• (The) Research of the performance art and culture
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• no.42
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• pp.47-75
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• 2021

This thesis looks into the interpretation of the Korean War and mystery genre in Korea in the 1970s by analyzing the special drama , in which the theme was directly related to the Korean War, airing through MBC in 1979. It begins by finding the change in direction in the 1970s when the world of TV was dictated through the heavy censorship and the memory of the war by the government. It also looks at the intentions of the producer who was taking in the new way and the viewers who also accepted this drama and its reflections. In order to gain some insights into these issues, it compares between the drama "The Last Witness" and the original novel by Seong-jong Kim who holds the same time to see the way in which this is dramatized. The drama, "The Last Witness", was produced with a plan to generate a high-quality special drama which combined both artistry and sense of purpose. Nevertheless, as watching TV became a leisurely past-time during this period, TV dramas become more aggressive and suggestive in order to attract viewers. This ultimately was encored with obstacles due to the regime and the heavy censorship at the time. The genre of special drama that is well known in South Korea, is designed as an art form to satisfy both their unique artistry and its purpose. The conflict is seen between the key elements of the artistic drama crated by the producers and the 'encouraged' elements that often are needed to engage the viewers. Thus, more often than not, special dramas defeat the original intention of national harmony, encouraged by the regime. This is due to the 'novelty' aspect which grows from the effort of bringing enjoyment to viewers whilst also trying to achieve the artistic drama to life. Alongside this, crime element in this drama is designed in a way that visually embodies the process of deduction, becoming a new possibility to secure the reality of the times. However, it was also a paradoxical existence since it was indicated as an example of unrefined culture that lost its original intention. In that way, it is worth to think that detective suspense stories, which were not popular in Korea, influenced viewers as a tv drama series in the 1970s through the various elements that compose the genre. They went through a process of transplantation and acceptance whilst also attempting to satisfy the viewers and their encouraged elements to engage them. As is well known, crime drama in Korea has its own style by mixing anticommunism and detective reasoning. This combination is found in the way in which the genre naturally forms through the elements selected and excluded in the dramatization of "The Last Witness". The point is that the special drama "The Last Witness" can be seen as an intermediate form that shows the tendency of transformation from the detective reasoning form alongside the crime aspects as TV dramas began to include anticommunism messaging and investigation in the 1970s. In conclusion, when the detective reasoning is used as an element in a TV drama, it shows the trust of the public system and it constantly seeks the possibility of circumventing the political interpretation. The memories of the war is seen as a tool that neutralizes the dismal imaginations inscribed on the dark side of society and the system. As a result, "The Last Witness", broadcasted at the end of the Yushin regime in Korea, is a strange result which combines the logic of a special drama and the encouraged characteristics of television dramas. The viewers' desire which is the discussion about the hidden traces from the texts needs to be restored again.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.140-170
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• 2021

