• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.180-195
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• 2016

Since being designated as an important Intangible Cultural Property, Yeongsanjae has become recognized as a unique representation of Buddhist rituals in Korea. Following vigorous research in recent years, however, Suryukjae(水陸齋) was found to have been performed for a longer period and on a larger scale than Yeongsanjae, and under state leadership. This allowed researchers to move beyond the previous perspective that Yeongsanjae(靈山齋) lay at the center of many rituals. This study aims first to examine the origin and development of Yeongsanjae in Korea based on the literature, and then to discuss the meaning it holds today. Yeongsanjae was recorded as a ritual in Jineongwongong -published in 1496 during the early Joseon Dynasty- and also appeared in Yeongsandaehoejakbeopjeolcha -published in 1634(the 12th year of Injo's reign) in the mid-Joseon Dynasty and it was called Yeongsandaehoejakbeopjeolcha. It continued into the late Joseon Dynasty and it was called Yeongsanjakbeop or Yeongsandaehoejakbeop in the Ojongbeomeum collections(1661), CheonjimyeongyangSuryukjaeuiBeomeumsanbo collections(1721), and Jakbeobguigam(1826). In modern times, it has been called Yeongsanje in newspaper articles of TongnipSinmun (The Independent) and Yeongsanjae in Seokmunuibeom(1935). Nevertheless, the difference between the early Joseon Dynasty and subsequent periods is whether mourning of the spirit(唱魂) is added. In this regard, Yeongsanhoe in the early Joseon Dynasty mainly concerned Buddhist teachings realized through rituals such as sermon scenes of the Buddha. On the other hand, it was combined with Buddhist masses for the dead(追薦) from the mid-Joseon Dynasty and performed alongside with Buddhist teachings and prayers for the dead. Taking into account the seven-day Suryukjae, however, Yeongsanjae was performed daily during the day and mainly dealt with Buddhist teachings, while Buddhist masses for the dead were included when Yeongsanjae was performed independently.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.9
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• pp.269-282
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• 2020

This paper presents the scientific basis for the significance and physiological activity of gongyang as tributes, focusing on the four summer fruits, i.e., grapes, watermelons, oriental melons, and dragon fruits, which were used as one of the yukbeopgongyang in Yeongsanjae's thorough literature review (yeongsanjae and 2010.3~2020.2 published fruit research). As a result of the study, the fruit is not obtained from fruit trees, but from enlightenment. Chemically, the fruit had a high content of antioxidants, such as polyphenol and flavonoid. The fruit had excellent DPPH and ABTS+ radical scavenging activities and reducing power. The skin of the fruits, the non-edible part, had higher physiological activity than the flesh, the edible part. Therefore, further studies on the physiological activity in each part of dragon fruit and regarding how to ingest and utilize the peel of the four fruits need to be conducted.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.37-63
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• 2004

Large Jar had been manufactured and used broadly in Mahan area from late second century. At first, it was used for various purposes, for example storing utensils at household and religious service at tombs. But it's usage was shifted with the political expansion of Baekje. In late third century, large jar coffin appeared in tombs as an important burial unit at Yeongsangang river valley. It has specific traits such as saw blade-shaped design etc. That style is distinguished from Baekje's. Unification of form and style of large jar coffin signify the socio-political distinction between Yeongsangang river valley and Baekje. Large jar coffin was used emblemic style for this purposes by the political elites of the Yeongsangang river valley. This process was caused by political reason, that is, need for integration of the Yeongsangang river valley communities against the territorial expansion of Baekje state.

• Korean Journal of Heritage: History & Science
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• v.28
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• pp.259-276
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• 1995

• (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.

• Proceedings of the Korea Water Resources Association Conference
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• 2015.05a
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• pp.264-264
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• 2015

