• Journal of the Korean BIBLIA Society for library and Information Science
• /
• v.6 no.1
• /
• pp.133-160
• /
• 1984

The main purpose of the present study is to survey the major abstracting bulletins of national nature in Korea, to define such problem areas as lacunae, duplicates and limitation in coverage in the abstracting services currently available in Korea, and to make some suggestions for action for improving the abstracting services in the light of general principles and the tradition and situations unique to Korea. The major conclusions reached at this study are summarised as follows: (A) A new abstracting bulletin of general nature covering the whole field needs to be created in each of the following fields where no established abstracting service is available for the outcome of research and development activities in Korea. (1) Language (2) Religion (3) Art (4) Language (5) Literature (6) History (B) A new specialised abstracting bulletin needs to be created in each of the following fields of science where abstracting services limited in coverage are partially available. (a) Statistics (b) Sociology (c) political science (d) Public administration (e) Law (f) Folk lore (g) Military science (2) Pure sciences (a) Mathematics (b) Chemistry (c) Astronomy (d) Geology (e) Mineralogy (f) Life sciences (g) Botany (h) Zoology (3) Applied sciences (a) Agriculture (b) Architectural engineering (c) Mechanical engineering (d) Electrical engineering (e) Chemical engineering (f) Manufacturing industry (g) Domestic science (C) Publication of the abstracting bulletins suggested in (A) and (B) above may be ideally carried on by a qualified learned society established in the respective field. and should be financially supported by the public fund under the provisions of Art. 27 of the Research Promotion Act of 1979. (D) The current practice of adding the author's abstract and keywords to each of the records of the "Doctoral Theses in Humanities and Social Sciences" part of the" Catalogue of Doctoral and Master's Theses Submitted to the Universities in Korea" published by the National Assembly Library should be applied to all the other parts, i. e. to the parts of the "Master's Theses in Humanities and Social Sciences" and of the "Doctoral and Master's Theses in Natural Sciences': which will not only increase the Catalogue's use value but also discourage appearance of various theses abstracts of individual academic institutions such as the" Abstracts of the Doctoral and Master's Theses Submitted to Korea Advanced Institute of Science and Technology" which will in turn reduce inefficiency involved in the abstracting services at national level. (E) A general abstracting bulletin covering most part of the outcome of research and development activities in Korea other than that covered by the existing abstracts needs to be created to be temporarily. used till the abstracting journals suggested in this study will be fully available. A realistic way of having such a bulletin may be to expand the present coverage of "The Abstracts of the Reports of the Government-sponsored Projects" currently published by Korean Research Foundation.

• The Korean Journal of Mycology
• /
• v.40 no.1
• /
• pp.39-43
• /
• 2012

The knowledge of native wild mushrooms traditionally using in Jeju Island, that have specific native environment and various biodiversity, was investigated. From Jeju and Seogwipo cities including 7 provinces 4 locals, so total 50 villages, data was collected in the entire area and voice of the 93 elderly people between the age of fifty and ninety were recorded. As a result, total 23 native wild mushrooms were used in which 2 species were poisonous mushrooms, 7 species were medicinal mushrooms, 2 species was used for folk religion, 2 species were not used for living but for attention and 12 species were edible mushrooms. Also, a total of 267 cases of traditional knowledge was collected, in which 197 cases were about edible mushrooms for 12 species, 43 cases were about poisonous mushrooms for 2 species, 16 cases were about medicinal mushrooms for 7 species. Interestingly, the fortune for agriculture was told depending on spore mass release of Cyathus stercoreus which grows in animal feces and compost. It is considered as the distinctive traditional knowledge of Jeju Island.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.223-277
• /
• 2019

Based on the text reference from the Variety Theatre compiled and performed by the Jiaofang of the Ming Dynasty Palace, the characteristics of Zhongkui performance in the New Year Ceremony was analyzed focusing on the differentiation and diachronic change in aspect between court dance and civilian. In China's folk beliefs, 'Zhongkui' is regarded as a representative spirit of fighting against evil spirits. Relevant rituals and performing arts have been held mainly on New Year's Eve or the Dragon Boat Festival. Although extensive research has been conducted in various fields, the situation of Zhongkui performance was largely unnoticed, only generally addressed in China, even with the given fact that the Ming Dynasty's text reference of miscellaneous court dance was exclusively retained, Therefore, the analysis intends to propose Zhongkui performances of Calendaric Rituals in the aspect of its elements and differentiate the play handed down among people as a specific example. Through the text analysis of miscellaneous court dance, 'Imperial examination' and religious belief was regulated usuriously by a so-called edification expressed as imperial reign ideology extracted to an implementation situation, revealing that this court dance was characterized by a variety of performances including the 'Zhongkui'. The results of the following study intends to provide a positive foundation for not only the field of Chinese studies but also the field of Korean literature, theatre, dance, folklore, religion, anthropology and art.