This paper investigates the Wooden Seated Tri-kaya Buddha Images(三身佛像) of Vairocana, Rushana, and Sakyamuni enshrined in Daeungjeon Hall of Hwaeomsa temple(華嚴寺) in Gurae, South Cheolla Province. They were produced in 1634 CE and placed in 1635 CE, about forty years after original images made in the Goryeo period were destroyed by the Japanese army during the war. The reconstruction of Hwaeomsa was conducted by Gakseong, one of the leading monks of Joseon Dynasty in the 17th century, who also conducted the reconstructions of many Buddhist temples after the war. In 2015, a prayer text (dated 1635) concerning the production of Hwaeomsa Tri-kaya Buddha images was found in the repository within Sakyamuni Buddha. It lists the names of participants, including royal family members (i.e., prince Yi Guang, the eighth son of King Seon-jo), and their relatives (i.e., Sin Ik-seong, son-in-law of King Seonjo), court ladies, monk-sculptors, and large numbers of monks and laymen Buddhists. A prayer text (dated 1634) listing the names of monk-sculptors written on the wooden panel inside the pedestal of Rushana Buddha was also found. A recent investigation into the repository within Rushana Buddha in 2020 CE has revealed a prayer text listing participants producing these images, similar to the former one from Sakyamuni Buddha, together with sacred relics of hoo-ryeong-tong copper bottle and a large quantity of Sutra books. These new materials opened a way to understand Hwaeomsa Trikaya images, including who made them and when they were made. The two above-mentioned prayer texts from the repository of Sakyamuni and Rushana Buddha statues, and the wooden panel inside the pedestal of Rushan Buddha tell us that eighteen monk-sculptors, including Eungwon, Cheongheon and Ingyun, who were well-known monk artisans of the 17th century, took part in the construction of these images. As a matter of fact, Cheongheon belonged to a different workshop from Eungwon and Ingyun, who were most likely teacher and disciple or senior and junior colleagues, which means that the production of Hwaeomsa Tri-kaya Buddha images was a collaboration between sculptors from two workshops. Eungwon and Ingyun seem to have belonged to the same community studying under the great Buddhist priest Seonsu, the teacher of Monk Gakseong who was in charge of the reconstruction of Haweonsa temple. Hwaeomsa Tri-kaya Buddha images show a big head, a squarish face with plump cheeks, narrow and drooping shoulders, and a short waist, which depict significant differences in body proportion to those of other Buddha statues of the first half of 17th century, which typically have wide shoulders and long waists. The body proportion shown in the Hwaeomsa images could be linked with images of late Goryeo and early Joseon period. Rushana Buddha, raising his two arms in a preaching hand gesture and wearing a crown and bracelets, shows unique iconography of the Bodhisattva form. This iconography of Rushana Buddha had appeared in a few Sutra paintings of Northern Song and Late Goryeo period of 13th and 14th century. BodhaSri-mudra of Vairocana Buddha, unlike the general type of BodhaSri-mudra that shows the right hand holding the left index finger, places his right hand upon the left hand in a fist. It is similar to that of Vairocana images of Northern and Southern Song, whose left hand is placed on the top of right hand in a fist. This type of mudra was most likely introduced during the Goryeo period. The dried lacquer Seated Vairocana image of Bulheosa Temple in Naju is datable to late Goryeo period, and exhibits similar forms of the mudra. Hwaeomsa Tri-kaya Buddha images also show new iconographic aspects, as well as traditional stylistic and iconographic features. The earth-touching (bhumisparsa) mudra of Sakymuni Buddha, putting his left thumb close to the middle finger, as if to make a preaching mudra, can be regarded as a new aspect that was influenced by the Sutra illustrations of the Ming dynasty, which were imported by the royal court of Joseon dynasty and most likely had an impact on Joseon Buddhist art from the 15th and 16th centuries. Stylistic and iconographical features of Hwaeomsa Tri-kaya Buddha images indicate that the traditional aspects of Goryeo period and new iconography of Joseon period are rendered together, side by side, in these sculptures. The coexistence of old and new aspects in one set of images could indicate that monk sculptors tried to find a new way to produce Hwaeomsa images based on the old traditional style of Goryeo period when the original Tri-kaya Buddha images were made, although some new iconography popular in Joseon period was also employed in the images. It is also probable that monk sculptors of Hwaeomsa Tri-kaya Buddha images intended to reconstruct these images following the original images of Goryeo period, which was recollected by surviving monks at Hwaeomsa, who had witnessed the original Tri-kaya Buddha images.

• Cartoon and Animation Studies
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• s.33
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• pp.247-270
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• 2013

Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.

• Journal of the Korean Society of Costume
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• v.10
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• pp.63-80
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• 1986

