tombs of Baekje during the Woongjin and Sabi periods were identified by examining the survey content organized by period and feature. Through the recent re-excavation survey, it was confirmed that the results of the research during the Japanese colonial period were being verified. Next, before examining the maintenance status of the Baekje royal tombs, related content about maintenance of laws and regulations were extracted to establish the maintenance standards. It was confirmed that the most importance part of maintenance is 'maintenance of the original form' without compromising the authenticity of cultural properties. Based on these criteria, the maintenance status was reviewed. The main part of the burial tomb is located underground, so maintenance is mainly made around the tomb, which is the upper structure. However, most of the original burial mounds have been lost or damaged, so it is difficult to determine their original form. In fact, constant changes in the size and location of tombs from the Japanese colonial period to the present were confirmed in the Songsan-ri and Neungsan-ri tombs, meaning that the current maintenance status is problematic. On the other hand, in the case of Ssangneung, not only are the tombs relatively intact, but there are also few changes in the records, so it seems that maintenance was carried out that preserved the original form of the tombs. Therefore, the maintenance of tombs in the future should be based on 'maintaining the original form', but it is recommended that the 'education and utilization' plan be prepared after determining whether or not to restore the tomb and the degree of restoration.

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.147-181
• /
• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.

• Korean Security Journal
• /
• no.36
• /
• pp.139-176
• /
• 2013

It is believed that the Koryo dynasty era is the period which has very special meaning with regard to the history of the VIP guard system. The guard system in the early Koryo dynasty time focused on the official protection for kings and their families with absolute royal authority. On the contrary, the guard system in the late Koryo dynasty time, especially military regime period, conducted providing private protection for military rulers and increasing their power. The official guard troops named 2Gun6Wii became just perfunctory organizations at that time. That is the reason why this study develops the discussion only about the guard system of the early Koryo time. The official VIP guard organizations under the government structure of the early Koryo period were Naegoonbu, Byeongbu and Joongchoowon. This study particularly reviewed the Joongchoowon with thorough research. In the meantime, the guard organizations under the military chart of the early Koryo period were 2Gun6Wii, Gonghakgoon, Geonryonggun and so on. 2Gun consisted of ungyanggun and yonghogun. They were the royal bodyguards. This study especially tried to review the substance of the Gonghakgoon, Geonryonggun with different point of view from other theories. The Gumowwii, one of 6 Wii, conducted many official duties such as royal palace protection, capital city Gaesung defence, area patrols, criminal apprehension and disturbance prevention. It also accomplished crowd control and convoy mission at the streets to respond emergency cases while carrying out VIP protection roles for kings and Chinese diplomats. Many bibliographies verified that the Chunwoowii was the royal bodyguards which helped kings during state ceremonies and grand meetings held by kings. Consequentially, it is true that this study discovered, analyzed and evaluated various references and research materials related with the guard system. It is meaningful that this study newly reviewed the organizations and functions of the guard system as one structure.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.4
• /
• pp.14-23
• /
• 2014

The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).