• Journal of the Daesoon Academy of Sciences
• /
• v.35
• /
• pp.331-358
• /
• 2020

This paper is a study of Kim Si-seup's maniacal tendency. The properties of mania can be divided into two categories. One is mental mania wherein the mind has fallen into madness, and the other is morphological mania wherein madness is revealed in real world actions. This thesis analyzes two aspects of the madness of Kim Si-seup, who showed madness in the morphological dimension as well as madness of the mind in the Joseon Dynasty. One notion that is analyzed is 'Longing to never return', and the other is 'To live in obscurity, yet practice wonders.' Kim Si-seup was a promising talent when he was young and was a so-called "infant prodigy." However, when 'Saejo' took the throne of 'Danjong,' he left the house on the road to 'burn all the books' and became a monk as a way of disappearing from the world. Thereafter, Kim Si-seup gave up on the test to become a bureaucrat and lived in hiding while doing strange things while he falsely pretended to be "crazy." He never felt regret hearing others describe him as a strange person. He lived a life of not returning to the mundane world for a long time as he traveled through famous mountains and streams. Also, he pursued a life in 'the world outside the world' without any greed. Sometimes he expresses his own free spirit and madness through poetry with 'what he talks about' and 'wonderful words.' This life was far from a form of neutralization aesthetics achieved by pursuing a 'gentle and magnanimous' life as claimed by Confucian scholars. Kim Si-seup, sometimes referred to as 'a maniac with mental clarity,' directed his efforts at 'false maniacal behavior,' 'weird behavior,' 'life pursuing the world outside the world,' and 'life of breaking off one's relationship with the world.' This maniac-like life of Kim Si-seup was not crazy but conveyed a deep desire to criticize the absurd reality of Joseon society at the time. Regarding Kim Si-seup, Li Hwang criticizes him for wishing 'to live in obscurity yet practice wonders.' Unlike Li Hwang, Yi Yi, who wrote The Records of Kim Si-seup when commissioned to do so by Sun Jo, positively evaluated Kim Si-seup as "a Confucian who followed Buddhism." Although the contents of these evaluations of Kim Si-seup were different, both agreed that Kim Si-seup was a maniacally-oriented individual. Kim Si-seup, who was mentally maniacal and morphological maniacal, represents a unique case in the study history of the Joseon Dynasty, wherein the 'the doctrines of Zhu Zi' exerted great influence.

• Journal of the Daesoon Academy of Sciences
• /
• v.37
• /
• pp.191-227
• /
• 2021

In this study, values of truth and good are expressed in the form of beauty, and truth and good are analyzed from an aesthetic point of view. This enables an assessment of how truth is expressed and presented as an "aesthetic" in Daesoon Thought. Therefore, an approach to faith in Daesoon Jinrihoe (大巡眞理會) can be presented via traditional aesthetics or theological aesthetics that reflect on sense experience, feelings, and beauty. The concept of beauty in Daesoon Thought which focuses on The Canonical Scripture appears in keywords used in Daesoon Thought such as divine nature (神性), the pattern of Dao (道理), the singularly-focused mind (一心), and relationships (關係). Therein, one can find sublimation, symmetry, moderation, and harmony. The aesthetic features of Daesoon Thought, when considered as an aesthetic system can formulate thinking regarding the aesthetics of 'Reordering Works of Heaven and Earth' (天地公事), the aesthetics of Mutual Beneficence (相生), and the aesthetics of healing. The Reordering Works of Heaven and Earth contain a record of the Supreme God visiting the world as a human being. The realization that the human figure, Kang Jeungsan (1871-1909), is the Supreme God, Sangje (上帝), is the shocking aesthetic motif and theological starting point of the Reordering Works of Heaven and Earth. Mutual Beneficence can be seen aesthetically as indicating the sociality of mutual relations, and there is an aesthetic structure of Mutual Beneficence in the harmony and unification of those relations. Healing can be said to contain the sacred sublimation of Sangje, and moderation is a form of beauty that makes humans move toward Quieting the mind and Quieting the body (安心·安身), the Dharma of Presiding over Cures (醫統), and the ultimate value of healing, which is the end point of the Cultivation (修道) wherein one realizes that the ideals of humankind and the aesthetics of healing bestow the spiritual pleasures of a beautiful and valuable life. The aesthetic characteristics of Daesoon Thought demonstrate an aesthetic attitude that leads to healing through Sangje's Holy Works and the practice of Mutual Beneficence (相生) which were performed when He stayed with us to vastly save all beings throughout the Three Realms that teetered on the brink of extinction. It is not uncommon to see a beautiful woman and remark she is like a goddess (女神) or female immortal (仙女). Likewise, beautiful music is often praised as "the sound of heaven." That which fills us with joy is spoken of as "divine beings (神明)" of God. God is a symbol of beauty, and the world of God can be said to be the archetype of beauty. Experience of beauty guides our souls to God. The aesthetic experience of Daesoon Thought is a religious experience that culminates in emotional, intellectual, and spiritual joy, and it is an aesthetic experience that recognizes transcendent beauty.