The Old Testament cotains mention of the history of creation and clothing in ancient Hebrew. This study dealt with Hebrew dress customs especially aimed at the manners of their hair styles, headgears, footwear and personal ornaments. References are Korean Revised Version, English King James Version and Revised Standard Version. There is little mention of hair styles and headgears in the Old Testament. Some sort of turban was worn by priests, and soldiers protected themselves with helmets, but most Israelitish men went bareheaded except on special occasions and often wear simple headbands. It was more common for women to use headwear of some type-turbans, scarves, and veils concealing the face. The veil was the distinctive female wearing apparel. All females, with the exception of maidservants and women in a low condition of life, wore a veil. It was the custom for women to wear a veil entirely covering their head in the public. Through most of the Old Testament periods long and thick hair was admired on men and women alike. The Hebrews were proud to have thick and abundant long hair, and they gave much attention to the care of their hair. The caring of hair was deeply related to their rituals. Nazirites never took a razor to their hair during his vow-days, but instead let it grow long, as an offering to God. Men would not cut their beards, but allow them to grow long. The Israelites' standard footwear was a pair of simple leather sandals. This was one of the items of clothing not highly prized. In a colloquial saying of the time, a pair of shoes signified something of small value, and to be barefoot except in times of mourning or on holy place, was a sign either of extreme poverty or humiliation, as in the case of war prisoners. Because precious stones were not mined in the Palestine-Syria region, Hebrews imported them from foreign country. They were consumer-to a large degree limited by their very modest standard of living-but not producers. Hebrews liked the precious stones and were motivated to acquire and wear jewels. Besides their use for adornment and as gifts, the precious or semiprecious stones were regarded by Jews of property. The Hebrews were not innovators in the field of decorative arts. The prohibition of the Law against making any "graven image" precluded the development of painting, sculpture, and other forms of representational art. Jewish men did not indulge in extravagances of dress, and there was little ornamentation among them. Men wore a signet ring on their right hand or sometimes suspended by a cord or chain around the neck. The necklaces, when worn by a male, also bore any symbol of his authority. Bracelets were extremely popular with both men and women, men usually preferring to wear them on their upper arms. The girdle was a very useful part of a man's clothing. It was used as a waist belt, or used to fasten a man's sword to his body, or served as a pouch in which to keep money and other things. Men often carried a cane or staff, which would be ornamented at the top. Among the women there was more apt to be ornamentation than among the men. Hebrew women liked to deck themselves with jewels, and ornamentation of the bride were specially luxurious and numerous. They wore rings on their fingers or On toes, ankle rings, earrings, nosering, necklace, bracelets. Their shapes were of cresent, waterdrops, scarab, insect, animal or plant. Sometimes those were used as amulets. They were made of ceramics, gold, silver, bronze, iron, and various precious stones which were mostly imported from Egypt and Sinai peninsular. Hebrews were given many religious regulations by Moses Law on their hair, headgears, sandals and ornamentation. Their clothing were deeply related with their customs especially with their religions and rituals. Hebrew religion was of monotheism and of revealed religion. Their religious leaders, the prophets who was inspired by God might need such many religious regulations to lead the idol oriented people to God through them.

• Journal of The Korean Association For Science Education
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• v.33 no.7
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• pp.1431-1449
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• 2013

This study is based on the assertion that science museums should consider visitors' views and expectations as they are not satisfied in many cases. In this study, we investigated 31 scientifically gifted students and 177 science high school students about their image of science museums. Using the questionnaire, it was found that only 51% of students visited science museums; however, the average number of visits was 4.2. This means that students tended to re-visit after the first visit of the science museum. Students had a 'good' image of science museums when they incurred hands-on experiences and observed new, interesting, curious and funny exhibits. And students had a 'bad' image of science museums due to the following aspects: lack of new and interesting exhibits, information and guide, diverse contents, and hands-on experience; deficiencies in environment; and inadequacy of the management, operation and composition of exhibits. Therefore, they hoped that science museums will provide more hands-on experiences and experiments, new and interesting exhibits, systematic management and composition of exhibits, information and guides, and a good environment. So science museums need to pay special attention to aspects like management, information guides and environment for the first-time visitors. Based on the above results, we suggested "Directions for a good science museum based on students' views". While asking students what topics they wanted to know and learn in a science museum, each student was given the choice of four topics; eventually, 2.9 answers overlapped for each topic. When classifying students' topics into four main themes for the Gwangju National Science Museum, the order from the most popular theme to the least one was 'science in everyday life', 'ocean/space/future science', 'light and science', and 'culture, art and science'. Among the topics mentioned by students, only 37% are exhibited in Seoul, Gwacheon, Daejeon, or Gwangju science museums. We hope that the results and research methods will be used for evaluation, re-construction, and reinvigorated presentation of science museums.

• Journal of Intelligence and Information Systems
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• v.20 no.3
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• pp.1-18
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• 2014

