• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.67-80
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• 2022

SipWooDo (十牛圖: Painting of Ten Bulls), a Buddhist painting, is a kind of Zen Sect Buddhism painting, which is shown as a mural in many of main halls of Korean Buddhist temples. MokWooDo has been painted since Song Dynasty of China. It paints a cow, a metaphor of mind and a shepherd boy who controls the cow. It comes also with many other types of works such as poetry called GyeSong, HwaWoonSi and etc. That is, it appeared as a pan-cultural phenomenon beyond ideology and nation not limited to Chinese Buddhist ideology of an era. This study, therefore, selects MokWooDo chants that represent Confucianism, Buddhism and Taoism to compare the writing purposes, mind discipline methods and ultimate goals of such chant literatures in order to integrate and comprehend the ideologies of such three schools in the ideologically cultural aspect, which was not fully dealt with in the existing studies. In particular, the study results are: First, the SipWooDo of Buddhist School is classified generally into Bo Myoung's MokWooDo and Kwak Ahm's SimWooDo (尋牛圖: Painting of Searching out a Bull). Zen Sect Buddhism goes toward nirvana through enlightenment. Both MokWooDo and SimWooDo of Buddhist School are the discipline method of JeomSu (漸修: Discipline by Steps). They were made for SuSimJeungDo (修心證道: Enlightenment of Truth by Mind Discipline), which appears different in HwaJe (畫題: Titles on Painting) and GyeSong (偈頌: Poetry Type of Buddhist Chant) between Zen Sect Buddhism and Doctrine Study Based Buddhism, which are different from each other in viewpoints. Second, Bo Myoung's MokWooDo introduces the discipline processes from MiMok (未牧: Before Tamed) to JinGongMyoYu (眞空妙有: True Vacancy is not Separately Existing) of SsangMin (雙泯: the Level where Only Core Image Appears with Every Other Thing Faded out) that lie on the method called BangHalGiYong (棒喝機用: a Way of Using Rod to Scold). On the other side, however, it puts its ultimate goal onto the way to overcome even such core image of SsangMin. Third, Kwak Ahm's SimWooDo shows the discipline processes of JeomSu from SimWoo (尋牛: Searching out a Bull) to IpJeonSuSu (入鄽垂手: Entering into a Place to Exhibit Tools). That is, it puts its ultimate goal onto HwaGwangDongJin (和光同塵: Harmonized with Others not Showing your own Wisdom) where you are going together with ordinary people by going up to the level of 'SangGuBori (上求菩提: Discipline to Go Up to Gain Truth) and HaHwaJungSaeng (下化衆生: Discipline to Go Down to Be with Ordinary People)' through SaGyoIpSeon (捨敎入禪: Entering into Zen Sect Buddhism after Completing a Certain Volume of Doctrine Study), which are working for leading the ordinary people of all to finding out their Buddhist Nature. Fourth, Shimiz Shunryu (清水春流)'s painting YuGaSipMaDo (儒家十馬圖: Painting of Ten Horses of Confucian School) borrowed Bo Myoung's MokWooDo. That is, it borrowed the terms and pictures of Buddhist School. However, it features 'WonBulIpYu (援佛入儒: Enlightenment of Buddhist Nature by Confucianism)', which is based on the process of becoming a greatly wise person through Confucian study to go back to the original good nature. From here, it puts its goal onto becoming a greatly wise person, GunJa who is completely harmonized with truth, through the study of HamYang (涵養: Mind Discipline by Widening Learning and Intelligence) that controls outside mind to make the mind peaceful. Its ultimate goal is in accord with "SangCheonJiJae, MuSeongMuChee (上天之載, 無聲無臭: Heaven Exists in the Sky Upward; It is Difficult to Get the Truth of Nature, which has neither sound nor smell)' words from Zhōngyōng. Fifth, WonMyeongNhoYin (圓明老人)'s painting SangSeungSuJinSamYo (上乘修真三要: Painting of Three Essential Things to Discipline toward Truth) borrowed Bo Myoung's MokWooDo while it consists of totally 13 sheets of picture to preach the painter's will and preference. That is, it features 'WonBulIpDo (援佛入道: Following Buddha to Enter into Truth)' to preach the painter's doctrine of Taoism by borrowing the pictures and poetry type chants of Buddhist School. Taoism aims to become a miraculously powerful Taoist hermit who never dies by Taoist healthcare methods. Therefore, Taoists take the mind discipline called BanHwanSimSeong (返還心性: Returning Back to Original Mind Nature), which makes Taoists go ultimately toward JaGeumSeon (紫金仙) that is the original origin by changing into a saint body that is newly conceived with the vital force of TaeGeuk abandoning the existing mind and body fully. This is a unique feature of Taoism, which puts its ultimate goal onto the way of BeopShinCheongJeong (法身淸淨: Pure and Clean Nature of Buddha) that is in accord with JiDoHoiHong (至道恢弘: Getting to Wide and Big Truth).