• Journal of the Daesoon Academy of Sciences
• /
• v.35
• /
• pp.109-145
• /
• 2020

Jeungsan, Kang Il-Sun (hereafter, Jeungsan)'s perspective on divine beings can be characterized by the philosophical notion of divinity, which recognizes a variety of divine entities. Jeungsan insisted that all things embrace divine entities. Furthermore, he claimed that the backgrounds of all incidents were influenced by these gods. Jeungsan thought that the universe consists of the heavenly realm, the earthly realm and the underground realm. He insisted that there were many gods in each realm. And Jeungsan defined his times as the era of divine beings, which meant that the age was a time for divine beings to actively interact with one another and take the lead in world affairs. Divine beings were briskly involved in human affairs and could either reciprocate gratitude or attain revenge. They were also divine beings that could change the acts and perception of humans as well as judge human acts. However, Jeungsan predicted that by the time the paradisiacal land of immortals was established in the Later World, divine beings would instead run errands for humans. In addition, he forecast that divine beings would be entities likely to harbor grievances just like humans, yet they would ultimately become perfected beings in the Later World. Jeungsan further suggested a multitude of various concepts such as the mutual relationship wherein the realm of divine beings and the realm of humanity interrelate with each other, the mutual responses and functions between them, mutual itineration, co-existence, and the homogeneity of divine beings and humans, which described how both have the same innate characteristics. Jeungsan proposed the concept that 'Divinity is an existential state experienced after one's death." In this regard, he is the one who formulated a new perspective of divinity. Moreover, Jeunsan stressed the immortality of humans (continuity or eternality) and the co-existence of divine beings and humans. He emphasized that divinity is intrinsically immanent and the realm of divine beings has a hierarchical system that maintains order and is akin to that of the human realm. Jeungsan recognized a revolutionary change and perspective based on humanity by suggesting a unique view of humanity. In other words, he was a religious figure who introduced an ingenious view of divinity and dramatically transformed this pattern of reasoning. In conclusion, Jeungsan re-interpreted traditional views of divinity in Korea and systemized them into a new concept of divinity in an ingenious way.

• Journal of the Daesoon Academy of Sciences
• /
• v.28
• /
• pp.133-163
• /
• 2017

It is the aim of this paper to elucidate the meaning of 'Sangsaeng' in Daesoon Thought on the basis of its relation to Life and Spirit in the philosophy of Hegel. To achieve this aim, this article compares three important concepts from Daesoon Thought, namely the 'gods of heaven and earth,' 'Haewon', and 'Sangsaeng' with Hegel's 'Life,' 'Spirit,' and the 'struggle for recognition.' This paper will clarify the commonalities as well as the differences between Daesoon Thought and Hegelian philosophy. The comparison between Hegel's concept of 'life' and the 'gods of heaven and earth' shows a specific relationship between a life and a soul which is characterized by duality. The point of similarity is that the two thoughts regards the soul as the basis of all things in nature including the life itself and spirit. This is the duality of the soul in nature and spirit as the truth of nature. But the difference is that Hegel does not reduce all things in nature including life itself to the soul as the truth of nature. This paper will argue that Hegel's idea of spirit returning from nature to itself has a similarity with the essence of Haewon in Haewon-sangsaeng. Hegel insists that spirit submerges initially in nature just as human beings in Daesoon Thought have inherent Won. The realization of the spirit in the Subjective Spirit shows that the spirit sublimates this initial submergence in nature und reveals itself in corporeality. This study will suggest that this realization of spirit including the struggle for recognition may be interpreted as the meaning of Sangsaeng.

