• Science & Technology Policy
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• v.6 no.9 s.90
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• pp.32-42
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• 1996

• Korean Architects
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• s.513
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• pp.13-13
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• 2012

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.435-444
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• 2021

This paper discusses the geometrical interpretation of the Taegeuk Shapes of Kameun Temple through the geometric analysis of mathematics. Based on the literature, This paper attempted to clarify that the origin of Gameunsa's founding of the spirit of patriotism may coincide with historical records through historical literature and geometric meaning. First, the background of the founding of Kameun temple, geographical location located near the East Sea, especially the history of the ancient Chinese mathematics at the time, And that mathematical knowledge influenced all fields such as agriculture, architecture, and art. Secondly, it is related to the historical record as the space of about 60 centimeters, which is uniquely underground, was identified as the structure of the excavated space. It is thought that there is a strong correlation with the origin that the King Munmu changed into a dragon, and set up the temple to be able to stay. Based on these, the clues of the interpretation of the taegeuk and the triangular pattern were searched in the samcheon yanggi(參天兩地) of the Oriental and circumference of the Western. The taegeuk and triangular patterns represent the symbols of yin-yang harmony, which correspond to the origin of its creation. the Korean people regarded the mysterious dragon as a symbol of yinyang harmony. In conclusion the Shapes of Kameun temple's stone is consistent with the contents mentioned in the historical record.

• The Bulletin of The Korean Astronomical Society
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• v.36 no.1
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• pp.23-23
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• 2011

조선조 세종대는 천문과학기술의 전성기였다. 세종 자신도 천문학에 밝았던 데다 유교적 정치이념을 구현하기 위한 국책 사업의 성격이 강했기 때문에 조선조의 천문학은 세계적 수준으로 발돋움하였다. 이것은 고려시대부터 축적된 천문과학기술과 창조적 재능을 지닌 많은 과학기술자들이 있었기 때문에 가능했다. 1432년 세종이 천문의기 제작을 명한 지 6년만인 1438년에 각종 관측기기를 완비한 천문대인 간의대가 완성되었다. 당대로서는 세계 최대 규모로 인정받고 있는 거대한 종합 천문대인 간의대의 주변에는 혼천의, 혼상, 규표 등 다양한 천문 관측기기를 설치하였다. 규표로는 24기를 정밀하게 측정할 수 있었고, 각종 해시계로는 한양의 정확한 시간을 잴 수 있었다. 해와 별을 관측하여 낮과 밤의 시간을 측정하는 일성정시의와 천체 관측기기인 소간의 등 다양한 관측의기들이 독창적으로 창제되었다. 아쉽게도 세종대에 제작한 천문의기들 가운데 현존하는 유물은 한 점도 남아 있지 않다. 당시 천문유물은 사라져버렸지만 문헌을 통해 세종시대 각종 천문 관측의기의 복원 연구를 통해 설계와 복원을 수행하였다. 천문의기 복원(復元)은 모형(模型)을 만드는 것이 아니므로 자재와 공법들은 전통적인 방식으로 제작하여야 한다. 각 부품들이 계시기(計時器)로서 정확히 작동하도록 복원하려면 정교하게 제작하여야만 한다. 뿐만 아니라 천문의기들은 왕궁(王宮)에서 사용한 것으로 외형적으로 왕권을 상징하는 용(龍)의 형상과 화려한 문양으로 장식되어 있기 때문에 복원 과정에서 예술적인 면도 신중히 고려하여야 한다. 여기서는 지금까지 복원한 조선의 각종 천문의기의 구조와 기능 및 복원 과정의 주요 내용을 소개하고자 한다.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.142-171
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• 2019

The dragon is an imaginary animal that appears in the legends and myths of the Orient and the West. While dragons have mostly been portrayed as aggressive and as bad omens in the West, in the Orient, as they symbolize the emperor or have an auspicious meaning, dragons signify a positive meaning. In addition, as the dragon symbolizes the emperor and its type has been diversified considering it as a divine object that controls water, people have tried to express it as a figure. The records related to dragons in the Goryeo dynasty appeared with diverse topics in 'History of Goryeo' and are generally contents related to founding myths, rituals for rain, and Shinii (神異), etc. The founding myth emphasizes the legality of the Goryeo dynasty through the dragon, and this influenced the formation of the dragon's descendants. In addition, the ability to control water, which is a characteristic of the dragon, was symbolized as an earth dragon related to the rainmaking ritual, i.e., wishing for rain during times of drought. Since the dragon was the symbol of the royal family, the use of the dragon by common people was strictly restricted. Furthermore, the association of a bronze dragon mirror with the royal family is hard to be excluded. The type and quantity of bronze double dragon mirrors discovered to have existed during the Goryeo dynasty is great, and the production and the distribution of bronze mirrors with double dragons seem to have been more active compared to other bronze mirrors, as bronze mirrors with double dragons produced during Goryeo and bronze mirrors originating in China were mixed. Therefore, in this article, the characteristics of diverse bronze mirrors from the 10th century to the 14th century in China were examined. It seems that the master craftsmen who produced bronze mirrors with double dragons during the Goryeo dynasty were influenced by Chinese composition patterns when making the mirrors. Because there were many cases where a bronze mirror's country of origin could not easily be determined, in order to identify the differences between bronze double dragon mirrors produced during the Goryeo dynasty and bronze mirrors produced in China, meticulous analysis was required. Thus, to ascertain that Goryeo mirrors were not imitations of bronze mirrors with double dragons originating in China but produced independently, the mirrors were examined using the bronze double dragon mirror type classification system existing in our country. Bronze mirrors with double dragons are classified into three types: Type I, which has the style of the Yao dynasty, includes the greatest proportion; however, despite there being only a small quantity for comparison, Types II and III were selected for the analysis of the bronze mirrors with double dragons made in Goryeo because they have unique composition patterns. As mentioned above, distinguishing bronze mirrors made during Goryeo from bronze mirrors made in China is challenging because Goryeo bronze mirrors were made under the influence of China. Among them, since the manufacturing place of the bronze mirrors with double dragons found at the nine-story stone pagoda in Woljeongsa Temple in Pyeongchang is questionable and the composition pattern of the bronze mirror is hard to find on bronze mirrors with double dragons made in China, the manufacturing place of those bronze mirrors were examined. These bronze mirrors with double dragons were considered as bronze mirrors with double dragons made during the Goryeo dynasty adopting the Yao dynasty style composition pattern as aspects of the composition pattern belonged to Type I, and the detailed combination of patterns is hard to find in mirrors produced in China.

