• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.238-259
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• 2021

Gameunsa Temple is a Buddhist temple from the mid-Silla period. Construction began during the reign of King Munmu and was completed during the second year of King Sinmun's reign (682). This study is based on the results of excavations at the Gameunsa Temple site, exploring the findings presented in the literature in the field of history. This study also investigates the characteristics of the construction plan of Gameunsa Temple and its correlation with the political, social, and religious environment of the time. The results of the study are as follows: (1) First, it is confirmed that all of the buildings in the central block of Gameunsa Temple, such as the pagoda and corridor, the central gate, and the auditorium, fit within 216 cheoks by 216 cheoks (Goguryeo unit of measurement, estimated dimensions 353.30 mm), in terms of the base structure. This fact is highly significant considering the intent of the King in the mid-Silla period to advocate Confucian political ideals at the Donghaegu sites (Daewangam, Igyeondae Pavilion, and Gameunsa Temple), as confirmed by the relationship between the 'Manpasikjeok legend' and the Confucianism of the etiquette and the music; the relationship between the name of the 'Igyeondae Pavilion' and the 'I Ching'; and the relationship between the 'Taegeuk stones excavated from the Gameunsa Temple site' and the 'I Ching.' Additionally, it may be presumed that the number in the "Qian 216" on the Xici shang of 'I Ching' was used as a basis for determining the size of the central block in the early stages of the design of Gameunsa Temple. The layout of the halls and pagodas of Gameunsa Temple was planned to be within a 216-cheok-by-216-cheok area, from the edge to the center, i.e., on the central axis of the temple, in the following order: the central gate and auditorium, the north-south position of Geumdang Hall, the south corridor, the east-west buildings of the auditorium and the winged corridor, the east-west corridor, and the central position of the east-west stone pagoda. (2) Second, the coexistence of Confucianism and Buddhism in the architecture of Gameunsa Temple is based on the understanding of the Golden Light Sutra, originating from the aspirations of King Munmu to obtain the immeasurable merits (陰陽調和時不越序 日月星宿不失常度 風雨隨時無諸災横) and the light of the Buddha, which is metaphorically represented by the sun and the moon illuminating the whole world of Silla, a new nation with a Confucian political ideology, for a long time by "circumambulating the Buddha (旋繞)". It is also presumed that Gyeongheung, who was appointed by King Munmu to be the Guksa in his will and appointed as the Gukro after the enthronement of King Sinmun, was deeply involved in the conception and realization of the syncretism of Confucianism and Buddhism.

• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.153-182
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• 2021

The Buddhist monk, Kim Ji-jang (金地藏), a native of Silla, is still revered as Ksitigarbha Bodhisattva in China. In Chinese Buddhism, Kim Ji-jang's becoming Ksitigarbha Bodhisattva is unique in at least two ways. First, it is said that his becoming the bodhisattva originated not in Silla, but in China, a foreign country. Second, it is said that the historical person became regarded as a mythical being, Ksitigarbha Bodhisattva. The process of Kim Ji-jang's becoming Bodhisattva can be divided into three periods. The first period is the period of entering and practicing at Mount Jiuhua in China, and this also includes the period wherein he was first revered as Ksitigarbha Bodhisattva. The second period begins immediately after Kim Ji-jang's death and ends three years later. In this period he became regarded as Ksitigarbha Bodhisattva. The third period spans three years after his death to the present age. His status as Ksitigarbha Bodhisattva carries on at present. There are two main causes for Kim Ji-jang's transformation into the bodhisattva. The first is an internal bodhisattva process. According to Ksitigarbha Bodhisattva's main vow, Kim Ji-jang's practice and edification impressed the public. The second is an external bodhisattva process. The miracles that appeared at the time of his death or the manifestation of the incorruptible relics three years after his death played a decisive role in the process of Kim Ji-jang becoming a bodhisattva. In line with the public's devotion, the Chinese imperial family repaired and supported the temple that enshrined the relics of Kim Ji-jang. Various factors could be analyzed in the process of Kim Ji-jang's becoming Ksitigarbha Bodhisattva, but more than anything else, it was Kim Ji-jang's severe ascetic practices and his virtuous edification of others.

• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.1-46
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• 2021

Since ancient times, the word Deok (德, virtue) has been used as a term in ethics. In the east, it originally meant 'to acquire (得),' and during the warring states period, it was used to indicate 'personality' or 'value;' especially for political leaders. Then, in Confucianism, the word Deok developed into an ethical term suggesting that people should acquire Deok in their action so as to achieve human perfection. In Daesoon Thought, Deok originates from the Dao, and the two are close in the same manner that Yin and Yang are close and interrelated. The Dao of Daesoon Thought indicates the Great Dao of Heaven and Earth, which Gucheon Sangje had opened when he performed his Gongbu (holy work) at Daewonsa Temple, is such that the Great Deok was divided into the Deok of Heaven, the Deok of Earth, and the Deok of Humanity. This allows for the realization of Deok in each of the Three Realms. Jo Jeongsan, the successor of Gucheon Sangje, said that he will inherit the Great Deok originated from the Great Dao and enlighten the world to the Dao. The cause of the accumulation of grievances in the Three Realms was due to the failure to sufficiently spread Deok throughout the Three Realms. The Later World is where Deok will be offered in its full extent as it was secured by the Cheonjigongsa (Reordering Works of Heaven and Earth) performed by Gucheon Sangje. However, as the main agent of spreading Deok is the heart-mind, humans need to cultivate their heart-mind in the correct way. When humans finally become Dotong-gunja (beings who are perfectly unified with the Dao) and generously practice Deok in the world, there will be no grievances anywhere in the Three Realms. There are four ways of practicing Deok: Deok by caring for life, Eondeok (Deok of speech), Gongdeok (practicing meritorious Deok), and Podeok (spreading of Deok) to the world. Practicing the Deok by caring for life is to save and protect living beings based on the spirit of Jesaenguise (saving lives and curing the world). Eondeok is practiced when people speak to others in a positive way that fosters widespread goodness based on the spirit of Sangsaeng (mutual beneficence). When people perform Gongdeok they will be rewarded for their actions. Podeok can be realized when the followers of Sangje spread the Great Dao of Heaven and Earth based on the teachings of Daesoon Thought.

• Industry Promotion Research
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• v.7 no.3
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• pp.115-124
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• 2022

The most difficult things, when we study the future-telling science of human destiny, are in case of what one's individual's fate is bad which is shown by Saju-Palza(四柱八字), In that case, we have faced the problems on how we live ; to follow or to deny our fate under the brief of improving our lives by trying to make hard efforts, regardless of the bad Saju-Palza(四柱八字). However, we can hardly find the clear answer to those questions. 『Liao Fan 4 lessons(了凡四訓)』 shows that one's destiny can be improved by accumulating good deeds despite of the bad Saju-Palza(四柱八字). Someone says that future can be created, not be foreseen. As well, Dr. Steven Coby says that the best definite way to forecast future is in creating the future. Anyhow, the strong desire and curiosity to know one's individual's future is having been lasted until now since the Genesis. we guess these desires may be one of our basic instinct. If then, the function and role of the future-telling science will be to increase the accuracy of future prediction, whether our fate has been fixed or been able to be changeable. Therefore, this study summarizes the definition of confusing terms, focusing on Gyeokguk(格局) and Sangshin(相神), the core of Myeongrihak(命理學), which is considered to be one of the most popular future-telling science. Concering Gyeok(格), in this paper, Nae-Gyeok(內格) has been mainly considered and Oi-Gyeok(外格) or Special-Gyeok(別格) have not been addressed. Specifically, it summarized the views of the classical Myeongri(命理) books and modern scholars on Gyeokguk(格局) and Yongshin(用神). In particular, it also summarized the comparison of various concepts of Gyeokguk(格局), the advantages and disadvantages of each Nae-Gyeok(內格)'s characteristic, the determination order of Nae-Gyeok(內格) and the good case and bad case of it's Gyeok(格). In addition, it was necessary to summarize the concept of Sangshin(相神), which was talked about in 『Japyeongjinjeon』 and to briefly summarize Heeshin(喜神) with a broader concept than Sangshin(相神). The different usage of Sangshin(相神) was also analyzed, between the priority interpretation of Cheongan(天干) in Day-Column(日柱) and the interpretation based on Jijee(地支) in Month-Column(月柱). Finally, this paper was completed, leaving it later as a research task, the confusion that comes from the scholars' acceptance of the comprehensive diversity on the same term.

• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• Korean Journal of Soil Science and Fertilizer
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• v.11 no.2
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• pp.97-104
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• 1979

According to Soil Taxonomy which has been developed over the past 20 years in the soil conservation service of the U. S. D. A, Soils in Korea are classified. This system is well suited for the classification of the most of soils. But paddy field soils have some difficulties in classification because Soil Taxonomy states no proposals have yet been developed for classifying artificially irrigated soils. This paper discusses some problems in the application of Taxonomy and suggestes the classification of paddy field soils in Korea. Following is the summary of the paper. 1. Anthro aquic, Aquic Udipsamments : The top soils of these soils are saturated with irrigated water at some time of year and have mottles of low chroma(2 or less) more than 50cm of the soil surface. (Ex. Sadu, Geumcheon series) 2. Anthroaquic Udipsamments : These sails are like Anthroaquic, Aquic Udipsamments except for the mottles of low chroma within 50cm of the soil surface. (Ex. Baegsu series) 3. Halic Psammaquents : These soils contain enough salts as distributed in the profile that they interfere with the growth of most crop plants and located on the coastal dunes. The water table fluctuates with the tides. (Ex. Nagcheon series) 4. Anthroaquic, Aquic Udifluvents : They have some mottles that have chroma of 2 or less in more than 50cm of the surface. The upper horizon is saturated with irrigated water at sometime. (Ex. Maryeong series) 5. Anthro aquic Udifluvents : These soils are saturated with irrigated water at some time of year and have mottles of low chroma(2 or less) within 50cm of the surface soils. (Ex. Haenggog series) 6. Fluventic Haplaquepts : These soils have a content of organic carbon that decreases irregularly with depth and do not have an argillic horizon in any part of the pedon. Since ground water occur on the surface or near the surface, they are dominantly gray soils in a thick mineral regolith. (Ex Baeggu, Hagseong series) 7. Fluventic Thapto-Histic Haplaquepts : These soils have a buried organic matter layer and the upper boundary is within 1m of the surface. Other properties are same as Fluventic Haplaquepts. (Ex. Gongdeog, Seotan series) 8. Fluventic Aeric Haplaquepts : These soils have a horizon that has chroma too high for Fluventic Haplaquepts. The higher chroma is thought to indicate either a shorter period of saturation of the whole soils with water or some what deeper ground water than in the Fluventic Haplaquepts. The correlation of color with soil drainage classes is imperfect. (Ex. Mangyeong, Jeonbug series) 9. Fluventic Thapto-Histic Aeric Haplaquepts : These soils are similar to Fluventic Thapto Histic Haplaquepts except for the deeper ground water. (Ex. Bongnam series) 10. Fluventic Aeric Sulfic Haplaquepts : These soils are similar to Fluventic Aeric Haplaquepts except for the yellow mottles and low pH (<4.0) in some part between 50 and 150cm of the surface. (Ex. Deunggu series) 11. Fluventic Sulfaquepts : These soils are extremely acid and toxic to most plant. Their horizons are mostly dark gray and have yellow mottles of iron sulfate with in 50cm of the soil surface. They occur mainly in coastal marshes near the mouth of rivers. (Ex. Bongrim, Haecheog series) 12. Fluventic Aeric Sulfaquepts : They have a horizon that has chroma too high for Fluventic Sulfaquepts. Other properties are same as Fluventic Sulfaquepts. (Ex. Gimhae series) 13. Anthroaquic Fluvaquentic Eutrochrepts : These soils have mottles of low chroma in more than 50cm of the surface due to irrigated water. The base saturation is 60 percent or more in some subhroizon that is between depth of 25 and 75cm below the surface. (Ex. Jangyu, Chilgog series) 14. Anthroaquic Dystric Fluventic Eutrochrepts : These soils are similar to Anthroaquic Fluvaquentic Eutrochrepts except for the low chroma within 50cm of the surface. (Ex. Weolgog, Gyeongsan series) 15. Anthroaquic Fluventic Dystrochrepts : These soils have mottles that have chroma of 2 or less within 50cm of the soil surface due to artificial irrigation. They have lower base saturation (<60 percert) in all subhorizons between depths of 25 and 75cm below the soil surface. (Ex. Gocheon, Bigog series) 16. Anthro aquic Eutrandepts : These soils are similar to Anthroaquic Dystric Fluventic Eutrochrepts except for lower bulk density in the horizon. (Ex. Daejeong series) 17. Anthroaquic Hapludalfs : These soils' have a surface that is saturated with irrigated water at some time and have chroma of 2 or less in the matrix and higher chroma of mottles within 50cm of the surface. (Ex. Hwadong, Yongsu series) 18. Anthro aquic, Aquic Hapludalfs : These soils are similar to Anthro aquic Hapludalfs except for the matrix that has chroma 2 or less and higher chroma of mottles in more than 50cm of the surface. (Ex. Geugrag, Deogpyeong se ries)