• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.57-67
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• 2012

This study draws the following conclusions about the nature garden culture with crane that is a dynamic landscaping factor introduced into nature garden by analyzing the literatures on cranes written and landscapes painted in Chosun Dynasty. First, crane symbolizes such Buddhist, Taoist and Confucius media as appearance of Buddha, desire for Taoist hermit world and long life, and a solitary's life of proud loneliness. It has been recorded that crane was raised from the Three Nations Era till the Japanese occupation and Confucius scholars in Chosun Dynasty opened shows concerning crane or formed literature groups enjoying poems of it, and often using crane as their denial of going into government service. Second, in order to introduce crane to nature garden, people caught wild crane and made a fence and some kind of pond for their growth. In addition, crane was strictly managed by appointed slaves and they trained crane for dancing and then tended to allow a crane to play on the yard in terms of abstract meaning or got two cranes free in consideration of their ecology. Third, for more appreciation of crane and the expression of some symbolism matching for it, both plum and pine, which mean a solitary's life and long life respectively, were planted in nature garden. And, Confucius scholars in Chosun Dynasty also enjoyed their refined tastes with appreciation, napping, reading and playing the harp, accompanied by crane. As aforementioned, Confucius scholars in Chosun Dynasty did not only draw the meaning symbolized by cranes and write poems about such symbolic meaning, but also positively introduce crane into nature garden as a dynamic landscaping factor, so that they enjoyed synesthetic senses including looks, motions and sounds of cranes for their refined tastes.

• Journal of Korean Historical Folklife
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• no.45
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• pp.7-50
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• 2014

This study focuses on the funeral rites for Queen Wongyeong during the early Joseon period as part of a review of the changes in the state funeral system and ceremonial procedures. Conducted by the king in his role as chief mourner, the state funeral for King Taejong's wife Queen Wongyeong that emerged during the 2nd year of King Sejong marked the first example recorded in the sillok (Annals of the Joseon Dynasty) of the three year-mourning rite being applied. In terms of the clothing for the state funeral, the significance of Jolgok (a rite conducted on the 100th day following the day of death) was emphasized, while the existing yeokwolje (period of wearing mourning clothes, one month was equated with one day) was abandoned. The existing temporary office system for state funerals was reorganized into a three-office system consisting of the Binjeon dogam (Office for Chapel of Rest), Gukjang dogam (Office for Funeral Rites), and Salleung dogam (Office for the Establishment of Royal Tombs). Buddhism-related rites greatly decreased and were increasingly regulated. The ceremonial procedures were also modified in accordance with the rites directly conducted by the king during the three-year mourning period. The basic pattern of the ceremonial procedure consisted of kneeling / wailing - salute - kneeling/ wailing, and, based on the wuje (rites to console the deceased), was divided into 'make offerings to the deceased' (奠, jeon) and 'hold a memorial service for the deceased' (祭, je). This reflected the differing perceptions of jeon (奠) and je (祭) following the establishment of auspicious rites (gillye) during the reign of King Taejong. In short, the state funeral for Queen Wongyeong provides materials with which to analyze the establishment of the funeral rites and ceremonial procedures designed based on the actual three-year mourning period observed by the king, study the ritual ceremonies conducted during the ancient period, as well as foster an understanding of ancient systems.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• Korean Journal of Soil Science and Fertilizer
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• v.42 no.1
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• pp.58-64
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• 2009