Over the past years RFID/SN has been an elementary technology in a diversity of applications for the ubiquitous environments, especially for Internet of Things. However, one of obstacles for widespread deployment of RFID technology is the inherent unreliability of the RFID data streams by tag readers. In particular, the problem of false readings such as lost readings and mistaken readings needs to be treated by RFID middleware systems because false readings ultimately degrade the quality of application services due to the dirty data delivered by middleware systems. As a result, for the higher quality of services, an RFID middleware system is responsible for intelligently dealing with false readings for the delivery of clean data to the applications in accordance with the tag reading environment. One of popular techniques used to compensate false readings is a sliding window filter. In a sliding window scheme, it is evident that determining optimal window size intelligently is a nontrivial important task in RFID middleware systems in order to reduce false readings, especially in mobile environments. In this paper, for the purpose of reducing false readings by intelligent window adaption, we propose a new adaptive RFID data cleaning scheme based on window sliding for a single tag. Unlike previous works based on a binomial sampling model, we introduce the weight averaging. Our insight starts from the need to differentiate the past readings and the current readings, since the more recent readings may indicate the more accurate tag transitions. Owing to weight averaging, our scheme is expected to dynamically adapt the window size in an efficient manner even for non-homogeneous reading patterns in mobile environments. In addition, we analyze reading patterns in the window and effects of decreased window so that a more accurate and efficient decision on window adaption can be made. With our scheme, we can expect to obtain the ultimate goal that RFID middleware systems can provide applications with more clean data so that they can ensure high quality of intended services.

• Journal of Intelligence and Information Systems
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• v.19 no.2
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• pp.39-54
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• 2013

Recent explosive increase of electronic commerce provides many advantageous purchase opportunities to customers. In this situation, customers who do not have enough knowledge about their purchases, may accept product recommendations. Product recommender systems automatically reflect user's preference and provide recommendation list to the users. Thus, product recommender system in online shopping store has been known as one of the most popular tools for one-to-one marketing. However, recommender systems which do not properly reflect user's preference cause user's disappointment and waste of time. In this study, we propose a novel recommender system which uses data mining and multi-model ensemble techniques to enhance the recommendation performance through reflecting the precise user's preference. The research data is collected from the real-world online shopping store, which deals products from famous art galleries and museums in Korea. The data initially contain 5759 transaction data, but finally remain 3167 transaction data after deletion of null data. In this study, we transform the categorical variables into dummy variables and exclude outlier data. The proposed model consists of two steps. The first step predicts customers who have high likelihood to purchase products in the online shopping store. In this step, we first use logistic regression, decision trees, and artificial neural networks to predict customers who have high likelihood to purchase products in each product group. We perform above data mining techniques using SAS E-Miner software. In this study, we partition datasets into two sets as modeling and validation sets for the logistic regression and decision trees. We also partition datasets into three sets as training, test, and validation sets for the artificial neural network model. The validation dataset is equal for the all experiments. Then we composite the results of each predictor using the multi-model ensemble techniques such as bagging and bumping. Bagging is the abbreviation of "Bootstrap Aggregation" and it composite outputs from several machine learning techniques for raising the performance and stability of prediction or classification. This technique is special form of the averaging method. Bumping is the abbreviation of "Bootstrap Umbrella of Model Parameter," and it only considers the model which has the lowest error value. The results show that bumping outperforms bagging and the other predictors except for "Poster" product group. For the "Poster" product group, artificial neural network model performs better than the other models. In the second step, we use the market basket analysis to extract association rules for co-purchased products. We can extract thirty one association rules according to values of Lift, Support, and Confidence measure. We set the minimum transaction frequency to support associations as 5%, maximum number of items in an association as 4, and minimum confidence for rule generation as 10%. This study also excludes the extracted association rules below 1 of lift value. We finally get fifteen association rules by excluding duplicate rules. Among the fifteen association rules, eleven rules contain association between products in "Office Supplies" product group, one rules include the association between "Office Supplies" and "Fashion" product groups, and other three rules contain association between "Office Supplies" and "Home Decoration" product groups. Finally, the proposed product recommender systems provides list of recommendations to the proper customers. We test the usability of the proposed system by using prototype and real-world transaction and profile data. For this end, we construct the prototype system by using the ASP, Java Script and Microsoft Access. In addition, we survey about user satisfaction for the recommended product list from the proposed system and the randomly selected product lists. The participants for the survey are 173 persons who use MSN Messenger, Daum Caf$\acute{e}$, and P2P services. We evaluate the user satisfaction using five-scale Likert measure. This study also performs "Paired Sample T-test" for the results of the survey. The results show that the proposed model outperforms the random selection model with 1% statistical significance level. It means that the users satisfied the recommended product list significantly. The results also show that the proposed system may be useful in real-world online shopping store.