• Journal of the Korean Society of Costume
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• v.39
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• pp.217-237
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• 1998

The present research is to study the make-up culture of Korea and its neighboring countries such as China and Japan during the period from the prehistoric age to the 19th cen-tury. The research was made by documents analysis. The results are summerised as follows : (1) A man has a basic instinct to beautify himself. There was not a significant difference between the make-up behavior of men and women in its primal stage. It was by the start of farming and the division of labor that made the make-up behavior as a feminine culture. The difference of sexual role caused the con-ceptual difference between manly beauty and womanly beauty. It was very natural for women to regard the make-up as the best way for showing their feminine beauty. In Korea, China and Japan, there were vari-ous kinds of primal actions such as tattooing, body-painting, and tooth make-up which were used in the purpose of body protection, incantation, ornament, and so on. Ass their ornamental purpose was becoming more important, these primal actions became the basis of the feminine make-up culture. Nowadays make-up, having mental and emo-tional function, is helpful to increasing self-satisfaction, promoting good personal relation-ship, and attracting attention from the other sex. It also has other functions of showing social status, wealth, age, sex, courage, power, and so on. (2) The representative make-up product used widely in the three countries was Boon (powder) which decides the overall color of face. The key point in the production of Boon was to increase its power of adsorption. The invention of Yunboon (power mixed with lead) solved this major problem of Boon. Yeonji which decides the color of cheek was the mixture of Boon and the powder of Honghwa (a kind of red-colored flower or tree). Mimook (eyebrow pencil) was developed to match up with the various and changing currencies of penciling eyebrows in each nation and times, Yeonji and Joosa (red sand) were used as Jinji (lip stick). The predominant color of Jinji was red. As miscellaneous methods of partial make-up, there were Kon-ji used in a wedding cer-emony in korea, Aek-hwang, Hwa-jeon, Sa-hong, and Myun-yup in China, and Chi-heuk, a peculial method of partial make-up in japan. (3) There were various factors which decided the characteristics of make-up culture usually reflects international atmosphere, the form of government, economic situation, re-ligious and social ideology, aesthetic sense, symbolizing meanings of colors, and so on. The up and down of an influentian country was one of the major factors which decided the characteristics of the make-up culture of its neighboring countries. When a country took a liberal form of government, it had diverse and splendid tendencies in its make-up culture. The better a nation's economic situation is, the more abandant and various its make-up culture is, and sometimes, the more eccentric and decadents it was. In the field of make-up production, the three countries had their own characteristics. But, as a whole, China was the leading nation who spread the culture and products of make-up to Korea and Japan. Though the Chinese make-up culture and products were usually spread to Japan through Korean, there was some evidence of direct exchanges between China and Japan through its dispatches of Kyun-Tang-Sa(Japanese delegation to the Tang Dynasty). While religion had a positive influence on the development of make-up culture by introducing new methods of make-up, Confucianism exercised strict control over the make-up cul-ture. The currencies in arts and changes of esthetic sense introduced new methods and booms to the make-up culture. Literature made people pay increasing attentions to the countenances of women and changed the standards of esthetic sense. We can find out that the social status of woman was also reflected in the make-up culture. As the social status of women became higher, the feminine make-up culture also developed more then ever. As mentioned above, the make-up cultures of the three countries reflected their social values, esthetic senses, and emotional feelings. Through their cultural exchanges, the three countries could develop various make-up products and methods.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.7
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• pp.500-509
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• 2017

