• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.109-141
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• 2022

As many perhaps already know, in East Asian thought there are two aspects of all things such as light and darkness coexist and are called Yin-Yang (陰陽). The initial concept of Yin-Yang was just a simple expression meant to depict natural phenomena, but it gradually became the central concept in explanations of creation and the changes that undergo all things in the universe. The study of the ordering principle of nature that was known as Myeongli (命理) also examined the interrelation between the sky and the earth and divided the two into Ten Celestial Stems (天干 cheongan) and the Twelve Earth Branches (地支 jiji) based on Yin-Yang theory. This thesis analyzed contents of the relationship between Ten Celestial Stems and the Twelve Earth Branches in terms of the patterns of Mutual Aid (相助 sangjo) and Mutual Contention (相剋 sanggeuk) through a literature review and exploration of their common features and differences. Different categorized phenomena under the pattern of Mutual Aid include Tonggeun (通根 root downward) and Tugan (透干 appearance of the upward). Tonggeun means that signs in the Celestial Stems took root in their counterparts of the Earthly Branches. In the Celestial Stems, there is also Tonggeuncheo (通根處 a place to root downward) which in relation to the Earthly Branches show that the same five phases become Samhap (三合 combined three ways to gain power) and Banghap (方合 gathering in the same season). The methods of seeing Tonggeunryeok (通根力 power of a downward root) are as follows: First, it is seen by the places where Tonggeun takes hold. Ilgan (日干 the Celestial Stem of a birthday) is ordered as month (月 wol) > day (日 il) > hour (時 shi) > year (年 nyeon), and other Celestial Stems appear ordered as month > sitting > close place. Second, it can be seen by the characteristics of Earthly Branches that Tonggeun has taken hold. The Earthly Branches are ordered as Rokwangji (祿旺支 vigorous land) and Jangsaengji (長生支 newborn land) > Yeogi (餘氣 remaining energy) > Myogo (墓庫 storage and burial grounds). Tugan is the concept that the main agent was changed to Tonggeun, which means that the spirit of the Earthly Branches is manifested in the Celestial Stems. And the five phases hidden in the Earthly Branches will be able to play their roles as they are revealed. There are also the phenomena of Gaedu (蓋頭 the heavenly destroying the earthly) and Jeolgak (截脚 the earthly destroying the heavenly) which are concepts that convey that the Heavenly Stems and Earthly Branches can mutually destroy one another. There are different opinions on Gaedu because some adopt viewpoints of just focusing on the Celestial Stems and considering it only in terms the Celestial Stems destroying the Earthly Branches. But, the vast majority of scholars think that the Celestial Stems weakens the role of the roots by destroying the Earthly Branches. Jeolgak, the reverse concept of Gaedu, weakens the spirit of the Celestial Stems as the Earthly Branches destroy them, and this is associated with the strong possibility that one is fated to experience disharmony.

• Proceedings of the Korean Society of Crop Science Conference
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• 2017.06a
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• pp.8-9
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• 2017

