• Cross-Cultural Studies
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• v.39
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• pp.127-152
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• 2015

This thesis comparatively looks into folklore faiths, expecially child-birth gods related to child-birth customs and aims to find out both nations' faith in child-birth gods and their features. It looks into birth gods protecting delivering mothers and babies by appearing at the delivery sites at time of delivery and child-rearing gods intervening in growth of babies after they are born. In both nations, many gods are believed in for selection of babies, safe delivery and their healthy growth but those appearing at delivery sites are only birth goddesses called Samsinhalmony and Obugami. What make this phenomenon appear in both nations' folklore faiths? Seeing the reason in the fact that common negative concept regarding childbirth exists in both nations' established faiths, the writer comparatively analyzed various cases of delivery-related defilement in both nations' delivery customs. Its result showed that Japan is stronger in delivery-related defilement concept than Korea is. For instance, Japan regard child birth-related defilement more horrible than that related to funeral. Pursuantly, in Japan stricter regulations on childbirth rooms and stricter taboos for babies have been passed down. Besides, in the process of its comparative study on both nations' divine images and appearances, the writer paid attention to the fact that unlike Japan's mountain gods and restroom goddesses appearing at delivery sites, they don't get involved in childbirth in Korea and discussed Japan's theory of reincarnation and its mountain goddess' marginal nature working behind the curtain. I also discussed the phenomenon that both nations' childbirth gods are passed down as Three gods, which means that their faith in childbirth gods has to be seen as a result of the faith in childbirth gods interacting with the faith in Three gods or the Three-gods theory, accordingly I indicated that it is worth re-consideration to see the Three-God Theory as the core of the faith in Samsinhalmoni. Lastly, though in both nations' childbirth faith underlies their fear for divine beings, the faith in childbirth gods, strongly coupled with death heritages, is distributed throughout the nation, which is because Japan's childbirth gods intervening in birth and growth of a new life also actually involve themselves deeply in the sphere of death as well.

• Journal of Astronomy and Space Sciences
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• v.28 no.1
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• pp.79-91
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• 2011

Ongnu (Jade Clepsydra; also called Heumgyeonggaknu) is a water clock was made by Jang Yeong-sil in 1438. It is not only an automatic water clock that makes the sound at every hour on the hour by striking bell, drum and gong, but also an astronomical clock that shows the sun's movement over time. Ongnu's power mechanism used is a water-hammering method applied to automatic time-signal device. The appearance of Ongnu is modeled by Gasan (pasted-paper imitation mountain) and Binpungdo (landscape of farming work scene) is drawn at the foot of the mountain. The structure of Ongnu is divided into the top of the mountain, the foot of the mountain and the flatland. There located are sun-movement device, Ongnyeo (jade female immortal; I) and Four gods (shaped of animal-like immortals) at the top of the mountain, Sasin (jack hour) and Musa (warrior) at the foot of the mountain, and Twelve gods, Ongnyeo (II) and Gwanin on the flatland. In this study, we clearly and systematically understood the time-announcing mechanism of each puppet. Also, we showed the working mechanism of the sun-movement device. Finally, we completely established the 3D model of Ongnu based on this study.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.1-12
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• 2013

Korea's traditional Sokgasans(a artificial rock mountain) are elements of our excellent rock garden culture that have been inherited from Goryeo Era to Chosun Era. This study is to analyze how the culture of Sokgasans in the Goryeo and the Chosun Eras has been has been representated the implications and inherited in terms of historical aspects. Korea's traditional Sokgasans, which were created in the Goryeo Era by imitating the landscape of mountain ranges, created a small artificial mountain made of oddly shaped stones, imitating a real mountain. People in those days would reproduce mountain landscapes through a miniaturization technique, enjoying the pleasure of deep mountains and valleys as they lay on their gardens at home while having an aesthetic experience of the landscape that supported their emotional stability and healing. The inner side of these Sokgasan was intended to represent the world of the Taoist hermit with miraculous powers in terms of utopia, expressing 5 Ak mountains(Song Shan, Taishan, Huashan, Heng Shan and Hyeong Shan) where the mountain of 3 Gods(Youngju, Bongrae and Bangjang) wishing for 'No aging and living long' and idea of the Taoist hermit with miraculous powers are concentrated beyond the beauty of form in the landscape itself. In addition, people could refine their minds by practicing the Confucianist lesson of loving the mountain and water by watching the Sokgasan and imitating 'Famous mountains and lakes" from China and they had been changed and advanced embracing various implications in inner side of Sokgasans. Korea's traditional Sokgasans not only made it possible for people to experience aesthetic landscapes as a practical element of the scenery but also had deep symbolic implications that go beyond their formal beauty and were sublimated as an ideational space of unlimited imagination.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.3
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• pp.40-52
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• 2021