최근 기후변화는 우리 삶에 다양한 영향을 미치고 있으며, 이에 따른 수문순환 변화 역시 자명하게 받아들이고 있다. 이에 따라 수자원 취약성 평가 및 대책에 관한 연구는 다양하게 진행되고 있는 실정이다. 하지만 국내의 경우 전체 유역에 대한 수자원 취약성 평가 연구는 부족한 실정이다. 따라서 본 연구에서는 국내 총 12 수계인 한강, 안성천, 금강, 삽교천, 영산강, 섬진강, 탐진강, 만경강, 동진강, 낙동강, 태화강, 형산강 유역에 대한 수자원 취약성 평가를 실시하였다. 평가 방법으로는 장기간에 걸친 다양한 토양의 특징, 토지이용, 관리상태의 변화에 따른 크고 복잡한 유역의 유출량을 추정하기 위해 개발된 SWAT(Soil and Water Assessment Tool) 모형을 이용하여 수문 모형을 구축하였고, 유출 관련 매개변수 최적화 작업은 SWAT-CUP 모형을 이용하였다. 최적화된 매개변수의 적용을 통해 각 유역별 유출량을 산정하였다. 그 결과 2009년과 2011년은 한강, 낙동강, 금강, 영산강순 이였으며, 2010년은 낙동강, 한강, 금강, 영산강순 이였다. 면적별 유출량인 비유량(specific discharge)을 산정한 결과, 2009년에는 영산강, 낙동강, 금강, 한강순 이며, 2010년에는 영산강, 금강, 낙동강, 한강순 이였으며, 2011년에는 금강, 한강, 영산강, 낙동강 순을 보였다. 또한, 인구당 유출량 산정 결과 2009년에는 영산강, 금강, 낙동강, 한강순 이며, 2010년에는 영산강, 금강, 낙동강, 한강순 이며, 2011년에는 영산강, 금강, 낙동강, 한강순 이었다. 이를 바탕으로 국내 총 12 수계에 대한 수자원 취약성을 산정해보았다. 대응변수는 이수의 수요 및 공급적인 측면에서 구분하였으며, 사회/경제, 물 이용, 환경, SWAT으로 구성하였습니다. 수자원 취약성 평가를 위해 다기준의사결정기법(MCDM, Multi-Criteria Decision Making) 중 하나인 TOPSIS(Technique for Order of Preference by Similarity to Ideal Solution)기법을 사용하였다. 산정 결과 삽교천, 동진강, 형산강, 안성천, 섬진강, 만경강, 낙동강, 영산강, 태화강, 금강, 한강, 탐진강 순 이였다. 본 연구 결과는 향후 다중 공간에 구축한 고해상도 모형을 통해 국내 수문상황 진단 및 고해상도 미래 수문 시나리오 생산을 통한 수자원 관리에도 활용될 전망이며, 기후변화 취약성 평가를 위한 지표 개발에 이용될 예정이다.

• (The) Research of the performance art and culture
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• no.40
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• pp.269-305
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• 2020

Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.

• Proceedings of the Korean Environmental Sciences Society Conference
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• 2020.10a
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• pp.111-111
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• 2020

• 한국문화재보존과학회:학술대회논문집
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• 2003.09a
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• pp.60-62
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• 2003

• Proceedings of the Korea Water Resources Association Conference
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• 2011.05a
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• pp.457-457
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• 2011

저영향개발(LID, Low Impact Development)은 물순환체계 개선을 위해 녹색 공간의 확보, 자연형 공간 조성, 자연상태의 수문순환 기능의 유지 기법 등을 활용한 개발 대상지에서의 강우유출 및 비점오염원의 영향을 최소화할 수 있는 새로운 방법이다. LID는 강우 유출수의 지하침투, 강우 종료시 증발산량의 확보, 강우 유출수의 재이용 등을 통한 강우 유출량을 최소화하는 것에 그 목적이 있다. LID 방법은 우수저류 공원, 생태저류지, 지붕층 저류공원, 보도 저류공간, 인공습지, 완충녹지대, 수목 보존지대, 지붕층 배수관, 강우 저장조, 투수성 포장, 토양 개량, 불투수층 최소화, 비점오염원 저감 등으로 효율성, 경제성, 유연성, 합리성, 토지 가치증대 등의 장점이 있다. 영산강 수계의 BOD 배출부하량이 점오염원(21,019kg/일)과 비점오염원(50,047kg/일)의 비율이 3:7 로 비점오염원 배출부하량이 훨씬 큰 상태이다. 특히, 광주광역시, 농업용 토지, 축산계 등의 비점오염원이 영산강 수질에 크게 영향을 미치고 있다. 따라서 본 연구에서는 비점오염원의 영향이 큰 영산강 수계를 대상으로 앞으로 이루어지는 개발계획을 분석하여 LID 기법을 적용하였을 때 영산강 수질에 미치는 영향을 모델링을 통해 예측하고자 한다. 수질개선에 어느 정도의 효과가 있는지 검증하기 위해 국내 실정에 맞고 QUAL2E 모델을 근간으로 WASP5 모형의 장점들을 접목시켜 Bottle BOD의 반응기작 및 조류의 생산에 의한 유기물 증가, 탈질화 반응 등 정체수역에서 일어날 수 있는 반응기작을 모의할 수 있도록 보완한 QUALKO2 모형을 이용하여 그 효과를 모의하고자 한다. 본 연구를 통해 LID 기법이 도시화에 영향을 얼마나 덜 주는지, 수계의 비점오염원 효과를 통해 물순환 체계의 개선이 어느 정도로 어루어지는지에 대한 효과를 검증을 할 수 있는 계기가 될 수 있을 것으로 판단된다.