Soybean yield has been low and unstable in Japan and other areas in East Asia, despite long history of cultivation. This is contrasting with consistent increase of yield in North and South America. This presentation tries to describe perspective of breaking stagnation of soybean yield in East Asia, considering the factors of the different yields between regions. Large amount of rainfall with occasional dry-spell in the summer is a nature of monsoon climate and as frequently stated excess water is the factor of low and unstable soybean yield. For example, there exists a great deal of field-to-field variation in yield of 'Tanbaguro' soybean, which is reputed for high market value and thus cultivated intensively and this results in low average yield. According to our field survey, a major portion of yield variation occurs in early growth period. Soybean production on drained paddy fields is also vulnerable to drought stress after flowering. An analysis at the above study site demonstrated a substantial field-to-field variation of canopy transpiration activity in the mid-summer, but the variation of pod-set was not as large as that of early growth. As frequently mentioned by the contest winners of good practice farming, avoidance of excess water problem in the early growth period is of greatest importance. A series of technological development took place in Japan in crop management for stable crop establishment and growth, that includes seed-bed preparation with ridge and/or chisel ploughing, adjustment of seed moisture content, seed treatment with mancozeb+metalaxyl and the water table control system, FOEAS. A unique success is seen in the tidal swamp area in South Sumatra with the Saturated Soil Culture (SSC), which is for managing acidity problem of pyrite soils. In 2016, an average yield of $2.4tha^{-1}$ was recorded for a 450 ha area with SSC (Ghulamahdi 2017, personal communication). This is a sort of raised bed culture and thus the moisture condition is kept markedly stable during growth period. For genetic control, too, many attempts are on-going for better emergence and plant growth after emergence under excess water. There seems to exist two aspects of excess water resistance, one related to phytophthora resistance and the other with better growth under excess water. The improvement for the latter is particularly challenging and genomic approach is expected to be effectively utilized. The crop model simulation would estimate/evaluate the impact of environmental and genetic factors. But comprehensive crop models for soybean are mainly for cultivations on upland fields and crop response to excess water is not fully accounted for. A soybean model for production on drained paddy fields under monsoon climate is demanded to coordinate technological development under changing climate. We recently recognized that the yield potential of recent US cultivars is greater than that of Japanese cultivars and this also may be responsible for different yield trends. Cultivar comparisons proved that higher yields are associated with greater biomass production specifically during early seed filling, in which high and well sustained activity of leaf gas exchange is related. In fact, the leaf stomatal conductance is considered to have been improved during last a couple of decades in the USA through selections for high yield in several crop species. It is suspected that priority to product quality of soybean as food crop, especially large seed size in Japan, did not allow efficient improvement of productivity. We also recently found a substantial variation of yielding performance under an environment of Indonesia among divergent cultivars from tropical and temperate regions through in a part biomass productivity. Gas exchange activity again seems to be involved. Unlike in North America where transpiration adjustment is considered necessary to avoid terminal drought, under the monsoon climate with wet summer plants with higher activity of gas exchange than current level might be advantageous. In order to explore higher or better-adjusted canopy function, the methodological development is demanded for canopy-level evaluation of transpiration activity. The stagnation of soybean yield would be broken through controlling variable water environment and breeding efforts to improve the quality-oriented cultivars for stable and high yield.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• Journal of the Korean Society of Food Culture
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• v.27 no.2
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• pp.128-141
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• 2012

This study focused on the historic documents known as $deungnok$, records created during preparations for royal events in the $Joseon$ Dynasty, rather than the often cited $uigwe$, the documents describing the Royal Protocol of the $Joseon$ Dynasty. As a reference to the food served at royal banquets, the $deungnok$ can enhance our understanding of royal banquet foods. Seven specimens of $deungnok$ describing royal banquet foods are currently in existence, created during preparations for royal events by the agencies in charge of food, the $Saongwon$ and $Jeonseonsa$. Owing to the nature of their authorship, the details recorded in these $deungnok$ hold great value as important resources for the study of royal banquet cuisine. $Naeoejinyeon$-$deungnok$, which documented an $oejinyeon$ banquet held at the $Junghwajeon$ Pavilion in November 1902, was somewhat disorganized and fragmented. $Jinyeonuigwe$ was more inclusive and well-summarized, since the former were progress reports to the King during banquet preparations that listed various items separately, such as dishes for each table setting and the kinds of flower pieces, and thus did not present a complete picture of all the details as a whole. The latter, on the other hand, were final reports created upon completion of a banquet, and contained more comprehensive records not only of the $chanpum$ (the menu of dishes served), but also the sorts of tableware and tables, floral arrangements, location, scale, and installation date of the $sukseolso$ (temporary royal kitchens for banquets). They also offer a more effective summary by simplifying details duplicated in identical table settings. Nevertheless, the $Naeoejinyeon$-$deungnok$ recorded some facts that cannot be gleaned from the $Jinyeonuigwe$, including the height of some dishes presented in piled stacks, as well as the specific names of dishes and their ingredients. The comparative study of the historic records in the $deungnok$ and $uigwe$ will be helpful in identifying and understanding the specific foods served at royal banquets. The $oejinyeon$-$seolchando$ diagrams in $Naeoejinyeon$-$deungnok$ depict the table settings for the King and the Crown Prince. The two diagrams contain large rectangles divided into three sections. In each section are similar-sized circles in which the names of dishes and the titles for table settings are recorded. From these records we can see that the arrangements of the table settings for the King and the Crown Prince are similar. The relationships and protocols shown in the arrangement of dishes and table settings for the King and the Crown Prince at royal banquets in the $Seolchando$ appear to be consistent. By comparing the two references, $deungnok$ and $uigwe$, which recorded the dishes served at royal banquets, the author was able to determine the height of some foods served in stacked arrangements, the names of $chanpum$, the ingredients used, and the configuration of the $chanpum$. The comparative review of these two written records, $deungnok$ and $uigwe$, will be helpful for a proper understanding of the actual food served at royal banquets.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.18-27
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• 2016