Various peoples lived in Changbai Mountain in each era, and the peoples of each period regarded Changbai Mountain as part of their own religious culture. Existing studies on the culture of Changbai Mountain are conducted only based on the events of a specific period, but how the sacredness of Changbai Mountain has changed from time to time, how it is related to the religious culture of the people of each period, and how sacred the areas and spaces have changed. There has been no research to that extent. The purpose of this study is to examine and analyze the meaning of Changbai Mountain's sacredness that has changed from time to time. In order to examine the change of the sanctity of Changbai Mountain through synchronicity, the study focused on the hierophany occurring between the religious culture of the peoples of each period and the space of Changbai Mountain. Specifically, the activities to protect the sacred objects and sacred spaces revealed by the hierophany were considered, and the change of the sanctity of Changbai Mountain was interpreted with the derived results. The summary of the results of this study is as follows. The sacred activities of Changbai Mountain have changed from time to time. During the pre-Qing dynasty, civilians performed incarnation rites, holy god rites, mountain god ceremonies, and willow god rites for livelihood and survival, and the king of the Jin dynasty offered rituals to the Changbai Mountain gods as rituals such as Four Mountains(Yuezhen). During the Qing Dynasty, the emperor built Wangji Temple and sent a government official to make a ritual to the Changbai Mountain god as the best ritual to symbolize the country. In modern times, Bagua Temple was built on the top of Changbai Mountain and sacrifices were made to the Changbai Mountain gods, and the nature of Changbai Mountain. Humans living in Changbai Mountain area were judged through the tricks of the Bagua Mountain. In addition, during this period, civilians performed ritual activities centering on the god Shanshenlaobatou, who personified life and production. In summary, the sacred activities of Changbai Mountain were shamanistic rituals based on animistic ideology in the pre-Qing dynasty, the best imperial rites for honoring the sacred as an imperial sanctuary in the Qing dynasty, and the Taoist ideology of migrants in the modern period. It had been transformed into a ceremonial activity. And the meaning of Changbai Mountain, viewed as a sacred activity, was elevated from the mountain of livelihood in the pre-Qing dynasty to the mountain of the nation in the Qing dynasty, and then changed to the mountain of modern production.

• Journal of the Daesoon Academy of Sciences
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• v.23
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• pp.241-292
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• 2014

This article as an attempt to analyze Jin-beop-joo(眞法呪, incantation of true law) and the view of Yang-wui Sangje(兩位上帝, Sangje in two Godship) corresponds to the second preliminary work prior to the research on the view of Sangje in Daesoonjinrihoe. The points of this article are as follows: First, Jin-beop-joo and 15 Godship(神位) based hereupon are one of the most essential elements comprising the view of Sangje in Daesoonjinrihoe. Since the other Jeungsan line religious orders except Daesoonjinrihoe does not use 15 Godship in explaining and understanding Jeungsan, this fact should be regarded as an important characteristic of Daesoonjinrihoe. Second, 15 Godship is the important installation to assemble Sangje and the other gods in the same place. In Buddhism temples and China-Taoism temples, the gods each are placed in a separate palace. Whereas Sangje and the gods are concentrated in the same place, Yound-Dae(靈臺) which is the shrine of Daesoonjinrihoe. This fact shows Sangje takes the reins to the gods visually. 15 Godship facilitates that system. Third, the number 15 of 15 Godship symbolizes the natural laws of the cosmos. Thus the shrine of Daesoonjinrihoe implies the law of universe emblematically. Forth, 15 Godship shows that the Highest God in Daesoonjinrihoe are located in the middle of the functional gods ruling over nature like mountain, sea, season, the Great Dipper, and Taoistic or Buddhistic gods like Ok-hwang Sangje(玉皇上帝, The Great Jade Emperor), Seoga-Yeorae(釋迦如來, Tathāgata Buddha), Kwan-seong-Jegoon(關聖帝君, Holy god Guan Yu), along with various envoys and ancestral gods. Besides, considering the fact that the majority of 15 Godship consists of the Eastern deities, it verifies the view of Sangje in Daesoonjinrihoe is built in the Eastern religions. Fifth, whereas the other Jeungsan line religious orders have a tendency of understanding Jeungsan as Ok-hwang Sangje, Daesoonjinrihoe worships Jeungsan as Gu-cheon Sangje(九天上帝), not as Ok-hwang Sangje. This accords with the following fact; Jeungsan is the highest ruling entity in Gu-cheon, whereas in Jinbeonju, which was handed down from Jeungsan, the highest ruling entitiy in Gu-cheon is expressed as a different being from Ok-hwang Sangje. Sixth, Daesoonjinrihoe understands Sangje as the form of two Godship, Yang-wui Sangje, which are Gu-cheon Sangje and Ok-hwang Sangje. Judging from the form of salutation, the status of these two Sangjes are the same. Yet, the object of belief is Gu-cheon Sangje as the highest God, while Ok-hwang Sangje is stipulated as the one who has wielded a true law succeeding to the Gu-cheon Sangje's will. The religious term of Yang-wui Sangje don't imply meaning Gu-cheon Sangje and Ok-hwang Sangje are the same rank. Yang-wui Sangje is the term expresses Sangje in two Godship and involves the orthodox heritage of Daesoonjinrihoe. Along with An Introduction to the Study of the Outlook on the Highest Ruling Entity in Daesoonjinrihoe (I), this article is written, while giving a thought to construct the religiography on the highest God in Daesoonjinrihoe. I hope this article accompanied with the previous one, can be contributed to the fertilization of the soil in the field of Daesoon religious studies.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.1-19
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• 2013