• Journal of the Daesoon Academy of Sciences
• /
• v.23
• /
• pp.345-383
• /
• 2014

This article intends to examine the value of the world citizenship in the perspective from the root meaning that is stressed as the behavior style of Daesoon thoughts in relation with 'desirable attitude of life in education of morality. Traditional root meaning of Daesoon thoughts turned out to be proper moral behavior principle such as Yin Yang harmonious virtue, God Humane keeping unity, and conviviality with regrets settlement. Such three principles of Daesoon Thoughts show the characteristic of global code such as respect of life, solidarity unity, and tolerant trust. To revise the phenomenon of duality, and to realize the human awakening in radically changing reality, we need to cultivate world citizenship based on the root meaning of Daesoon thoughts. Daesoon thoughts covering the East and the West, especially the key features of religion, can cultivate the world view of citizenship in the era of plural society based on folk beliefs toward Gucheon Sangje faith as the essence of the multiplism. The world citizenship of human society is necessary to unite the world in the unified construction cooperative spirits. All beings need to be away from antagonistic confrontation with the practice of mutual conviviality. The diameter of acquired joining world citizenship can have the opportunity to realize of Gucheon Sangje's Heaven and earth construction. The root meaning of Daesoon thoughts can contribute to moral practicality with world citizenship by practice of heavenly truth and human truth. First, cultivating heavenly truth by means of insight can develope the profound world citizenship. Secondly, the solidarity of the public and private can cultivate public citizenship. Thirdly, in the crisis of the mankind, this awakening conviviality can be foundation for world citizenship of public communication. Fourthly, the spirit that would not deceive ownself can be contributed to cultivating the world citizenship by means of the process of internalizing Daesoon thoughts. Nowadays in the plural society demanding world citizenship, the public citizenship can deepen the spirit of respect of life, solidarity unity, and tolerant trust in the process of world citizenship cultivation. In the future, the world citizenship can be deepen the alternative of practice in the continuous cultivation of world citizenship. In this process, we can form the culture of coexistence which can contribute to human society as well as korean society by developing the value of living together happiness through the guide of this phonesis.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.2
• /
• pp.14-30
• /
• 2020

This study focuses on the fact that pictorial maps in the late Joseon Dynasty were conceptual diagrams with the place names perceived by the people at the time of their production. In this regard, targeting on five pictorial maps, the humanistic landscape characteristics of Pyongyang, which had cultural identities such as a historically old, commercial, and Pungnyu(appreciation for the arts) city, were derived as follows. First, the historic legitimacy of Pyongyang Castle was represented by ritual and religious facilities. They include 'Dangunjeon' and 'Gijagung' related to the nation founder, 'Munmujeong': the remains of Goguryeo, 'Sajikdan' & 'Pyongyanggangdan': the place of the national rites, Hyanggyo and Seowon: education & rite functions, Buddhism and Taoist facilities, 'Yongsindang', 'Sanshindang', and 'Jesindan': folk religion facilities. Gija-related facilities, which became symbols of Pyongyang due to the importance of Small-Sinocentrism and Gija dignity tendency, were distributed throughout Pyongyang Castle though, the facilities related to King Dongmyeong of Goguryeo and the spaces of religion praying for blessings are spread in Bukseong and on the riverside of Daedonggang each. Second, as a Pyongando Province's economic center, Pyongyang's commercial landscape was represented by logistics and transportation facilities. The Daedonggang River, which was in charge of transportation functions, had many decks such as 'Yangmyeongpo', 'Cheongryongpo' and 'Waeseongjin' and bridges, such as 'Yeongjegyo' and 'Gangdonggyo', which connected major transportation routes. The road network was created in Oeseong area to facilitate logistics transportation and management, and many warehouses named after the jurisdiction of Pyongyangbu were distributed near the roads and Provincial Offices of the main gates. In addition, it was characterized by the urban area systematically divided with hierarchical roads, 'Bukjangnim' of willow trees planted on the main entrance roads of Pyongyang Castle, a linear landscape created by 'Simnijangnim' consisting of mixed forests with elm trees. Third, Pungnyu City is realized by the distribution of amusement facilities. The riverside of Daedonggang adjacent to Naeseong exhibits characteristics of artificial landscape such as a canal leading to the inside of the castle, a docking facility with embankments, and a port with cargo ships anchored. However, Bukseong of the natural surroundings had numerous pavilions and platforms such as 'Bubyeongnu', 'Eulmildae', 'Choeseungdae', 'Jebyeokjeong' and engraved letters such as 'Cheongnyubyeok', 'Jangbangho'. 'Osunjeong', 'Byeogwolji', 'Banwolji' near 'Sachang', and 'Aeryeondang', built on the island of a square pond, created waterscape in Naeseong invisible from the Daedonggang, and for practical purposes, ponds and repeated willow vegetation landscape related to Gija were placed in the western rampart of Jungseong. In addition, 'Seonyeondong', a cemetery of Gisaeng, located near by Chilseongmun, was used as poem titles and themes by literary people, contributing to the creation of the Pungnyu image of Pyongyang.

