• Title/Summary/Keyword: 민속신앙

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A Study on the ibo Geomancy in Korea (한국의 裨補風水論)

  • 최원석
    • Journal of the Korean Geographical Society
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    • v.37 no.2
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    • pp.161-176
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    • 2002
  • The Landscape of the Bibo Geomancy is generally showed in Korean traditional settlement. The tradition of the Bibo Geomancy was given much weight in the Korean geographic history of life, so it could be a important research theme. The discussion in my dissertation, 1 insist on that, a comment of the Bibo together with a comment of the selection of proper sites composed as axis in Korean geomancy. As a grounds basis of an argument, 1 described on the concept and the composition of the Bibo Geomancy, the backgrounds of the theory, the historical changes of the Bibo Geomancy in Korea, the form and the function of the Bibo and the comparison with the Bibo-Geomancy of the north-east Asia.

The Royal and Sajik Tree of Joseon Dynasty, the Culturo-social Forestry, and Cultural Sustainability (근세조선의 왕목-사직수, 문화사회적 임업, 그리고 문화적 지속가능성)

  • Yi, Cheong-Ho;Chun, Young Woo
    • Journal of Korean Society of Forest Science
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    • v.98 no.1
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    • pp.66-81
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    • 2009
  • From a new perspective of "humans and the culture of forming and conserving the environment", the sustainable forest management can be reformulated under the concept of "cultural sustainability". Cultural sustainability is based on the emphasis of the high contribution to sustainability of the culture of forming and conserving the environment. This study extracts the implications to cultural sustainability for the modern world by investigating a historical case of the culturo-social pine forestry in the Joseon period of Korea. In the legendary and recorded acts by the first king Taejo, Seonggye Yi, Korean red pine (Pinus densiflora) was the "Royal tree" of Joseon and also the "Sajik tree" related intimately with the Great Sajik Ritual valued as the top rank within the national ritual regime that sustained the Royal Virtue Politics in Confucian political ideology. Into the Neo-Confucian faith and royal rituals of Joseon, elements of geomancy (Feng shui), folk religion, and Buddhism had been amalgamated. The deities worshipped or revered at the Sajik shrine were Earth-god (Sa) and crop-god (Jik). And it is the Earth god and the concrete entity, Sajik tree, that contains the legacy of sylvan religion descended from the ancient times and had been incorporated into the Confucian faith and ritual regime. Korean red pine as the Royal-Sajik tree played a critical role of sustaining the religio-political justification for the rule of the Joseon's Royalty. The religio-political symbolism of Korean red pine was represented in diverse ways. The same pine was used as the timber material of shrine buildings established for the national rituals under Neo-Confucian faith by the royal court of Joseon kingdom before the modern Korea. The symbolic role of pine had also been expressed in the forms of royal tomb forests, the Imposition Forest (Bongsan) for royal coffin timber (Whangjangmok), and the creation, protection, conservation and bureaucratic management of the pine forests in the Inner-four and Outer-four mountains for the capital fortress at Seoul, where the king and his family inhabit. The religio-political management system of pine forests parallels well with the kingdom's economic forest management system, called "Pine Policy", with an array of pine cultivation forests and Prohibition Forests (Geumsan) in the earlier period, and that of Imposition Forests in the later period. The royal pine culture with the economic forest management system had influenced on the public consciousness and the common people seem to have coined Malrimgat, a pure Korean word that is interchangeable with the Chinesecharacter words of prohibition-cultivation land or forest (禁養地, 禁養林) practiced in the royal tomb forests, and Prohibition and Imposition Forests, which contained prohibition landmarks (Geumpyo) made of stone and rock on the boundaries. A culturo-social forestry, in which Sajik altar, royal tomb forests, Whangjang pine Prohibition and Imposition forests and the capital Inner-four and Outer-four mountain forests consist, was being put into practice in Joseon. In Joseon dynastry, the Neo-Confucian faith and royal rituals with geomancy, folk religion, and Buddhism incorporated has also played a critical humanistic role for the culturo-social pine forestry, the one higher in values than that of the economic pine forestry. The implications have been extracted from the historical case study on the Royal-Sajik tree and culturo-social forestry of Joseon : Cultural sustainability, in which the interaction between humans and environment maintains a long-term culturo-natural equilibrium or balance for many generations, emphasizes the importance that the modern humans who form and conserve environment need to rediscover and transform their culturo-natural legacy into conservation for many generations and produce knowledge of sustainability science, the transdisciplinary knowledge for the interaction between environment and humans, which fulfills the cultural, social and spiritual needs.