• Journal of the Daesoon Academy of Sciences
• /
• v.33
• /
• pp.257-286
• /
• 2019

This study aims to explain theodicy in Daesoon Jinrihoe using established theodicies. Theodicy in Daesoon Jinrihoe can be described as follows: within the worldview of Daesoon Jinrihoe, the problems of evil and suffering are better addressed by analyzing the problem of mutual contention. Accordingly, theodicy in Daesoon Jinrihoe is a matter which should be discussed only in regards to the time period known as the Former World and the transition period after the Reordering Works that leads up to the Later World. The Later World does not operate under patterns of mutual contention. Consequently, there will be no suffering. Therefore, issues of theodicy are irrelevant in the Later World. Theodicy should be dealt differently as it pertains to the Former World and the previously mentioned transition period. Daesoon Thought posits that there is an underlying principle presides over the cosmos, and the divine beings act in accordance with it and perform specific duties in their own subdivisions. The cosmic principle is able to contain cycles of both Sanggeuk ('mutual destruction' in general usage, but 'mutual contention' in Daesoon Thought related to the Former World) and sangsaeng ('mutual generation' in general usage and 'mutual beneficence' in Daesoon Thought related to the Later World). Suffering came into being due to mutual contention. However, mutual contention was not set into motion maliciously, but was arranged instead to facilitate the realization of greater values such as growth and development. In other words, mutual contention are not products of a moral value the nature of which is bad or wrong. Yet, since the world has operated under mutual contention from time immemorial, a nearly incalculably vast multitude of grievances have accumulated. In addition, the divine beings who had operated under mutual contention often made mistakes and spread confusion. This extreme situation resulted in tremendous disasters breaking out all over the world. Perhaps this particular theodicy could be named "Dualistic Sanggeuk Theology (Dualistic Theodicy of Mutual Contention)." After the divine beings reported to the Supreme God that the world had fallen into a serious crisis, the Supreme God penetratingly examined the circumstances of the world and then descended to Earth as a human being named Jeungsan. As Jeungsan practiced the Reordering Works of Heaven and Earth, the Great Opening was preordained by Him. As a result, the transition period started, and from that point onward, theodicy should be described differently. It is presumed that all creatures will be judged at the time of the Great Opening. This will result in the annihilation of all wicked beings including both divine beings and humans. There will also be the establishment of an earthly paradise as well as grievance resolution for all beings prior the Great Opening. This can also be called "The Eschatological Theodicy of the Resolution of Grievances." Theodicy in Daesoon Jinrihoe adopts the two theodicies mentioned above. In addition to that, various theodicies from other traditions such as Irenaean ("soul-making") Theodicy, Free Will Theodicy, Recompense Theodicy, Afterlife Theodicy, Karma Samsara Theodicy, theodicy of participation, and Communion Theodicy can all potentially be applied on a case by case basis.

• Journal of the Daesoon Academy of Sciences
• /
• v.28
• /
• pp.37-72
• /
• 2017

The purpose of this article is to study the prospect of implementing a public common practice of ethics based on the 'Reordering Works of Heaven and Earth.' The 'Reordering Works of Heaven and Earth' demonstrated the prospect of a public common practice of ethics through the shared public action that would connect and mediate both the public domain and the private domain. In addition, the 'Reordering Works of Heaven and Earth' of Gucheon Sangje (九天上帝) provided us with a complete transformation, meaning the opening of a new era, transforming heaven and earth from their state in the Prior World to their optimized state in the Later World. This culminates in a new manifestation of a peaceful world revealed a prosperity and the prospect of common happiness and common order for the public. In addition, the 'Reordering Works of Heaven and Earth' has a public value as a religious culture that responds to social change and social needs. The 'Reordering Works of Heaven and Earth' revealed the prospect of a public common practice of ethics, placed importance on creating a new foundation, and restoring phenomena back to its original order. The 'Reordering Works of Heaven and Earth' presented various multi-faceted, multi-layered outlets of soteriology while exploring solutions to public issues and revealing human dignity. Through the new construction of Heaven and Earth, Gucheon Sangje had intervened in projects for human relief. The public ethical indicators of 'the actor' here are in line with those of the 'Non-action Tao' of Laozi. As the cosmos enters into the new epoch, humans have living together with the previous cosmic principle. Now we can expect the Prior World to open into a different era as humans embrace a cosmic life of 'Non-action Tao.' The active conjunction of the virtues of yin and yang is an idea of horizontal communication related to reordering of the universe. The harmonious union of divine beings and human beings suggests the way of enabling vertical communication. The resolution of grievances for the mutual beneficence of life is an ethics of peace that aims at achieving coexistence and prosperity. The private realization of Tao and the completion of the Tao in the world suggest the prospect of a common practice of ethics as means of implementing human dignity.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.6
• /
• pp.211-220
• /
• 2019