• Korean Journal of Heritage: History & Science
• /
• v.41 no.2
• /
• pp.5-25
• /
• 2008

Seoul's community beliefs originated from the ritual performed by the shrines affiliated to each government office in the Joseon Dynasty. Lower branches of government officials were assigned to perform these rituals. Generally, these shrines were called Bugundang(府君堂). Records show that Bugundang(府君堂) was generally one to three units and enshrined the portrait of Bugun(府君), the worshipped, inside. According to historical records, the worshipped were mostly General Choi Young(崔瑩將軍) or Madame Song(宋氏夫人). In fact, however, each Bugundang(府君堂) worshipped different persons. Some of the worshipped were historical characters from the Goryeo Dynasty or the founding period of Joseon Dynasty, Guan Yu(關羽) and Zhuge Liang(諸葛孔明) that became gods after the Japanese Invasion of 1952, Wanggun(王建), Dangun(檀君), General Nam Yi(南怡將軍), Kim Yoo Shin(金庾信), Lim Gyeong Up (林慶業), King Gongmin(恭愍王), King Taejo(Lee Sung Gye, 太祖 李成桂), Joban(趙?) who is one of the supporters of the foundation of Joseon Dynasty, Sir Hong(洪氏大監) and his women who appear in the legend of Nanhansanseong(南漢山城) area, and many other historical figures. It is difficult to compare the rituals of these shrines from community Gut(Shaman ritual) performances of Seoul. According to historical records, Gut and ceremony coexisted in rituals. As time passed, these rituals spread as the community Beliefs of commoners and have been transmitted in the context of Seoul's cultural change. This study examined the existence of affiliated shrines of local government offices in the Joseon Dynasty and discussed the cases of Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟), Bangsan-dong Seongje Shrine(方山洞 聖帝廟), and Seobinggo Bugundang(西氷庫 府君堂) to trace the succession of rituals at these shrines as folk customs of commoners. Bangsan-dong Seongje Shrine(方山洞 聖帝廟) spread to the public as Gwanwoo(關羽), who was considered the god of soldiers, transformed into the god of merchants along with historical transition. It clearly shows the process as to how merchants from a certain region developed a community religion. Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟) is Bugundang(府君堂) of the soldiers of Nampyoug(南營). As the ritual was succeeded by a ritual group called Yeoungsinsa(永信社), composed of nearby residents, it was naturally spread and succeeded by the residents in local community. Seobinggo Bugundang(西氷庫 府君堂) was related to the changes in the historical background of ice gathering in the late Joseon Dynasty.

• Korean Journal of Heritage: History & Science
• /
• v.43 no.1
• /
• pp.160-189
• /
• 2010

