• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.54-77
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• 2020

Produced during the Goryeo period (718-1392), the statue of the monk Huirang Daesa at Haeinsa Temple in Hapcheon is almost life-size, with a height of 82.4 cm, a width of 66.6 cm at the knees, and a maximum width of 44 cm at the torso (front and back). Notably, it is the only known example of an East Asian Buddhist sculpture made from wood and dry lacquer that was formed by joining the front and back halves. However, a similar technique was used on a dry lacquer statue of the Medicine Buddha at Cheongnyangsa Temple in Bonghwa, which is estimated to date from the late Goryeo or early Joseon period. As such, this technique is thought to represent this particular time period. In an eighteenth-century travelogue about a trip to Mt. Gayasan, the author describes a sculpture that is believed to be the statue of Huirang Daesa at Haeinsa Temple, based on various unique features that closely correspond to the sculpture's current appearance. For example, the sculpture is said to have a hole in the chest and rough, knobby tendons and bones, two features that can still be seen today. Another sculpture of a Buddhist monk who was active in the western regions during the third and fourth century also has a hole in the chest, which is said to be a symbol of spiritual strength. The travelogue also states that the statue was lacquered black at the time, which means that it must have been painted with its present colors some time in the nineteenth century. Over time, the sculpture has been enshrined in various halls of Haeinsa Temple, including Haehaengdang, Jinsangjeon, and later Josajeon (Hall of the Patriarchs), and Bojangjeon. Records show that images of Buddhist monks, or "seungsang," were produced in Korea as early as the Three Kingdoms period (18 BCE-660 CE), but few of these works have survived. At present, only four such sculptures are extant, including the images of Huirang Daesa from the Goryeo period, and those of Monk Naong and Uisang Daesa from the Joseon period. Of these, the sculpture of Huirang Daesa has special significance for its early production date (i.e., CE. tenth century), outstanding production techniques, and superb artistic quality, realistically capturing both the external appearance and internal character of the subject. The tradition of producing, sanctifying, and worshipping statues of monks was prevalent not only in Korea, but also in China and Japan. However, each country developed its own preferred materials and techniques for producing these unique images. For example, while China has a large number of mummified Buddhist images (yuksinbul), Japan produced diverse images with various materials (e.g., dry lacquer, wood, clay) according to period. But despite the differences in materials and techniques, the three nations shared the same fundamental purpose of expressing and honoring the inherent spirituality of the monks.

• (The)Study of the Eastern Classic
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• no.68
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• pp.145-171
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• 2017

This study aims to clarify the meaning of the Anapji which was one of the scenic places of historical interest during Silla Dynasty and of the Anapbupyeong(雁鴨浮萍) which was one of the greatest seven miracles (Dong-do-chil-gue(東都七怪) through appearance of the Anapji in poems. Anapji lies its original meanings on Anhaji(安夏池) and then it was shortened to Anji(雁池), apji(鴨池) while Dongho(東湖) has also been called since it is located in the South of Gyeongju. As of July 2011, the Ministry of Culture officially renamed Anapji and Imhaejeon Hall Site(臨海殿址) as the palace of Crown Prince-Gyonegju Donggung(慶州 東宮) and Wolji(月池) (Historical Site No. 18) and Wolji became the current name. While pond was made during Munmu of Silla, the name Anapji did not exist. Kim Si-Seup (1465~1471) in the early Chosun period referred to the pond as Anhaji(安夏池) and its name started being called as Anapji in the Geography of Korea (Sinjeung dongguk yeoji seungnam,(新增東國輿地勝覽)(Jungjong 25, 1530). Though modern scholar states that it was being called Anapji since there are always many ducks and wild geese in the pond, they fails to present the literature evidences. The author found the line in the poem -Anapji composed by writer Kim Chul Woo, which means that a wild duck and water bird get in and off the pond on their own and the record saying which means Dong-ho(東湖) from the phrase of Dongho-saw-sar-gi(東湖書社記) of Lee Su In(李樹仁)(1739-1822)-Confucian Scholar of Gyeongju was created due to the fact that many wild geese and ducks are flying over. Based on the facts foresaid, the literature evidences for the name of Anapji are presented in the paper. Anapji is a combined word between the Anapbupyeong(雁鴨浮萍) which is a flooding weed and Dong-do-chil-gue(東都七怪). Dong-do-chil-gue is an ancient form of Modern Eight Scenic Views. Eight Scenic Views -Gyeongju Parlgyong is just well-known as scenic places without grotesque elements Dong-do-chil-gue had before. However, the author also found the passage of Ilseongnok: Records of Daily Reflections saying that Anapji has a clod that is as wide as rock(盤石) and the clod also has moneywort on, which are undulating in the wind and clarified how the Anapbupyeong became one of the one of the greatest-seven miracles Dong-do-chil-gue and why the Anapbupyeong frequently appears in the poems of many writers.