The Study of the Regional Community and the Main Group of Ritual in Seoul during the Period of Japan's Colonial Rule of Korea - With Emphasis on Gwanseongmyo in Jangchung-dong - (일제강점기 서울 지역사회와 의례 주도 집단의 변화 -장충동 지역과 관성묘 영신사를 중심으로-)

  • Kim, Tae-woo
    • Korean Journal of Heritage: History & Science
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    • v.46 no.3
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    • pp.16-31
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    • 2013
  • This study addresses how the main group of community ritual changed as the regional community changed during the period of Japan's colonial rule of Korea with emphasis on Gwanseongmyo in Jangchung-dong, Seoul. First, almost every regional community was changed because of city planning which was carried out by Japan in Korea for colonial exploitation and for the use of military bases. Mapo-dong and Seobinggo-dong were the appropriate examples. The city planning projects by the Japanese colonial government selected Jangchung-dong as the place of settlement of many Japanese people. The stream, Cheonggyecheon, made a border between the Korean and Japanese settlements and the traditional system of regional community in Jangchung-dong was changed and reorganized considerably. Second, the Japanese government used the rituals of regional community purposefully to combine them with the ceremony in the Japanese shrine. Those who supported Japan performed the regional rituals and tried to follow the policy of 'Rule of Culture' required by the Japanese colonial government. However, most regional rituals continued as they were before Japan's colonial rule of Korea without any change. Under this new trend the ritual of Gwanseongmyo was changed from the ritual for worshipping Guan Yu to that of the regional community. Last, the main groups that led the rituals of regional community were diversified during the period of Japan's colonial rule of Korea. In other words, the rituals of community used to be led by the families that lived in the region for generations before Japan's colonial rule of Korea. However, they were later led by various groups that emerged as a result of the colonial rule, urbanization, commercial development, regional differentiation, and so on. As an example,Yeongsinsa of Gwanseongmyo,which was the main group to lead the ritual of Gwanseongmyo, shows that the regional community rituals were extended to worshipping Guan Yu. The members of the main group to lead the ritual were pro-Japanese senior officials who were formerly military officers. This shows that the main groups leading the regional community rituals were further diversified.

A study of the gods worshiped in the Japanese homes of Utsunoya Village in Shizuoka (일본의 가정에서 모시는 신 연구 - 시즈오카현 우쓰노야 마을을 중심으로 -)

  • KIM, Dukmuk
    • Korean Journal of Heritage: History & Science
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    • v.54 no.4
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    • pp.212-231
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    • 2021
  • This study examines the types of gods worshiped in the homes of Utsunoya village, the places where they are enshrined, the rituals and food offered to the gods, the decorations during the rituals, and the people's beliefs. Also, by comparing the gods worshiped in houses in remote Utsunoya with those of downtown Shizuoka, the differences and changes in the gods worshiped in the two contemporary spaces were predicted. Today, the gods enshrined in Utsunoya's houses are amatelaseu oomikami (天照大神), ancestor, ebisu, daigoku, kojin, inari, the god of the toilet, the god of land, and the god of water. From December 31st to January 3rd and on January 15th, Obon (July 15th), October when there is a festival at the village shrine, and on Ebisu Day (October 19th and 20th), residents offer drinks and food to the gods. Japanese beliefs at home are polytheistic in nature. They maintain national identity through kamidana and maintain family identity through ancestor worship linked to the Buddhist altar. The Japanese beliefs at home are firmly established in the background of the home, the base of family life. Japanese houses have a strong character as a religious space where they coexist "with the gods," and the residents have a cultural tradition of living with the gods.