The objectives of this study were to investigate the aggregate fragmentation in wet-sieving and to evaluate the relationship between the aggregate fragmentation fractal dimension and macro-porosity of upland soils, using three different textural types of soils including Gopyeng series (Fine, Typic Hapludalfs), Gyuam series (Fine silty over coarse silty, Fluvaquentic Eutrudepts), and Jungdong series (Coarse loamy, Typic Udifluvents) located in Gyeonggi province. Undisturbed soil samples with five replicates were seasonally sampled and used for measuring water stable aggregate, macropores, and physico-chemical properties of soils. The aggregate stability in wet-sieving was digitalized as three types of fragmentation fractal dimension ($D_f$), geometric mean diameter (GMD), and mean weight diameter (MWD). $D_f$ had higher correlation with GMD than with MWD. Seasonal aggregate stability showed the highest values in summer, and decreased in the order of spring and autumn. The macroporosity had higher in topsoil, in autumn, and in ridge, than in plow pan layer, in summer, and in row, respectively. The relationship between $D_f$ and macroporosity, especially more than 99 m, showed high correlation only in soils with $D_f$ less than 3.1, which means more aggregated soils compared to soils with $D_f$ more than 3.1. Besides, in the soils with the fractal dimension less than 3.1, the power function relation between saturated hydraulic conductivity and macroporosity more than 99 m had relatively high determinant coefficient, and vice versa. Therefore, it could be thought that fragmentation fractal dimension is available for confirming macroporosity induced from aggregation.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.676-687
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• 2021

The main purpose of this study is to study the effect of a program to improve self-esteem and positive thinking in middle-aged women using Buddha Ball meditation. In order to achieve this research purpose, the subject of this study was middle-aged female Buddhists at Temple H in Busan who were interested in 'Buddha Ball'. For the analysis method, empirical analysis was performed using the One Group Pretest-Posttest Design of this study. The main research results are as follows. First, as a result of examining the effect of Buddha Ball meditation on the quality of life, it could be seen that the overall quality of life had a significant positive (+) effect on the experimental group. Second, as a result of examining the effect of Buddha Ball meditation on self-esteem, it could be seen that self-esteem had a significant positive (+) effect on the experimental group. Third, as a result of examining the effect of Buddha Ball meditation on positive thinking, it could be seen that the entire positive thinking had a significant positive (+) effect on the experimental group. Based on these research results, the main conclusion was that the Buddha Ball, a healing meditation tool using the sound wave energy, had a positive effect on the self-esteem and quality of life of middle-aged women Buddhists. Accordingly, it is judged that the Buddha Ball meditation program has a positive use value for middle-aged women who are experiencing more complex psychological difficulties due to individual, family, and social environmental conditions. In addition, by preparing a system that can actively utilize the Buddha Ball meditation program educationally and politically, the implications of the justification and necessity of using it to improve the self-esteem, positive thinking and quality of life of middle-aged women were presented.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.4
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• pp.430-440
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• 2021

The purpose of this study was to analyze the degree of depression, cognitive function, communication ability, and the quantitative electroencephalogram (EEG) in elderly individuals with hearing loss and to investigate their inter-relationship. Hearing-impaired elderly participants, aged 60 years or older (37 men and 26 women) who visited the S Hearing Rehabilitation Center in Y City from June 20, 2020, to September 3, 2020, participated voluntarily after a recruitment announcement.The participants' overall characteristics, depression, and cognitive functions were evaluated with a structured questionnaire. The Word Recognition Score (WRS) was evaluated with an audiometer using the Korean Standard Monosyllabic Word Lists for Adults (KS-MWL-A). The quantitative EEG was measured with dry electrodes using a 2-channel EEG on the frontal lobes Fp1 and Fp2. The results are summarized as follows: Communication ability showed a positive correlation with the left-right symmetry of the frontal lobes (**p<.01) and a negative correlation with right-brain mental distraction and stress (*p<.05). In the difference WRS test for each group, the left-right symmetry of the frontal lobes (**p<.01) showed the greatest correlation with communication ability. Our results suggest that the left-right symmetry of the frontal lobes can be a biomarker indicative of the communication ability of older people with hearing impairments.

• (The) Research of the performance art and culture
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• no.37
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• pp.327-363
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• 2018

Bhutan's mask dance drama, Cham is performed in the festival of Tshechu. Originating from the 17th century, Tschechu is a religious ritual as well as a traditional festival held to commemorate the birth of Padmasambhava, who spread Buddhism in the kingdom of Bhutan. Bhutanese Cham and Tibetan Cham share similar traits in their content of , , and in their characters of Pawo and Pamo. Meanwhile, , , , , , , , are distinctive performances of Bhutanese cham. Moreover, the clown character Atsara in Bhutanese cham is a character that does not appear in the Tibetan Cham. Atsara, a humorous character, can be identified by its use of a long phallus ornament on the head or by a distorted face mask with a phallus in its hand. Bhutanese Cham, originally from Tibet, is a religious mask dance drama handed down in Lamaism temples. In later generations, new performances reflective of Bhutan's history, myth, legends, and religion were added in large amount. Thus, the Cham of Bhutan now has very independent and characteristic aspects.

• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.98-112
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• 2018

In order to find out policy and practical implications to support recovering drug addicts in a holistic way, This study conducted in-depth interviews with five research participants using Giorgi's phenomenological study method to understand the meaning of spiritual experience of recovering drug addicts. According to data analysis, these spirituality experiences appeared as two thematic themes: 'experience of relationship with a divine being' and 'experience of inherent transcendence'. Three sub-themes of 'fear and scary existence', 'hanging object' and 'embracing existence' were derived from the essence theme of 'experience of relationship with a divine being' and 'immanent transcendental experience' was conceptualized into four sub-themes: 'facing existence', 'psychological reconstruction', 'mental maturity', and 'a way to go alone'. Based on this, spiritual experiences of recovery drug addicts showed that religion itself exerted a considerable influence on their spiritual experience and their spiritual experience was closely related to the recovery of humanity. Also, 'intrinsic transcendental experience' suggested that two essential themes of spiritual experience were closely interrelated in a mutual cyclical relationship. Based on the results, We discusses the major intervention plan for the recovery drug addicts that the social welfare system can consider.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.92-101
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• 2018

It is important to inherit and develop the unique cultural characteristics of each country and region in the trend of globalization. The traditional lighting fixtures in China are the main artifacts that can be used to extract the cultural aesthetics and practicality of the people, and are a major relic of the people's cultural sensitivities and practicalities. The purpose of this study is to understand the background of the time and the meaning of national culture through the lighting equipment of the most revived Tang Dynasty in Chinese history. The purpose of this paper is to examine the development trend of lighting equipment in the Tang Dynasty through the recognition of the social background, religious thought, cultural characteristics, and characteristics of lighting fixtures in the Tang Dynasty. In this paper, we analyzed seven factors (function, molding, fuel, usage space, usage method, religious thought, and living environment) of the Tang dynasty lighting fixtures through multiple factor analysis method. In addition, the Tang Dynasty period lighting fixtures had four trends: "popularization of lighting, universal simplification of molding, diversification of use, and spread of Buddhist influence." This tendency has a meaning to provide a new motive for modern lighting design in the context of cultural uniqueness and perspectives.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.172-197
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• 2009

The stone stupas of the Mireuk Temple Site and Jeongnim Temple Site were the beginning of Korean stone stupa and the unique ones stemming from the Baeje period. Therefore, the work of investigating the characteristics of these two stone stupas would give us a basis for understanding Korean stone stupas in a large scale and Baekje-style stone stupas in a narrow sense. As shown in some records, the excellent architectural skills of Baekje could be known by the fact that Abiji was invited to the building of Hwangryong Wooden stupa, one of the national undertakings of Shilla and the skills and styles related to stone stupas were thought to be disseminated in this process. However, it has not been very convincing that the stone stupas with Baekje styles were disconnected in an instant with the unification of Shilla, in terms that culture and art would inherited and developed. The current academic circle set a frame and defined all these types of stone stupas as Baekje-system stone stupas built in Goryeo period and put them in a uniformly chronological order. The popularization of Buddhism, support of regionally powerful clans and cultural revival were suggested as the factors of their appearance, but it seemed difficult to be assured that these led Baeje-style stone stupas to reappear in a moment by breaking the gap of about 300 years. Of course, it has not been active in Gyeongju area, but they have greatly influenced the stone stupas of Shilla; therefore, it would be possible to consider that they were developed but limited to certain areas. This study focused on the starting point of such development and investigated the formation of Baeje-style stone stupas through the stone stupas of the Mireuk Temple Site and Jeongnim Temple Site and their subsequent development through Wanggung-ri Stone Stupa.