• Journal of Technology Innovation
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• v.17 no.1
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• pp.1-48
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• 2009

Recently we have found some symptoms that R&D fiscal incentives might not work well what it has intended through the analysis of current statistics of firm's R&D data. Firstly, we found that the growth rate of R&D investment in private sector during the recent decade has been slowdown. The average of growth rate (real value) of R&D investment is 7.1% from 1998 to 2005, while it was 13.9% from 1980 to 1997. Secondly, the relative share of R&D investment of SME has been decreased to 21%('05) from 29%('01), even though the tax credit for SME has been more beneficial than large size firm, Thirdly, The R&D expenditure of large size firms (besides 3 leading firms) has not been increased since late of 1990s. We need to find some evidence whether fiscal incentives are effective in increasing firm's R&D investment. To analyse econometric model we use firm level unbalanced panel data for 4 years (from 2002 to 2005) derived from MOST database compiled from the annual survey, "Report on the Survey of Research and Development in Science and Technology". Also we use fixed effect model (Hausman test results accept fixed effect model with 1% of significant level) and estimate the model for all firms, large firms and SME respectively. We have following results from the analysis of econometric model. For large firm: i ) R&D investment responds elastically (1.20) to sales volume. ii) government R&D subsidy induces R&D investment (0.03) not so effectively. iii) Tax price elasticity is almost unity (-0.99). iv) For large firm tax incentive is more effective than R&D subsidy For SME: i ) Sales volume increase R&D investment of SME (0.043) not so effectively. ii ) government R&D subsidy is crowding out R&D investment of SME not seriously (-0.0079) iii) Tax price elasticity is very inelastic (-0.054) To compare with other studies, Koga(2003) has a similar result of tax price elasticity for Japanese firm (-1.0036), Hall((l992) has a unit tax price elasticity, Bloom et al. (2002) has $-0.354{\sim}-0.124$ in the short run. From the results of our analysis we recommend that government R&D subsidy has to focus on such an areas like basic research and public sector (defense, energy, health etc.) not overlapped private R&D sector. For SME government has to focus on establishing R&D infrastructure. To promote tax incentive policy, we need to strengthen the tax incentive scheme for large size firm's R&D investment. We recommend tax credit for large size film be extended to total volume of R&D investment.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.102-142
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• 2023

The Bronze Bell of Wongaksa Temple, also known as the Bosingak Bell, was produced in 1468 during the reign of King Sejo for dedication at Wongaksa Temple in the middle of the capital Hanyang in celebration of the tenth anniversary of his accession to the throne. It is currently heavily damaged and cannot be struck. This paper focuses on the man-made damage inflicted on the Bosingak Bell and explores when, why, and by whom the bell was damaged along with the historical significance of this damage. In the first section, the relevant literature is reviewed and the problems concerned, research perspective, and methodology are presented. The history of related theories is investigated focusing on the relationship between Bosingak Bell and Wongaksa Bell. The perspective that Bosingak Bell and Wongaksa Bell are the same is introduced. My discussion will be developed from this perspective. In the second section, the background to King Sejo's construction of Wongaksa Bell is examined. Specifically, the bells commissioned by the kings of the early Joseon era are divided into court bells (jojong) and Buddhist bells (beomjong). They total four court bells and three Buddhist bells. The former are the Jongnu Tower Bell commissioned by King Taejo, Donhwamun Gate Bell by King Taejong, Gwanghwamun Gate Bell by King Sejong, and Sajeongjeon Hall Bell by King Sejo. The latter are the bells of Yongmunsa, Heungcheonsa (or Jeongneungsa) and Wongaksa Temples, all of which were made during the reign of King Sejo. Sejo also made Wongaksa Bell and gave it the meaning that the monarch and the Buddha both wish to enlighten the people through the sound of the bells. In the third section, traces of the man-made damage done to Bosingak Bell are closely examined. By observing the current condition of Bosingak Bell and comparing it with the contemporaneous Heungcheongsa Bell (1462) and Bongseonsa Bell (1469), the components of Bosingak Bell that were damaged can be identified. The damaged parts are again divided into Buddhist elements and non-Buddhist elements. The former includes the reversed lotus petals on the shoulder band, four standing bodhisattvas, and the inscription of the bell composed by Choe Hang. The latter includes lists of chief supervisors (dojejo). I describe the phenomenon of deliberately damaging Buddhist elements on bells as "effacement of Buddhism," meaning Buddhist images and inscriptions are eliminated, and I note the prevailing rejection of Buddhism theory among Neo-Confucianists as its ideological root. The erasure of non-Buddhist images was probably caused by political conflicts such as Yeonsangun's purge in 1504. Since both ideological and political factors played a role in the changes made to Bosingak Bell, the damage was possibly done between the Purge of 1504 and the abdication of Yeonsangun in 1506. Chapter four traces the transformation of the Buddhist bell of Wongaksa Temple into the Bosingak court bell. Finally completed in 1468, the Wongaksa Bell only served its role as a Buddhist bell at related services for a relatively brief period of 36 years (until 1504). Wongaksa Temple was closed down and the bell lost its Buddhist function. In 1536, it was moved from Wongaksa Temple to Namdaemun Gate, where it remained silent for the next 90 years until it was struck again in November 1594. However, after the destruction of the Jongnu Bell in a fire during the Japanese Invasions of Korea (1592-1598), the Buddhist bell from Wongaksa Temple became a court bell. The Wongaksa Temple bell was relocated to Jongnu Tower in 1619, traveling through Myeongdong Pass. From then on, as the official Jongnu Bell (later renamed Bosingak Bell), it was regularly rung at dawn and dusk every day for nearly 300 years until 1908, when Japanese authorities halted the ritual. The transformation of the Wongaksa Bell (a Buddhist bell) to Bosingak Bell (a court bell) means that the voice of the Buddha was changed to the voice of the king. The concept of "effacement of Buddhism," evident in the transformation of Wongaksa Bell to Bosingak Bell, was practiced widely on almost every manifestation of Buddhism throughout the Joseon period. In short, the damage evident in Bosingak Bell underscores the debuddhismization in Korean society during the Joseon Dynasty.