A 'flowered-wall,' which are also called a 'flower plant patterned wall,' or a 'flower patterned wall,' is a wall of a building or a fence with various patterns on it. A flowered-wall can be an external mean to look into the owner's authority and values while internally it possesses the symbolic meaning of wishing the well-being and peace of the household. In the research area of the flowered-wall, the walls located in the palace were well researched in various studies across architecture, horticulture, and art design, however, the walls belonging to the local regional traditional folk houses and temples have been involved in little to no research in the landscape architectural area. Taking notice of this perspective this study researched and analyzed the cases of the flowered-walls of the traditional folk houses and the temples that belonged to the national and municipal cultural properties of Jeollabuk-do Province from the landscape architectural perspective. The whole samples were examined and it was shown that there were 9 traditional folk houses with flowered-walls. Among the temples there were 7 cases. Therefore the research focusing on tracing the shape and symbolic meaning of the flowered-walls in the 16 cultural properties located in the Jeollabuk-do Province which consisted of traditional folk houses and temples resulted in the following. Flowered-walls displayed hierarchical differentiation revolving around the main space and its spacial characteristic. This differentiation is variously displayed across the flowered-wall, gable, crack plastering, and chimney. In the case of the folk houses the symbols have the meaning of the prosperity of the household and progeny, exorcism, longevity, number of fortune, harmony, and peace etc that prays for practical wishes such as long life and good health with the prosperity of their descendants. Meanwhile in the temples, symbols indicating an easy passage into eternity, perpetuation of the Buddha-nature, and three marks of existence are applied, differentiating from the folk houses by the appliance of the religious values in the patterns. In conclusion this research resulted in the rightful illumination on the local landscape culture, the possibility of expressing the Korean sentiment through flowered-walls in the contemporary space, the reassessment of flowered-walls, and the provision of basic data for a plan to success the cultural heritage.

• The Critical Review of Religion and Culture
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• no.31
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• pp.141-172
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• 2017

The objectives of this paper are to investigate hunting, stock raising, sacrifice recorded in the oracle bone inscriptions of Shang Dynasty. I want to raise two basic questions. First, what were the functions of hunting, stock raising, sacrifice, which constructed the world of life in Shang Dynasty? Second, what were the relationships of gods, men, animals derived from them? These questions are brought up to how the commoners of Shang Dynasty build the world and perceive it. I adopted positively prevalent theories for answering those questions. I am particularly provided with Michael J. Puett's insightful remarks in this presentation. He criticizes the previous viewpoint that the relationships of gods and men in ancient China were harmonious and mutually respondent. According to him, in the ancient way of thinking of China the world of gods was full of whimsical and unpredictable power and also contained the risks, which led to disaster to the human world. So it is needed to be controled in a certain way. The sacrifice and the divination must have been instruments for controlling it in ancient China. In the same vein his arguments can be applied to the special connotations of hunting and stock raising, by the benefit of which I developed my own ideas in this paper. The conclusions are as follows. First, Shang dynasty tried to suppress the latent danger of two worlds. The nature represented by animals and the world of gods were respectively considered as the unknown domains, which is to threatening human life. Hunting, stock raising, sacrifice were the ways and means of controlling these two domains of power, which cause chaos in life. Second, the relationships among gods, men, animals had various functions and changed their status role, depending on the circumstances. Hunting and stock raising were important methods to domesticate animals with violence. In this domestication process animals became "victims" but animals are also to be the messengers to gods through being slain in the sacrifice. In this way animals are both inferior and superior to men and hold a unique status between gods and men.

• (The) Research of the performance art and culture
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• no.39
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• pp.393-413
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• 2019

As one of a shaman song to reveal features of the byeolsin rite, East Sea coast, Gyeongbuk, Korea is matgut have been discussed for a long time. The rite is held to greet other shamans who were invited by a village resident and the highest shaman to perform the rite. When there is no highest shaman in the village, or when the highest shaman lacks the ability to perform the exorcism, other shamans are invited if a person is required to meet the scale of the rite, which is a rite of passage to verify their abilities and to become a community, even while the byeolsingut is held. The best shaman team, or village Pungmul team, and shaman team, When the strings are between them, they play music and struggle with each other, and the strings are lifted, they greet the god of the game at the altar, and the shaman turns around and plays with the field. However, the process of greeting the shaman at the exorcism rite after 2000 and the procedure of "Paggi-bogi" in which shamans take turns singing songs are disappearing. In addition, although the village Pungmul team has participated in the rite as a welcoming party for the shaman team, the purpose of the rite, which is to greet the shaman, is also being tarnished by leaving the role of the village Pungmul team to the outside team. This is due to changes in the villagers' perception of gut and shaman. As in the old days, it was necessary to greet a shaman as a rite of worship, although it was not necessary to confirm its ability to perform the rite of the village, due to the disparity of status. However, after the shaman has been transformed from a 'mysterious' existence into an intangible cultural asset functional owner, the perception of shaman changes and the village confirms the shaman's ability through an intangible cultural asset certificate. In addition, the number of villagers who know the details of the rite is decreasing, and most of the tasks such as preparation and proceedings of the rite are delegated to the shaman to hold the byeolsingut, and the nature of the exorcism of the exorcism is changing.