This study was conducted from December 2015 to March 2016 to investigate the knowledge, attitude, and practice of baby foods in rural multi-cultural families. The survey included the general characteristics of households and infants, knowledge, attitude, and practice of baby food. The results indicated that the mean score of baby food knowledge was 3.79, 4.07 for attitudes, and the practice group was 25.0%. In the knowledge of baby food, the groups with a total number of two or more children, high educational background for both the father and mother, Chinese or Japanese nationality, high Korean language ability, and marriage for at least 6 or more years was higher (p<0.05). In the attitude of baby food, the groups with a total number of two or more children, a higher mother's Korean language, and the mother in charge of the baby food were higher (p<0.05). In the case of baby food practice, the groups the baby mother was from Japan and Cambodia, there was no occupation, and the mother was in charge of the baby food were higher (p<0.05). Knowledge and attitude according to the practice of baby food showed a higher knowledge (p <0.001) and attitude in the weaning practiced group than unpracticed. To produce baby food for infants in multi-cultural families, it is important to improve the Korean language ability of infant mothers who are in charge of baby food, and it is necessary to provide correct information related to infant formula utilizing the supporters of the neighboring mothers. In addition, it is necessary to provide customized education and support that is contingent upon the nationality of the native people while remaining mindful of the cultural implications of multi-cultural families.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.11-20
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• 2018

This study is to review about Yeongpyeong(永平), Baengnoju(白鷺洲)'s status and meaning landscape from literature and carved letter by literature reviews and a field survey. Baengnoju is named from mounting Geumneung(金陵) Bonghwangdae(鳳凰臺) poetry written by I, Baek(李白). There were many 'Baengnojus' all over the country but Yeongpyeong Baengnoju was the most famous beauty spot in Joseon dynasty. We identified many documentations about carved letter in the rock by literature reviews. So We guessed Baengnoju's past landscape and discovered undiscovered carved letters in the rock. Baengnoju became a famous place by Yang, Man-go(楊萬古)'s villa and I, Myeong-Han(李明漢)'s poetry. After this, it had received attention because it had a fine view and a good place to live. We thought that Baengnoju's documentations about carved letter in the rock was the most important, because carved letter in the rock is the fundamental factor to explore a noted wiseman' trace. Especially, documentations about carved letter in the rock was concentrated with Seoin(西人)'s literature. It is the important materials to identify carved letter in the rock. We studied about Baengnoju's carved letter in the rock by literature reviews and a field survey. First of all, it was identified as Jo, Sang-Wu(趙相愚) who wrote "Baengnoju" letter. We also discovered two undiscovered letters in Baengnoju letter's left side. There were Yu, Gi-Il(柳基一)'s carved letter in the rock in the other side. It was many carved letters in the rock in Baengnoju, but we knew so many differences comparing with literature. So, we need to establish plans to preserve. On this occasion, we wish that many people will be pay more attention to Baengnoju.

• Journal of Korean Medical classics
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• v.6
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• pp.252-305
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• 1993