This study tries to review 'Sakuteiki(作庭記)', the Book of Garden Making, compiled at the end of the 11th Century during the Heian Period of Japan, from the East-Asian perspective. 'Sakuteiki' is a Garden Theory Book, the oldest in the world as well as in Asia, and it contains the traditional knowledge of Japanese ancient garden culture, which originated from the continent(Korea and China). Traditional knowledge related to East-Asian garden culture reviewed in this paper is "Fungsu Theory"(風水, Asian traditional ecology: Fengshui in Chinese; Fusui in Japanese), stemmed from the culture to seek sound and blessed places to live in. Viewed from modern landscape architecture, the Fungsu Theory corresponds to ecology(science). The Fungsu Theory was established around the Han Dynasty of China together with the Yinyangwuxing(陰陽五行) Theory and widely used for making human residences including gardens. It was transmitted to Japan via Korea as well as through direct transaction between Japan and China. This study reinterprets garden design principles represented in Sakuteiki, which were selected in 5 key words according to the Fungsu Theory. The 5 key words for the Fungsu Theory are "the place in harmony of four guardian gods(四神相應地)", "planting trees in the four cardinal directions", "flow of Chi(氣)", "curved line and asymmetry", and "mountain is the king, water is the people". Garden design principles of "the place in harmony of four guardian gods(四神相應地)" and "planting trees in the four cardinal directions" are corresponding to "Myeongdang-ron(明堂論, Theory of propitious site)". The place in harmony of four guardian gods mentioned in Sakuteiki is a landform surrounded by the flow of water to the east, the great path to the west, the pond to the south, and the hill to the north. And the Theory originated from Zhaijing(宅經, Classic of dwelling Sites) of China. According to this principle, the city was planned and as a miniature model, the residence of the aristocrat during the Heian period was made. At the residence the location of the garden surrounded by the four gods(the flow of water, the great path, the pond, and the hill) is the Myeongdang(明堂, the propitious site: Mingtang in Chinese; Meido in Japanese). Sakuteiki explains how to substitute for the four gods by planting trees in the four cardinal directions when they were not given by nature. This way of planting originated from Zhaijing(宅經) and also goes back to Qiminyaoshu (齊民要術), compiled in the 6th Century of China. In this way of planting, the number of trees suggested in Sakuteiki is related to Hetu(河圖) and Luoshu(洛書), which are iconography of Yi(易), the philosophy of change, in ancient China. Such way of planting corresponds to that of Yongdoseo(龍圖墅, the villa based on the principle of Hetu) presented in Sanrimgyeongje (山林經濟), an encyclopedia on agriculture and living in the 17th Century of Korea. And garden design principles of "the flow of Chi(氣)", "curved line and asymmetry" is connected to "Saenggi Theory(生氣論, Theory of vitality)". Sakuteiki explains the right flow of Chi(氣) through the proper flow and the reverse flow of the garden stream and also suggests the curved line of the garden stream, asymmetric arrangement of bridges and stones in the garden, and indented shape of pond edges, which are ways of accumulating Chi(氣) and therefore lead to "Saenggi Theory" of the Fungsu Theory. The last design principle, "mountain is the king, water is the people", is related to "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory. Sakuteiki explains the meaning of garden through a metaphor, which views mountain as king, water as the people, and stones as king's retainers. It compares the situation in which the king governs the people with the help of his retainers to the ecological phenomena in which mountain(earth) controls water with the help of stones. This principle befits "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory which explains landform on the analogy of social systems, people, animals and things. As above, major garden design principles represented in Sakuteiki can be interpreted in the context of the Fungsu Theory, the traditional knowledge system in East Asia. Therefore, we can find the significance of Sakuteiki in that the wisdom of ancient garden culture in East-Asia was integrated in it, although it described the knowhow of a specific garden style in a specific period of Japan.