• (The) Research of the performance art and culture
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• no.36
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• pp.75-102
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• 2018

Manjungpan Chunhyangga is established by Manjung Kim Sohee. She selectively chose and arranged the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, Kim Yeonsoo, Park Dongsil, and Jung Kwangsil. Kim Sohee once stated that while a major section of Chunhyangga is based on the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, and Kim Yeonsoo, the whole part of Okjungga is derived from Park Dongsil. However, there is not much material that will provide enough information with regard to what musical characteristics Park Dongsilje Chunhyangga possessed. Under the circumstances, the voice of Park Dongsilje, left by Kim Sohee, triggers curiosity on Park Dongsilje Chunhyangga. It can also be construed that there must be a good reason for choosing Park Dongsilje for Okjungga, unlike other parts. Therefore, this paper attempted to find out what the unique features of Par Dongsilje are and what the reasons behind Kim Sohee's musical choice were through comparison and analysis of Kim Sohee's musical features in Okjungga. The following are the results. Firstly, Okjungga is a created verse by its nature and it does not possess specific features to a school. Therefore, the reason for choosing Park Dongsilje could have been based on musical reason rather than verse. Secondly, the lyrics of Park Dongsilje Okjungga is closer to that of Song Mangap rather than that of Jung Jungryeolje. It can be argued that it falls between the two of them. Thirdly, the tone and melody of Park Dongsilje Okjungga falls in the middle section of Dongpyenje and Supyenje. Fourthly, the analysis of Jinyangjo rhythm out of the whole Manjungpan Chunhyangga shows that there are slight differences among Song Mangapje, Jung Jungryeolje, and Jung Eungminje. Park Dongsilje is very unique in the sense that it does not use utbutim in gyemyeonjo part in Manjungpan Chunhyangga. Park Dongsilje Okjungga is a song to which the tone, melody, and sigimsae of Supyeonje is added to lyric butimsae of Dongpyeonje. It can be seemed as simple and less sophisticated because, with its simple lyric butimsae, it shows a less complicated tone utilization rather than Jung Jungryeol. With lighter decoration of music, feelings can be conveyed more directly. That is probably why Kim Sohee commented on Park Dongsilje Chunhyangga that it is the most mournful song for Chunhyang and it is the song that moves anyone who listens to the song. Consequently, Kim Sohee accepted Park Dongsilje Okjungga and she created different feelings to Manjungpan Chunhyangga which has repeatedly displayed the color of Jung Jungryeol. Combining the lyric addition of Dongpyeon style and the melody of Supyeon style can crated a different language.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.117-133
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• 2021

The art of the Confucian literati' was mainly centered on literati' painting. Literary paintings combined with poem-writing-painting are based on the literary characters and studies. This is usually based on the technique of Shensi(神似) caused by a hobby accomplishment, enjoying the chinese painting and cherishing with chinese painting. The Confucian literati' cultivated their own character and sublimated humanism to art based on studying. They sought the life of supremacy and supreme gentleness, and enjoyed life on the boundary of pleasure through art. The aim of the Confucian literati' arts lies in the pursuit of expressing the artist's inner world, spirit, and the combination of the Confucian and the Taoism, Because of literati's spirit based on learning, the Confucian literati' arts still exist. The aesthetic of Sunbi Spirit is mainly in the customs of Sunbi, the loyalty of Sunbi, the Silhak(實學) of Sunbi, and loving of the people of Sunbi. We can find honor and loyalty in the Sunbi spirit of the Confucian literati' of the Joseon Dynasty. In addition, it is also possible to observe the loyal troops, the hard work for the country, and the Pung-ryu with nature. In other words, the Sunbi honor, loyalty, loyal troops, pursuit of study and the Pung-ryu show the spirit of the Confucian literati' of Joseon Dynasty. The aesthetic of the Sunbi spirit is in Pung-ryu, loyalty, Silhak, loving of the people etc. The aesthetic of experience of art is mainly based on the aesthetic experience by emotional intelligence and the aesthetic experience according to the individual's inclination. The aesthetic sense actually shows Pung-ryu, loyalty, Silhak and love etc. We can see it in many of our literary paintings. Therefore, the Confucian literati' painting in Chosun Dynasty were the intentionality of the mind and the intentionality of the spare. Furthermore, it has directivity of expressing the artist's inner world, directivity of substance, so it is possible to see that the characteristics of the Sunbi spirit are diverse.