• (The)Study of the Eastern Classic
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• no.55
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• pp.115-145
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• 2014

In this paper, the transition of the status of Chinese novels and the change of the knowledge field in the modern times from the end of 19th century to the early 20th century, the transition period between the tradition and the modern times, have been investigated based on Liang Qichao's assertion of the Revolution of the Novel World. How the traditional novels have been evaluated, how modern novels enlightened a people and changed the political society, and what role novels acted in the change of the knowledge field are investigated. Especially I looked into the accumulations of knowledge and changes inside China which were overlooked in the previous researches which focused on the inflow of the Western culture and its impact on Chinese culture. Firstly the evaluation and classification of the traditional novels are considered. Because the transition of the status of novels and the classification method of the catalog of books are tightly coupled with the change of academic ideologies. Later I tried to understand novels as a way of thinking the modern times with a discussion on the changes of modern knowledge society and the consideration of Liang Qichao's Revolution of the Novel World in the two viewpoints, i.e. the relationship between novels and political society, and novels and the style of writing. Liang Qichao raised novels to the topmost position of literature. He pushed the traditional poetry off the top position and replaced it with popular novels. As the outside impact of Western culture made Chinese novels a tool for enlightening the ignorant people and the medium of propagating the knowledge, the status of novels was elevated to the highest level which novels had never reached in the past. With the limitation that the valuation was not based on the aesthetic appreciation of art but based on the value for politics and society, novel was a discourse of life and death to save the country and a container of knowledge to rebuild the people's mind and convert the crisis of the national ruin.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.136-161
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• 2014

This paper investigates the Buddhist sculpture and wall-painting enshrined in the halls of Bunhwangsa (Bunhwang temple) at Gyeongju in the mid-Silla period, which are thoroughly unknown to us except through textual records of Samgukyusa compiled by Priest Ilyeon in the late thirteenth century. According to Samgukyusa, a clay portrait-sculpture of Monk Wonhyo, made by his son Seolchong, was placed in Bunhwangsa. This image faced to the side, because he turned his body toward Seolchong when Seolchong bowed to this image. This story suggests that the portrait image of Wonhyo was most likely made after the Vimalakirti images, which were popular in China from the Six Dynasties period on, especially the Vimalakirti images of the early Tang period, turning his head and body toward Bodhisattva Manjusi seated opposite. The Vimalakirti image of Seokkuram might show the portrait image of Wonhyo. A wall-painting of a Thousand-Armed Avalokiresvara who has a thousand arms with a thousand eyes, called by the name 'Great Mercy with a Thousand Hands', was enshrined on the north wall of the left hall of Bunhwangsa. During King Gyeondeok's reign, Himyeong and her five-year-old blind child prayed before this image, and the blind child gained eyesight. While praying, they sang a song pleading for one of the thousand eyes which the Bodhisattva had in his hands. This song implies that Thousand-Armed Avalokiresvara had a thousand eyes, one painted on each hand. The fact that Thousand-Armed Avalokiresvara of Bunhwangsa was called 'Great Mercy with a Thousand Hands' indicates that this painting was based on the scripture Thousand-Armed Avalokiresvara Sutra translated by Bhagavaddharma in about 655, in the Tang period, which also has 'Great Mercy' in its title. In the year 755, a gilt bronze image of Medicine Buddha was made in Bunhwangsa, using nearly 61 tons of bronze to cast. The huge amount of bronze suggests it includes not only the Buddha statue but many other images such as two attendant Bodhisattvas of Suryaprabha and Candraprabha, Eight Great Bodhisattvas, or Twelve Guardians. Seven images of Medicine Buddha might have been made in accordance with the scriptural text of Seven Medicine Buddha Sutra translated by Monk Yijing. Textual evidence and recent excavation have revealed that seven images of Medicine Buddha and their whole attendant images based on Seven Medicine Buddha Sutra were made in the Nara period from 751 to 762 when Queen Gomyo contructed Sinyakusiji temple for the recovery of her husband Shomu. It is fair to assume that one or seven Medicine Buddhas and a whole group of his (their) attendant images were made for the main hall of Bunhwangsa temple in 755.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.124-136
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• 2001