• Journal of Korean Philosophical Society
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• v.117
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• pp.191-222
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• 2011

Traditionally, the origin of the Han River has been thought as Utongsu(于筒水) and Geumgangyeon(金剛淵). As both of these places are located in Odaesan(五臺山) the $Ma{\tilde{n}}ju{\acute{s}}ri$(文殊) Holy Place, we can well assume the possibility of Buddhist influence on them. In the Buddhist understanding on the origin of the Han River, what we should first notice are 'the recognition on the water of Buddhism' and 'the recognition on the river in Indian culture.' With the reviews, we may come to see by what standpoint these could become existed, if there were Buddhist influences on the recognition of Han River's origin. Based on these Buddhist and Indo-cultural view points, the author tries to make more dearly the definition of Utongsu and Geumgangyeon that are recognized as the origin of the Han River. Through it, we can check the relation of Buddhism and Indian culture in their influence on the concepts of Utongsu and Geumgangyeon. In Indian culture, what is noticed in relation with the origin of the river is Anavatapta, in which the sacredness of the water named the 8 virtuous waters is recorded. It is the materialistic sacredness which can be compared with the sacred feature of Utongsu that "its color and taste are far greater than other waters, and so is its weight. ${\cdots}$ Its color and taste do not change even after it flows into the Han River." Furthermore, both of Anavatapta and Utongsu have the same symbolism of dragon that the highest dragon king and a divine dragon were told to live in respective lakes. This similar structure found in the recognition of two rivers' origin may become an evidence of Buddhist influence on the recognition of the Han River's origin. The recognition of the Han River's origin is based on the traditional culture. Therefore, it may be natural that there is the Buddhist culture in it. At the same time, some viewpoints of Chinese culture can be found in it. So, the traditional recognition on the Han River's origin comprises diversity and complexity of Indian and Chinese cultures together.

• (The)Study of the Eastern Classic
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• no.49
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• pp.225-260
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• 2012

The poetry of Haseo Jo Gyeong is first characterized by its fantasy content with mysterious and strange beings such as mountain wizards, gods of flowers, ghosts, Jujos and dragons. Such works imply the huge gap between his political ideal of Neo-Confucianism and the reality of society and are expressions of his resulting sorrow. Of course, he did not just look at reality pessimistically. Like other Neo-Confucianism scholars, he used the symbol of "spring" in his poems, which indicates that he did have optimistic belief in the world in spite of despair. In his poems, the symbol of "spring" implies the political world where the noble man grabbed the power and the sinister groups were extracted or the world where the political ethics of Neo-Confucianism was implemented. His works depicting the essence of natural objects, mountains, and rivers exhibit the characteristics of his poetry more clearly. He described the law of the universe behind natural objects and the vibrant aspects of natural objects by depicting their movements in a clear and sharp manner. Unlike the old Neo-Confucianism scholars that often created poems on the topic of acquirement of natural law and nature, he expanded his poetic world in a direction of revealing the secrets of objects. His works describing the spirit of mountains and rivers are especially noteworthy in that they implied a life attitude of moving forward in an deteriorating world bravely by manifesting strong and dynamic power. Paying attention to the secrets of natural objects, Haseo displayed his life ideal in richer ways by painting the new forms of ume flowers. Unlike the old ume flowers poems in the past, his ume flowers poems present ume flowers as ascetics that obtained truth, men of virtue that inspired contemporary people, or retired gentlemen that revealed the profound secrets of nature. While it is unique that he manifested the forms of ume flowers in ascetics and men of virtue while perceiving the dark reality of society, it is more noteworthy that he described ume flowers as the beings revealing the profound secrets of nature. It was the expression of his yearning for an innocent personality and his fear for losing the personality, clearly depicting a human form of his ego. He created a more human and realistic personality ideal by embracing the contemporary thinking based on the profound secrets of nature in his Dohak poetry[道學詩], which is a significant achievement in that it showed new changes to Dohak poetry in the 18th century.