I have studied the relation between a Taoist(道家) and the oriental medicine(韓醫學), it is summerized as following. 1. According to the relation between a Taoist(道家) and the oriental medicine, Lao-tzu(老子)' mathematical principle that had an influence on Three yin-three yang(三陰三陽) theory of the oriental medicine, idea of natural philosopy(自然無爲) and the freedom from avarace(無慾) on the oriental medicine. 2. Vital essence and energy theory(精氣設) in a Taoist not only can be seen in Lao-tzu' Do dug gyung(老子道德經), Maengza(孟子), Guanza(管子), but also its principle has something to do with Nei Ching's Vital essence and energy theory(精氣設). 3. Danjungpa(丹鼎派) can be divided into Naedansul(內丹術) which preserves through the breath and Oedansul(外丹術) which makes one a Taoist hermit. If he takes magic portions(金丹), they had a great effect on Yangsanghak(養生學) and was actually concerned with oriental doctors who was known to us. 4. If medicine of Taoism is classified, it can be divided into three categories. Boiled solution(渴液), Pharmacopea "Ben cao"(本草), Acupuncture & moxibustion(針灸), Magic portions(外丹) are used in the first category. Chinese setting-up and Therapeutic exercises(導引), Josik(調息), Naedan(內丹), Byugok(辟榖), Naeshi(內視), Banjung(房中) belong to second category. The religious contents such as Bu(符), Jeum(占), Cheum(籤), Ju(呪), Je(齊), Gido(祈禱), taboo are implied in third category. 5. In the history of the medicine of Taoism and oriental medicine, they are called animism, shamanism, Mu(巫) or Ye(毉), not separated at first period. In the end of junguk(戰國時代), Ye(醫) was clearly distinguished from Mu(巫) and then Mu(巫) was developed into medicine of Taoism and ye(毉) into the present form of oriental medicine. 6. The oriental medicine doctors that are concerned with Taoism are Bakgo(伯高), Geyugu(鬼臾區), Soyu(少兪), Noigong(雷公), Pyujak(篇鵲), Sunuyi(淳于意), Hwata(華陀), Hwangbomil(皇甫謐), Hangang(韓康), Dongbong(童奉), Heuson(許遜), Galhong(葛洪), Dohongyung(陶弘景), Damlan(曇鸞), uyjajang(葦慈藏), Sonsanak(孫思邈), Wanguing(王氷), Jegonghwalbul(濟公活佛), Yuwanso(劉完素), Judonge(朱丹溪), Leesijin(李時珍), Johakmin(趙學敏), Ougu1(吳杰) etc. 7. The view of a human body in the medicine of Taoism affected the oriental medicine on the ground that man was regarded as a microcosm(小宇宙), so he was compared to a nation or heaven and earth. 8. The anatomy of medicine of Taoism gave a detail description of five visceras and each organs, the heart, center of mental function, Mirie(尾閭) which has an relationship to the training of Naedan(內丹修練). In this resrect, as it is accord with the acupunture point of oriental medicine, therefore we can find that Taoism influenced oriental medicine, also explicit study was achieved. 9. Acient people believed that the goo in the human lxxIy, one of the characteristics of the medicine of Taoism cured the patients and then protected him from the disease. If a man was taken ill, they had him cured by making the god's name which corresponded to its disease, calling him communicating with him, and asking him to deprive him of illness. This treatment was used to live and be kept young eternally. In this respects, we can see that they emphasized on the attitude of Bulchiyibeung chimibeung(不治己病治末病) and psychological treatment. 10. Samsi thoery(三尸說) that one's fortune, disaster, health, and disease in the world are at the mercy of his good or bad conduct, is concerned with Taoism and treatment with the oriental medicine. 11. Guchung(九蟲) is more closly associated with the religious aspect rather than with the medical aspect. Because of the similarity of the mcdern parasitism, its study has an important meaning. 12. The respect for the human life is reflected in jeunsi(傳屍), with Samsi-guchung theory(三尸九蟲說), which is considered as mxIern tuberculosis.

• Archives of design research
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• v.20 no.3 s.71
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• pp.29-38
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• 2007

The competition to capture a larger slice of the market in Mobile Communication business is increasing among companies. In order to achieve and maintain a competitive advantage in the Asian market, it is critical to continue to develop new technology. Understanding the underlying distinctive characteristics and needs of each market and the cultural backgrounds that drive those needs is a necessary focus. Companies with marketing strategies based on a correct understanding of market needs will capture dominant positions in the market. The purpose of this study is to identify those differences in user behavior and cultural tendencies among different people in different countries in the mobile telecommunication market. This research is based on an on-line survey in three countries (Korea, China, and Japan). Below are the contents of the survey on the mobile phone based on: 1) User behavior 2) Design preference 3) Purchasing behavior 4) User awareness on manufacturer brand. Through the analysis of this questionnaire it is possible to identify the differences and similarities among countries dearly. 1) Cultural trends and perceptions related to mobile phone usage were largely caused by differences in the state of technology, policies and business strategies of mobile sonics carriers and manufacturers, and national tendencies, of each country. 2) Korean and Japanese users produced similar responses to the questions related to advanced technology, whereas Korean and Chinese users responded similarly to national tendency-related questions. 3) To the questions related to business strategies of mobile service carriers and manufacturers, users in all three countries displayed markedly different responses. Once again, accurate analysis of the differences and similarities related to mobile phone usage in each country will help the companies in this industry to gain a competitive edge in the market. This study should not stop at simple comparison but be a framework for giving companies a dear future direction for technological development.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• Journal of Korean Medical classics
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• v.4
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• pp.19-73
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• 1990