This study has been designed to grasp the present situation, shapes and meaning of the standing stones and rock pillars in the whole area of Noseong Mountain Fortress in Nonsan City which have never been academically reported yet. Accordingly, the research was carried out to grasp the spatial identity of Noseong Mt. and Noseong Mountain Fortress and the dispersion of standing stones scattered around inside and outside Noseong Mountain Fortress, while the shapes and structural characteristics of stones were investigated and analyzed focusing on Chongsuk Temple, which was considered to have the highest density of standing stones and greatest values for preservation as a cultural property. In consideration of the reference to the 'Top Sa' (tower temple) at the 'Bul Woo Jo' (Article about Buddhism Houses) of 'Shinjoong Dongguk Yeoji Seungram', theoretical existence of the temple according to surveying investigation, and the excavation records of roof tile pieces with the name of 'Gwan Eum Temple', it is presumed that there had been a Buddhist sanctum inside the fortress and it could be connected to the carved letters, 'Chongsuk Temple'. According the observation survey, the 6th place of standing stones among many other places inside the fortress shows that Chongsuk Temple appears to have the strong characteristics of artificially constructed space in consideration of the size of trees and stones, the composite trend of tree and stone composition, and trace of the adjacent well and strand and the construction of stairway leading to the stone gate. Along with the constellation of the Big Dipper carved on a rock at the same space, the stones, on which the letters of 'Shinseonam', 'Chilseongam' and 'Daejangam' were carved, including 'Chongsuksa', and the carved statue of Buddha, which was assumed to be Avalokitesvara Guan Yin, have offered clue which make it possible to infer that the space was a space for Chilseong and Mountain god(Folk Belief) that had originated from the combination of Buddhism, Taoism and folk religion. According to the actual measurement of standing stones at Chonsuk Temple, it was identified that there were big differences in height among 24 stones in total, ranging from 402~29cm and the averaged distance between each stone appeared to be 23.6cm. And the shape of stones appeared to be standing or flat, and various stones such as mountain-like stones and Buddha-like stones were placed in a special arrangement or assorted arrangement, but the direction of the stones had a consistency pointing to the west. And comparing to the trace of construction of ZEN Landscape Garden well known in the country, the three flat stones except for the standing and shaped stones appeared to have the shape of meditation statue, which is the typical formational factors of a ZEN Landscape Garden, on the basis of formational technique of stones. Among them, the flat stone facing the Buddhist saint statue, was formed by way of symbolization of three-mountain stone, which was assumed to be an offering stone for sacrificial food rather than carrying out ZEN Meditation. In consideration of the formation of standing stones at Chong-suk Temple, which was carried out in the composite stoning method based using the scalene triangle with ratio of 3:5:7 in order to seek the in-depth beauty based on the stone statues of three Buddhas where the three factors such as heaven, earth and humans are embodied in the elevated or flat formation, the stones at Chongsuk Temple and the space seemed to the trace of contracted garden construction that was formed with stones for a temple, so that could be used for ZEN meditation.

• The Journal of Art Theory & Practice
• /
• no.1
• /
• pp.109-144
• /
• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.1
• /
• pp.4-23
• /
• 2020

This study examines the universal meaning of the roof-end tile, our cultural property, and especially focuses on an ontological interpretation of the "Smile of Silla" roof-end tile. In addition, the problem of good and evil read here is considered in connection with the universal problem of philosophy. The issue of good and evil is a theme in philosophy, theology, religion, and culture that will endure throughout human history in both the East and the West. Augustine and Schelling inquired deeply into the source of evil and obtained an answer to this question based on their methods, but their answer is not universal or absolute, or an answer that applies to everyone. This is because the issue of good and evil possesses both a direct relationship with every human being and a characteristic that will remain unresolved. That is to say, the metaphysical question regarding the source of evil will always be one that is open. Nietzsche, however, repudiated the morals handed down through Socrates and Christianity, and urged that we reside "beyond good and evil." This brief review argues that good and evil exists in the form of a being in itself, whether it is within our grasp or not, and reveals that good and evil is more "this-worldly" than it is "other-worldly". The roof-end tiles with facial markings passed on to us also presuppose that evil is in full force in this world and exerts its influence. This review taps into several folk methods for coping with the existence of an invincible evil that surpasses human capability and contemplates the extraordinary and creative ideas of the Silla people through their "Smile of Silla" roof-end tiles with facial markings that were used to counter evil.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.3
• /
• pp.98-104
• /
• 2010

The objective of this study was to understand the origin and characteristics of stone tower's style through the study of the 'Village Shrine at Seoji-ri, Andong'. The three kinds of stone towers were located forming a line of 9m on the hill of a red pine forest along the stream in the village. Toward the direction looking at the village, the three-story stone located on left, the two-story stone located in the middle, and the common style stone tower located on right. The bottom part of the three-story stone was 2.5m in length, 1.8m in width, 1.3m in height. The bottom part of the two-story stone was 1.3m in length, 1.5m in width, 0.9m in height. The common style stone heap tower was 3.0m in diameter, 1.8m in height with a cone shape. The small hat-shaped stone was presumed to be the top part of a three-story stone. According to the three factors(heaven, earth, human) of the idea of the universe in Korea, most ancient remains have components of odd numbers. Then it had been substituted with smaller three-story stone(at present, two-story stone). And then altered to a common stone tower later, such as the 'Village Shrine at Seoji-ri, Andong' that shows the combination of the Bronze Age's megalithic and a folk religion. The 'Village Shrine at Seoji-ri, Andong' is a valuable relic that shows the stone towers, and is derived from the Bronze Age. The 'Village Shrine at Seoji-ri, Andong' shows that the 'Village Shrine at Seoji-ri, Andong' was embodied the three-factor(heaven, earth, human) idea of the universe in three-story stone of megalithic culture' remains.