• Journal of the Korean Society of Food Culture
• /
• v.8 no.2
• /
• pp.139-146
• /
• 1993

The predeccessor of Danjanjinja was Myorak temple which is built in the 7th century. At that age, the Buddhist culture of Japan had highly prospected by transmitting Buddhism to Japan from Han peninsular On the other hand, the private god of Fujiwara family in Danjanjinja is Uchigami which is one of typical Japanese popular belief like Dangshin of Korean's. Through these historical background, it could by presumed that the Kakitsisai might be the original form of Korean Buddhist sacrificial offerings from ancient age. So this study on Kakitsisai what had handed down from generation to generation about for 1300 years help us to study and estimate the ancient dietary culture of Korean and Japanese. 1. Kakitsisai performed high filling method in the sacrificial offerings like Kasuga, Horyuji and Korea. 2. The patterns and colors of high filling offerings are various in Korea and Japan. 3. They used unpolished rice by ancient rice, and called red and black one. We can guess both of countries ate unpolished rice at that age. 4. They used many kind of ancient wild fruits and vegetables. We could recognize what the ancients had eaten the foods.

• Journal of Sasang Constitutional Medicine
• /
• v.10 no.2
• /
• pp.151-162
• /
• 1998

Purpose and Method : We have many difficulty of using the existing medical Hurbs based on the theory of Yin-yang and the five elements, this is why we still do not explain the Sasang Constitutional medical Hurb Classification and do not have the Sasang Constitutional Pharmacology exactly, so we easily enter into a dispute and confusion. So through literary consideration about clematis mandshurica Maxim. I try to objectify Sasang Constitutional Clasification of Clematis mandshurica Maxim and the spirit of using Clematis mandshurica Maxim and common property of Sasang Constitutional Medical Hurb and try to find out a clue that search the effect of other Sasang Constitutional Medical Hurb. Result : Qi(氣) and mi(味) of Clematis mandshurica Maxim has bitter and hot taste and have won Qi(溫氣), the color is dark, the using portion of clematis mandshurica Maxim is root as medial Hurb. So Clematis mandshurica Maxim fall down from lung and divied impurity and purity and able to remove the symptom that dryness and fever is solidified like Magnoliae cortex(厚朴). Clematis mandshurica Maxim have the effect of awakening Jin-Qi(眞氣) of lung and divide impurity and purity of Qi(氣) and ack(液) and improve the fuction and structure of Taeumin(太陰人) I think that the method of literay consideration on objectification of Sasang Constitution Pharmacology is of great value.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.4
• /
• pp.152-173
• /
• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• 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.