Today, many people are more interested in preventing the disease than curing it. Chi-Kung (氣功) is the way of Life-Cultivation (養生法) peculiar to the orient, it is reported in china that Chi-Kung has an excellent curative value not only in curing the disease but also in preventing it. But the full-scale study of Chi-Kung is not be made up to now in Korea, so I studied the developmental history of chinese Chi-Kung through the oriental medical books. From this study, I reached the following conclusions ; 1. Chi-Kung is naturally derived from the self-preservation instinct to adapt oneself to circumstances of the nature, but in the investigation from the documentational records, it is originated in the treatment method of the Sam-Huang-O-Jae (三皇五帝 )period to cure the abnormal circulation of the vital force and blood caused by damp (濕). 2. As the principle and the method of the Life-Cultivation of the Chun-chu-Jeon-Kook (春秋戰國) periods were recorded in Huang-Jae-Nai-Gyung (黃帝內徑) detailly and the remedy examples by ancient Chi-Kung such as Tao-Yin (導引), Haeng-Chi (行氣) were presented, we considered that theoretical basis of the development of Life-cultivation and Chi-Kung study was furnished in that period. 3. A famous doctor, Hwa-Ta (華陀) lived in Han dynasty, researched the theory and practice of Tao-Yin transmitted from the former generations, as that result, he formed a kind of medical gymnastics what is called O-Keum-Hi (五禽戱). It is considered that 'O-Keum-Hi' is a Tao-Yin method developed more practically and systemetically than the Tao-Yin appeared in the 'Jang-Ja' (莊子) or 'Hoy-Nam-Ja' (淮南子). 4. In Wui-Jin-Nambook Jo (魏晋南北朝) periods, the contents of Chi-Kung were more abundant under the influence of Buddhism (佛敎) and Taoism (道敎). Galhong (葛洪), the author of 'Po-Bak-Ja' (抱朴子) arranged the ancient Chi-Kung method systematically first of all, Tao-Goeng-Gyung (陶宏景), the author of 'Yang-Seong-Yeun-Myung-Rok' (養性延命錄) recorded the 'Yook-Ja-Geul' (六字訣) first time. 5. There is a new development of Chi-Kung therapy in Soo-Tang-Odae (隋唐五代) pefiods, especially So-Won-Bang (巢元方), the author of 'Jey-Byung-Won-Hwu-Ron' (諸病源候論) collected aimost all of the Chi-Kung method, for curing the disease formed before soo (隋) period. From that fact, we supposed that Chi-Kung was utilized more widely in curing the disease. 6. 'So-Ju-Cheon-Hwa-Hu-Peob' (小周天火候法) was adopted as the best orthodox approach under the influence of Nae-Tan-Taoist (道敎內丹學派) in Song-Keum-Won (宋金元) periods, especially in the song dynasty, 'Pal-Dan-Geum' (八段錦) was appeared and assignment of six-Chi (六氣) for bowel and viscera in the 'Yook-Ja-Geul' (六字訣) was decided firmly, that is to say Lung-Si (肺-呬), Heart-Kha (心-呵), Spleen-Hoa (脾-呼), Liver-Hoe (肝-噓), Kidneychui (賢-吹), Three-Burner-shi (三焦-嘻). 7. In Myung-Cheong (明淸) periods, The general practitioner applied the principle of 'Byun-Jeng-Ron-Chi' (辨證論治) to the Chi-Kung field, and after Myeong dynasty the style of doing 'Yook-Ja-Gyel' (六字訣) was developed to the moving style. 8. Today, in china, the study on the Chi-Kung is being progressed constantly under the positive assistance of government, Chi-Kung-Hak (氣功學) has taking its place as a branch of study step by step. It is considered that the establishment of Chi-Kung-Hak Classroom (氣功學教室) and Medical Chi-Kung Center (氣功療法室) for special and systematic research are needed, at the same time the settlement of institutional system for training the Chi-Kung technician (氣功師) is also needed.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.72-83
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• 2013