A Study on 'Zhongkui(鍾馗) Performances' of Calendaric Rituals in the Jiaofang(敎坊) of the Ming dynasty (명대 교방(敎坊)의 세시의례 속 '종규(鍾馗) 공연' 연구)

  • Kim, Soon-Hee
    • (The) Research of the performance art and culture
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    • no.39
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    • pp.223-277
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    • 2019
  • Based on the text reference from the Variety Theatre compiled and performed by the Jiaofang of the Ming Dynasty Palace, the characteristics of Zhongkui performance in the New Year Ceremony was analyzed focusing on the differentiation and diachronic change in aspect between court dance and civilian. In China's folk beliefs, 'Zhongkui' is regarded as a representative spirit of fighting against evil spirits. Relevant rituals and performing arts have been held mainly on New Year's Eve or the Dragon Boat Festival. Although extensive research has been conducted in various fields, the situation of Zhongkui performance was largely unnoticed, only generally addressed in China, even with the given fact that the Ming Dynasty's text reference of miscellaneous court dance was exclusively retained, Therefore, the analysis intends to propose Zhongkui performances of Calendaric Rituals in the aspect of its elements and differentiate the play handed down among people as a specific example. Through the text analysis of miscellaneous court dance, 'Imperial examination' and religious belief was regulated usuriously by a so-called edification expressed as imperial reign ideology extracted to an implementation situation, revealing that this court dance was characterized by a variety of performances including the 'Zhongkui'. The results of the following study intends to provide a positive foundation for not only the field of Chinese studies but also the field of Korean literature, theatre, dance, folklore, religion, anthropology and art.

Distribution and Status of the Big and Old Trees as Plant Genetic Resources in Ansung City (경기도 안성지역의 노거수 식물유전자원 분포 및 실태)

  • 안영희;최광율
    • Korean Journal of Plant Resources
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    • v.16 no.2
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    • pp.99-108
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    • 2003
  • This study was carried out to make a standard criteria for protection and maintenance of the big and old trees in Ansung city, Kyonggi Prvince. There have been found 6 vegetative species cultivated in this area, which are Zelkova serrata, Gingko biloba, Kalopanax pictus, Pyrus ussuriensis var. macrostipes, Pyrus ussuriensis var. acidula, Pinus densiflora, etc. The Zelkova serrata tree is the major species among them and about 73.5% in the population of the big and old trees in this area. The DBH (diameter at brest height) of them is 1.5-1.9m in 29.4% of whole population and the tree height is 10-l4m in 47.1%. The estimate age of 7 trees is more than 500 years old and they were 20.6% of the whole population. Interesting point is that about 64.7% of these trees in this area have own succeed story in terms of folk religion, object of worship, taboo, legend or secret. This study has also revealed that many fowls, small animals and epiphyte inhabited with the big and old trees have been found. However, 97.1% of them are in danger from the plant disease and noxious insects or cutting damage of branches, but no management has been taken. More over, 85.3% of the whole investigated big and old trees have been in the poor condition for percolation or aeration because the area around them has been payed with asphalt or concrete.

Ideological Background of Paving Patterns of Classical Gardens in Suzhou, China (중국 쑤저우 고전원림 포장문양의 사상적 배경 고찰)

  • Niu, Zi-Chi;Ahn, Gye-Bog
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.33 no.3
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    • pp.58-65
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    • 2015
  • Compared to pavement of Chinese palace gardens, those of private gardens in south part of the Yangtze River(長江) in China shows variety of patterns. In order to figure out what causes the difference in paving pattern, this article focuses on the traditional Chinese ideologies during the all time. An analysis on 'Classical Gardens of Suzhou', which has been designated as UNESCO World Heritage, was used to determine how ideologies have influence on paving pattern of Classical Gardens. As a result, various Chinese ideologies such as Nature worship, Totemism, Confucianism, Taoism, Buddhism, and Folk Culture were found in paving patterns of the private gardens. Pattern of sun in the Retreat & Reflection Garden(Toisawon) is an example of Nature worship among primitive beliefs of ancient China. Phoenix pattern of the Couple's Retreat Garden(Ouyuan, Liuyuan) reflects Totemistic beliefs. Confucianism is the underlying philosophy of Eight Square pattern, Six Square pattern, and Cross Square pattern. These patterns were mainly used to pave large area and easily found in many gardens. Patterns reflect Taoism are "Wufu holding life" pattern(the Five blessing holding life, 五福捧壽), Flat peach pattern, and Alluding Eight Immortals pattern. Paving patterns related to Buddhism are patterns of 'Eight treasures' and Endless knot pattern appears most frequently since it expresses concept of reincarnation well. Paving patterns shows folk culture and beliefs of the time in China are bat, butterfly, dragonfly, frog, carp, and coin(ingot).