Among many different types of wares, we have amazing Sacred Water-pot(따르개, 注子) from Goryo-period(고리, 高麗, 918-1392). The stylistic peculiarity of Jung-Byoung(정병, 淨甁) is described in "Goryo-Dhogyoung, 고리도경, 高麗圖經", the classical design canon. It is said, "A sharpened mouth with narrow and prolonged neck is attached upon the broad mouth with thicker and even longer neck of the pot whose body intimates to the shape of melon." One could find this Jung-Byoung similar to the Indian drinking water jar, Kundika, which has been. even today, an everyday article in houses as well as in temples. In the early Buddhist cult, the object had been adopted as personal belonging of the Bodhisattvas(보살, 菩薩), especially of the Bodhisattva Avalokitesvara(관세음보살,觀世音菩薩). In short, the purifying character of water is met by the sacred ware to deliver the refreshing Sweet-Water(Holy-Water, 깨맑물, 단물, 단이슬물, 정수, 감로, 감로수, 성수, 淨水, 甘露, 甘露水, 聖水): For the holy purpose of fulfilling the thirst of people, of symbolozing the virtuous dharma. Thus, Ggamslkh-Byoung(깨맑병,淨水), the literal Korean name, denotes purifying and clarifying and clarifying water-pot to us. Among many other Asian countries, India, China, Korea, and Japan have a profound cult of the sacred water-pot(Ggamalkh-Byoung, Jung-Byoung, 깨맑병, 정병, 정수병, 감로병, 감로수병, 淨甁, 淨水甁, 甘露甁, 甘露水甁). Therefore, this charming holy object drew much attention not only from master artisans to shape and deliver them to people but also from painters and sculptors for their endowment of the sacred images dedicated to Buddha(부처,佛,佛陀). In China, the sacred water pot emerged in the period of Tang(당, 唐, 618~907)-Period and underwent much sophistication later on, I. e., from earthenware, ceramic-porcelain, bronze, and silver. However, the following represents a challenge to the well-known Goryo-Thangka(고리불화, 高麗佛畵) Painting of Bodhisattva Avalokitesvara to our speculation on the Sacred Water-pot(정병, 淨甁). The image suggests, when examined closely, that the Sacred Water-pot has been accompanied by, or placed in, a transparent glasswere(유리그릇) or crystalbowl(수정그릇)! We have no other physical proof of the existence of such a Holding-Bowl(받침그릇, 承盤), except for in this particular painting. This Holding-Bowl would have not been a mere elaboration on the practicality of controling the drips from the mouth of the pot. As in the chapter on Tang-ho(탕호, 湯壺), or thermal bowl, in the "Goryo-Dhogyoung" it advises readers that this style of bowl is to be filled with hot water, and thus function as a preserver of heat in the water inside the pot. As an offering to the Buddha, the Sacred Water-pot could have been used for serving him hot tea. Hence the sacred bottle is to contain the refreshing water, the water transcends to nectar, and the nectar is prepared as a nectar tea to offer the Buddha. For both the Holding-Bowl of Ggamalkh-Byoung(Jung-Byoung)and the Celestial-Robe(날개옷, 天衣) of the Bodhisattva Avalokitesvara, whose specified character is the Water-Moon(수월, 水月) in this particular Thangka(불화, 佛畵) painting, the transparency is essential. This is to refer to the purity and the lucid clarity of Bodhisattva Avalokitesvara and at a deeper level, to refer to the world of Buddhas-the Tushita(Paradise, Heaven, Eden, 극락, 불세계, 極樂, 佛世界). Howerver, without the discovery of an actual Holding-Bowl, accompanied by a Sacred Water-pot, such speculation will necessarily remain hypothetical. Nevertheless, there is an abundance of evidence of our ancient craftsmanship in jade and ctystal, dating back to the Bronze Age(1000~2B.C.) in Korea. By the time of the Three Kingdom-Period(삼국시대, 三國時代, 57B.C.~935A.D.), and especially the Silla(신라, 新羅, 57B.C.~935A.D.)-Empire, the jade and crystal ornamentation had become very intricate indeed. By the Goryo-Period(918~1392) and Chosun-Period(조선, 朝鮮,1392~1910),crystal-ware and jade art were popular in houses and Buddhist temples, whose master artsanship was heightened in the numerous Sarira-Cases(사리그릇, 舍利器), containing relics and placed inside Stupas(탑, 투, 搭)! Therefore, discovering a tiny part of the crystal or jade Holding-Bowl for the Sacred Water-pot and casting full light on this subject, would not be totally impossible. Lastly the present article shares the tiny hope for a sudden emergence of such a Holding-Bowl.