This study suggests the necessity of landscaping alternatives for the succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures and paintings and its result is as follows. An old idiom, 'Takyoung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). Classical scholars immerse their feet in soft-flowing(柔軟) water for 'Mulailche(物我一體; synchronized with nature)' which is a unified condition with 'Do(道; truth)' and connected to the stage of 'Yu(遊)', a free mental state, and its nature. The cultural phenomenon of Takjok appeared in the inherited landscape paintings in the Joseon dynasty period after the late stage of Koryo. Takjok shown in 'Pal Kyung Shi'(八景詩; poetry singing for the eight scenary) was described as not a transcendent scene, but as a scenery of daily life. Dense forest and water, such as a stream with clean water, rocks, and pine trees shown in Takjok paintings have been symbolized as a seclusion space for classical scholars with higher thinking and their mental states have been more emerged. Mental pleasures called as seclusion and Takjokjiyu have been relatively emphasized in the Takjok paintings of the Joseon Dynasty period contrary to the Chinese Takjok paintings emphasizing Chung Gye(淸溪; clean stream) and Chang Rang(滄浪; high and clean wave) and strongly representing the image of 'Chung Ryu'(淸流; clean flowing water) and the veneration for antiquity. The view of nature described in the Takjok paintings represents the provision of nature as a situation and attitudes of classical scholars and implies a Taoism perspective which describes the 'do' of nature. This view of nature itself remained intact(無爲自然) with the love of mountains and water, showing a side of the zeitgeist and aesthetic consciousness of China and Joseon. The 'Takjokjiyu' of both countries has be interpreted as a symbol of personality development, behavior, life in seclusion, or transcending the mundane world and has also been accepted as a method of summer vacation in the real world. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather, as well as the classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and the use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.

• Journal of the Korean Institute of Navigation
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• v.25 no.1
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• pp.77-91
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• 2001

According to the many ancient literatures, it is said to be that Merchant Prince, Chang Pogo in unification Silla had traded with not only China, Japan but also Arab-Islam Countries, but unfortunately there is no definite records about this. Therefore in this study the writer would like to presume the sea routes of Merchant Prince, Chang Pogo in a unification Silla. For the purpose of this study the writer would like to study the reference books and materials regarding to the sea routes of prehistoric age and ancient three countries of Kingdoms and unification Silla. Especially the writer consider “The Work of Routes and Kingdoms” of Ibn Khurdarhbih regarding to the ancient sea routes of Korea, China, Arab-Islam Countries, and also the writer consider the ancient sea routes of Tang Dynasty in China and Ryukyu Kingdom in Japan. About this methodology of this study, the writer believe that the sea routes of today is the results of ancient sea routes, and this ancient sea routes could not be changed forever except special circumstance. According in this study the writer would like to persume the sea routes of Merchant Prince, Chang Pogo using like this methodologies. This presumption of the writer is originated on the basis of The Work of Routes and Kingdoms written by ancient Arabian Geographer, Ibn Khurdadhbih in the early years of 9th century. The Work of Routes and Kingdoms is geography, and the principal contents of this geography are the activities of Arab-Islam merchants and Chinese Merchants between Arab-Islam countries and China from 9th century to 11th century by ancient sea routes. But surprisingly in this geography, Silla was marked, and another ancient Arabian geogrpher, Al-Biruni marked Silla on his map, Qanun Al-mas'udi in the 9th century, and also another ancient Arabian geographer, Al-Idrisi marked Silla on his map in the 11th century. Especially Al-Biruni expressed the longitude and latitude of Silla on his map, he expressed Silla as following. “at the extreme end of China toward the East and few people travelled to it by sea”. Therefore the writer would like to presume that Arab-Islam merchants had traded with unification Silla in the 9th century, and also Merchant Prince, Chang Pogo had traded with not only China, Japan but also Arab-Islam Countries using above ancient sea routes in the 9th century.