• The Journal of Korean Philosophical History
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• no.31
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• pp.173-202
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• 2011

Hierophany, according to Mircea Eliade, is a natural manifestation of the initial sacred. Through hierophany, profane objects and sites transform their qualities and then they themselves become sacred. People in traditional societies, in an attempt to reenact the initial hierophany, tried to perform consecrating rituals to replicate the first moment of the initial hierophany, at the same time and site. This article focuses on the concrete sites of hierophany. In ancient China, we can see specific sites that manifest the sacred such as Kunlun(崑崙), Jianmu(建木) and zongmiao(宗廟). Kunlun has the characteristics as the Cosmic Mountain that is the realm of the gods that tiandi(天帝) built as his center on the Earth, and it bridges Heaven and Earth. Jianmu joins Heaven, Earth, and the underworld like a Cosmic Tree or Pillar. It can be stated that zongmiao, the royal ancestral temple, functions as the Center of the World, the axis mundi, in which religious human beings express their desire to live in a sacred site, and in which they can regain their initial purity of spirits by communicating with the gods and ancestors. These three are the sites of manifestation of the sacred in China.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.24-47
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• 2013

This study focused on the constructional concepts, landscape design techniques and changes made of the Sandan(山壇) area in the rear garden of Changdeokgung Palace based on the spatial organization of the zone. The results of this study are as below. Constructional layers that have been maintained throughout the centuries from King Injo(仁祖), King Sukjong(肅宗), King Sunjo(純祖), the Japanese colonial period to the present, were found in the Sandan area. The Sandan area, which was developed with the establishment of Chuiseungjeong(取勝亭) during the ruling of King Injo(仁祖), was created as a resting place for the King, and its usage continued until King Sukjong(肅宗) built Nakminjeong(樂民亭). However, the whole area was reorganized to host ritual ceremonies, where ancestral rites were performed for the mountain gods, after Sandan and Baekunsa(白雲社) were built during King Gojong's reign, before the drawing of 'Painting of Eastern Palaces(東闕圖).' The architectural component used then appears to have been designed to serve ancestral ritual formalities for the god of land, or to satisfy the religious desires of the royal family not fulfilled by Confucian courtesy. These are characteristics that define the Sandan area. Meanwhile, the analysis of the ground plan of the Changdeokgung Palace revealed that the Sandan had been maintained until the Japanese colonial era, but was removed sometime after liberation. The area underwent extensive reform in the early 1970s, when the whole area was developed into a tourist destination called Bingcheon(氷泉). Then, a new road that runs through Bingcheon was laid, and the present condition reflects the construction result of the time. An interview with a person who had taken part in the repair work in the 1970s confirmed that the construction work at the time had the goal of establishing two drainage systems for drinking water and copied the Okryuchon(玉流川) well.

• Journal of the Korean Society of Food Culture
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• v.11 no.1
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• pp.43-52
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• 1996

[Goshogi] which is held from 9th to 16th January, every year is the Buddhist service of praying for the soul of Shinran's $(l173{\sim}1262)$ after death. It is the most majestic high-filling style and also unparalled in the annals of Japanese history in sacrificial offering. Shinran was horned in the Fujiwara's family. And not only he believed Prince Shodoku's belife but also retired to the mountain to enter the priesthood by it. Prince Shodoku built Horyu temple which is the typical temple of Nara ages. Buddism was transmitted from Korean peninsula, three countries of Silla, Bekje and Kokuryo effected on many field of Japnese culture during that ages. At the same time, Kasugadaisha and Danjanjinja of Shinto religion was built by Fujiwara Family. Both of them was Buddhist temple before. Throughout like these historical background, the facts what the religious services and the sacrificial offerings for Prince Shodoku, Wakamiyasai of Kasugas' and Kakitsusai of Danjanjinja must be influenced from Korean Peningula. So the dietary culture of the religious rites and traditional customs between two countries could be thought the relation with a narrow stream strait. But among them, in the size, color and shape, the cooking method and technique in the usage of rice powder and sugar, it is tops in value. The noteworthy points of the thought were as follows: 1. high-filling style of the sacrificial offerings what is mixed and harmonized with Buddhism, Confucious, Sharmanism, Toaism and Korean traditioal customs. 2. eating together of god and human. 3. the fusion of gods and Buddha.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.46-56
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• 2012