Species and Distribution of Native Wild Mushrooms Traditionally using in Jeju Island (전통적으로 이용되는 제주 야생버섯의 종류와 분포)

  • Ko, Pyung-Yeol;Lee, Seung-Hak;Jeun, Yong-Chull
    • The Korean Journal of Mycology
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    • v.40 no.1
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    • pp.39-43
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    • 2012
  • The knowledge of native wild mushrooms traditionally using in Jeju Island, that have specific native environment and various biodiversity, was investigated. From Jeju and Seogwipo cities including 7 provinces 4 locals, so total 50 villages, data was collected in the entire area and voice of the 93 elderly people between the age of fifty and ninety were recorded. As a result, total 23 native wild mushrooms were used in which 2 species were poisonous mushrooms, 7 species were medicinal mushrooms, 2 species was used for folk religion, 2 species were not used for living but for attention and 12 species were edible mushrooms. Also, a total of 267 cases of traditional knowledge was collected, in which 197 cases were about edible mushrooms for 12 species, 43 cases were about poisonous mushrooms for 2 species, 16 cases were about medicinal mushrooms for 7 species. Interestingly, the fortune for agriculture was told depending on spore mass release of Cyathus stercoreus which grows in animal feces and compost. It is considered as the distinctive traditional knowledge of Jeju Island.

A Study on the Characteristics of Character Modeling Art in Shanxi Shadow Puppetry (산시성 피영극 캐릭터 조형예술특징에 관한 연구)

  • JIN-DI HU;Hee-kyung Lim
    • Journal of the Korean Applied Science and Technology
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    • v.41 no.3
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    • pp.666-672
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    • 2024
  • Shadow puppetry (皮影戏) is a traditional Chinese folk art that was inscribed in 2011 as an Intangible Cultural Heritage of Humanity by UNESCO. This study focuses on analyzing the character sculptures, colors, and patterns recorded in professional books from Shanxi Province in northern China. The findings indicate that Shanxi shadow puppetry can be categorized into two types. The 'Xiaoyi' in northern Shanxi mainly features characters from the story of 'The Investiture of the Gods' (封神演义) and is characterized by the use of both intaglio and relief carving, dark colors, and a paper screen background. The 'Houma' shadow puppetry in southern Shanxi is influenced by the traditional Shanxi opera 'Jinju' (晋剧) and features four roles: Sheng (生), Dan (旦), Jing (净), and Chou (丑), using a mesh screen background. Shadow puppetry represents costumes, beliefs, lifestyles, social status, social systems, and Confucian culture from the Song, Ming, and Qing dynasties, utilizing both intaglio and relief elements, and traditional five-element colors(五行色). This study aims to understand the characteristics of the modeling art in Shanxi shadow puppetry, and to maintain the traditional craft features while adding innovative elements from animation and film, thereby promoting and preserving the traditional values of shadow puppetry culture for children and youth.

The study of the Korean Traditional Hybrid Character Shape: for Jangseung and Dokkaebi (한국형 전통 하이브리드 캐릭터 형상 연구: 장승과 도깨비를 중심으로)

  • Lee, Chae Ron;Lee, Young-Suk
    • Cartoon and Animation Studies
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    • s.31
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    • pp.1-27
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    • 2013
  • The study looks a shape of hybrid character in animation and suggests extended discussion to develop the Korean creative characters and to repeat traditional culture that can reproduce in mass media. First, this study considers Jangseung and Dokkaebi that appear frequently in the Korean traditional culture, and prepares a way to try to develop the Korean hybrid characters. To do this, I analyze examples of hybrid characters direction in as-found animation characters, and grasp the meaning of it. Hybrid character is classified as a character produced by mix and combination of shape and a character produced by shape exaggeration. And I shed new light on characters and meanings of Jangseung and Dokkaebi remaining as cultural assets. Through this, the study wants to help handling measure about a problem of character that the Korean animation has. Therefore, this study looks characters of description about imaginary creatures expressed in existing animations, and wants to shed new light on the Korean Jangseung and Dokkaebi regarded as from an object of folk religion and custom, to an object that is possible to use in the Korean traditional character development.