It helps to wisely abstain from errors of the a priori subjective emotions related to human emotions, and orders emotions to make rational choices. These emotional happiness of human and moral sensitivities work directly or indirectly in rational choice of rational thought and reason. Abraham would have been troubled by the divine mandate to sacrifice a son who was only one, and a son who had been healed. Was his reason reasonable at this time? In rational reason, it can be said that the act of dedicating his son is an appropriate act, but is it possible in the human mind? Aristoteles also called human virtue virtue in good for human beings. Because happiness is also a mental activity, we have to know a certain degree about the mind. This ψυχή(psyche, spirit) spirit is an irrational element that is invisible but an intervention in rational principles. Also C. G. Jung states that all human beings have four dynamic psychological functions that are not visible, and that the mind is driven by these four functional dimensions. This means that the elements of S, Sensing, N, Intuition, T, Thinking, and Feeling are combined. David Hume also emphasized the principle of empathy, asserting that morality can not be derived from reason, and Max Ferdinand Scheler, before grasping the visual characteristics of a person, has already captured the whole feeling of the person, And that the value given to this feeling is the value, and that the function of emotion that is elevated to the perceived object by grasping the value through this process and the value is always preceded by the reason. Emmanuel Levinas states that emotional emotions of love are ahead of reason and that emotions precede human reasoning and rationality is the inability of emotional control that we need rational thought and rational and wise action as reason of control and temperance. As part of human emotional education, in the 7th curriculum, Bloom's cognitive, perceptive, and behavioral domain, which is a person with integrated thinking, is trying to be a moral practitioner. It focuses on how to act according to the direction of emotions for virtuous acts and how to develop emotions for emotions on behalf of vicious acts. We can design the possibility and direction of cultivating human emotions and emotional happiness and happy sensitivities by the principle of strengthening virtue and the principle of elimination of ill feeling.

• Sim-seong Yeon-gu
• /
• v.33 no.1
• /
• pp.1-60
• /
• 2018

The paper was inspired by Jung's words in the Red Book "just as Christ tormented the flesh through the spirit, the God of this time will torment the spirit through the flesh." I propose that the new form of torment in this era could be eroticism as a way of the individuation process because it seems to be one of a very few ways left to modern men to grasp the sense of permanence, the essence of the divine, without religion because of its peculiar nature of transcendence. I suppose that it is not only a man who is tortured but also god is in torment since the divine needs a man as a womb for his incarnation. Therefore I suggest that man and god are fated to seduce each other to be redeemed by each other. I imagine that Eros with numinous sexuality seduces a man who has potentials for the god's incarnation and who would be willing to give in to the god's demand. This god needs a man who desires his essence of perpetuity, the eternal water of life, in ecstasy. Thus the purpose of the divine's seduction is to make a man awake from unconsciousness to pursue god himself, namely the individuation process. I call such divine seduction "eroticism of god" There seem to be a certain type of people who are destined to live eroticism as a way of individuation process. Through investigations, a melancholic tendency appears to be suitable for this type of individuation. Melancholia is deeply related to the poignant awareness of impermanence as the existential condition, which is a precondition for seeking permanence through eroticism. Melancholia essentially causes deep longing for eternity that bears fulfillment, which exists in eroticism, so melancholic agony seems inevitable for eroticism as the path for individuation in that, without knowing about deficiency, we never seek what is lacking in us. It can also be viewed that while a lover is driven to seduce lost love, what actually waits to become seduced for redemption is the god of love itself behind the human beloved. Man and god are fated to seduce each other for redemption. I suppose that the initiation to Eros implies how to seduce Eros. In a woman's psyche, psychological virginity is one of the essential qualities that her ego needs to attain. To the male it is vital to live his sensuality thoroughly and to experience his own and his lover's emotions to their limit. It cannot be an easy task because it demands us to give up our egotism entirely. Through eroticism, unconsciousness seduces us to make us live life as a whole. The god of love brings powerful sexuality as a means of "spiritual crisis" to redeem our lukewarm soul. Only a few can withstand the experience since it requires a strong will to bear the brunt of the sword despite the keen awareness that it may leave us bleeding in pain.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.2
• /
• pp.81-89
• /
• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• (The) Research of the performance art and culture
• /
• no.34
• /
• pp.383-421
• /
• 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.