The research results of tracing the Landscape Philosophy of Hageowon garden(何去園) in Musu-dong, Daejon of Youhwadang, Kwon, Iijin(權以鎭, 1668-1734) is as below. The ideological background of the protagonist reflected in Hageowon is the Hyoje Ideology(filial piety and brotherly love, 孝弟) of Sinjongchuwon(painstakingly caring for one's ancestors), Musil ideology(pursuing ethical diligence and truthful mind, 務實) based on sadistic tradition and ethical rationalism, Confucionist Eunil Ideology(ideology on seclusion, 隱逸) of Cheonghanjiyeon(quiet relaxation, 淸閒之燕), and the Pungryu ideology(appreciation for the arts, 風流) of Taoism in the Taoist style. Thus, by substituting these ideological values into a space called Hageowon, the Byulup gardens(別業) such as the Symbolic garden(象徵園), meaning gaeden(意園), and miniascape garden(縮景園) were able to be constructed. 2) The space organization system of Hageowon is generally classified into three phases considering the hierarchy. The first territory is the transitional space having residential features, which is an area to reach peach tree - road(Taoist world 桃經) from Youhwadang(有懷堂). The second territory is a monumental memorial space where the Yocheondae(繞千臺), Jangwoodam(丈藕潭), Hwagae(花階), and the ancestral graves take place, centering on the yards of Sumanheon(收漫軒), and the third territory is the secluded space in the eastern outer garden where the mountain stream flows from the north to south and which is the vein of the left-hand blue dragon(靑龍) of the guardian mountain of Hageowon. 3) Symbolically, the first phase has symbolized the space as a meaningful scenery by overlapping the Confucionist place of Youhwadang - Gosudae(孤秀臺) - Odeokdae(五德臺), and the mystic world of Jukcheondang(竹遷堂) - peach tree - road(桃徑). The second phase, which is the space of Sumanheon(收漫軒), Yocheondae, and Jangwoodam, the symbolical value of Sinjongchuwon(愼終追遠) and the remembrance and longing for one's parents are reflected. The third phase, which is the eastern outer garden of Hageowon and where the mountain stream flows from the north to south, is composed of the east valley(東溪) - Hwalsudam(活水潭) - Sumi Waterfall(修眉瀑布). More specifically, (1) Mongjeong symbolizes the life of gaining knowledge through studying to realize one's foolishness, (2) Hwalsudam symbolizes a transcending attitude in life refusing to pursue wealth and fame, and (3) Jangwoodam symbolizes the gateway to the fairyland to enter the world of mystic gods. 4) The rationale behind Hageowon is that the two algorithms of Confucionism and Taoist Theory appear repeatedly and in an overlapping way. The Napoji(納汚池) and Hwalsudam, which pertains to the prelude of space development, has symbolized Susimyangseong(修心養成, meditating one's mind and improving one's nature), which is based on ethical rationalism. Moreover, if the Monjeong sphere pertaining to the eastern outer garden of Hageowon takes the Confucionist value system as its theme, including moral training, studying, and researching, Jangwudam, Sumi Waterfalls, and Unwa can be understood as a taste of Cheokbyeon(滌煩, eliminating troubles) for the arts where the mystic world is substituted as a meaningful scenery. 5) The miniascape technique called artificial mountain was substituted to Hageowon to construct a mystic world like the 12 peaks of Mt. Mu(巫山). By borrowing the symbolic meaning expressed in old poems, it has been named 'Habang(1/何放), Hwabong(2, 3/和峯), Chulgun(4, 5, 6/出群), Sinwan(7/神浣), Chwhigyu(8, 9, 10/聚糾), Cheomyo(11/處杳), Giyung(12/氣融).' The representative poet reciting artificial mountain were Wangeui(汪醫), Nosamgang(魯三江), Dubo(杜甫), Hanyou(韓愈), Jeonheaseong(錢希聖), and Beomseokho(范石湖). They related themselves with literature by transcending time and space and attempted to sing about the richness of the mental world by putting the mystic world and culture of appreciating the arts they pursued in the vacation home called Hageowon.