• Journal of Korean Society of Forest Science
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• v.80 no.1
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• pp.32-41
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• 1991

This study is focusted to the national park of Korean typical mountain Chi-ri, its visual resources of forests, and practiced inspectind course by way of hypothesis and tests, to show visual resource management objectively, and that of quantitative basic data. spatial image structure measured by Semantic Differential(S.D.) Scale was shown through factor analysis algorithm for the analyzing psychological amount and examined the flowing out of decisive factor and the objective importance related mutual factors by appling the measurement of visual quality. Also, it has been investigated the differences between the degrees of expectation which is used before and of satisfaction which is used, by appling instrumental expectation theory. And showed patterns of investigation area through factor analyzing algorithm. As a national Park, visual factors that have natural landscape harmonized forest, sky, surface of the water, curious stones and rocks, temples should be escalate their values affirmatively so as to be the scenery of pointed direction and enjoyable, and it is needs the techniques visual resource management and its controlling technique to make artificial structures more intentional planning and systemical setting. Manmade distinctive quality in the spatials that affect complementally or harmonizingly, should be received considering relations between the distifution and joining which in line with various visual presenting massive factors. More than that, it is needed united basic standard to the beauty of arrangements which contain visual continuity considered balance between nature and human work, simplicity of structural types, assimilation, emphasis, unification of different factors and pro rata.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.20-33
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• 2018

This study aims to illuminated landscape of Joseon Dynasty in the end of 19th century when Joseon dynasty began to modernize through the perspective of Westerners. Historical meaning to Western people's landscape records has been preceded. And landscape typology and their perception were analyzed. The results were as follows. First, the Westerners who visited Joseon dynasty at that time were involved in the historical and political situation of the Joseon Dynasty or understood their culture through traveling for so long. And record of Westerners is a significant data to analyze scenery at that time because common contents appear in various books. Second, the landscape of Joseon dynasty that appears in Western records was mainly recorded in small towns and villages, natural environments, scenic sites, historic sites, modern facilities, and cultivated areas. Small towns and villages are mainly mentioned with shabby alleys and dense houses. And natural landscape were identified to mountain landscapes and diverse geomorphological landscape that surrounding vegetation along the coast and rivers. The palaces, fortress and temples were recorded as main objects of scenic sites and historic site. And western-style buildings such as foreign legations and settlements, churches and schools were mentioned in the modernized facilities. A cultivated land was confirmed to be underdeveloped and neglected, but as range of view became wider, it was seen to a peaceful and prosperous rural landscape. Third, Westerners' landscape perception of Joseon dynasty at that time can be deduced from positive or negative perceptions. The residential environment was perceived as negative because it was unsanitary and backward. On the contrary, outstanding natural landscapes, scenic sites and historic sites, and upper class gardens were perceived as positive. For modernized landscapes, positive and negative perceptions were similarly mentioned. Positive perceptions were formed in improvement of civilized landscape, and appeared negative perception because damaged traditional landscapes and heterogeneity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.57-67
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• 2017

Based on the study on place name, meaning analysis of buddhist temple Palgyeng, and classifications of instructions and characteristics of writings on rocks, the main results of the study showed the following. Cheongamsa is located in the upstream of Muheulgugok Valley which was run by Hangang Jeong Gu(寒岡 鄭逑), a typical young man in the middle of the Joseon Dynasty, and overlaps with chief monk Byukam Lee Dukjin's(1896~?) object of Cheongamsa Palgyeng during Japanese colonial era. Including the mountain embracing Cheongamsa called Bullyeong-san, various characteristics of writings on rocks such as use of combination of place names including Sudosan, Seonlyeongsan, and Sinseondae, as well as Cheongamsa Temple, Bullyeongdongchun(佛靈洞天), Namuabitabul, Hogye(虎溪), Yeosan Waterfall(廬山瀑布), and Sejinam(洗 塵巖) show co-existence of Confucianism and Taoism mixed together in the temple. Especially for Cheongamsa Valley Hogye and Samsocheon(三笑泉) which is in the precincts of the temple, are realized as the symbol of the scenery of the three religion consilience of Confucianism, Buddhism, and Taoism through announcement using Hogyesamso(虎溪三笑) which originated from Yeosan Donglimsa, Jiangxi, China. Also, there are Yeosan Waterfall with a noble sense of place by negotiating with god, writing on rocks imprinted, and Yeosangyo(廬山橋) in Cheongamsa. As such, cultures of the three religion remain in various layers with the spirit of Hogyosamso symbolizing the consilience and coexistence of the three religion in Cheongamsa without the exclusiveness of Buddhism. Besides, the third precept of Yukhwagyeongbub, known to be practiced in Buddhist temples, which says "Do not only express self-assertion and ignore others" according to the dogma of working together in harmony, is in accordance with the spirits of Hogyesamso. As shown, Gimcheon Cheongamsa which is adorned with cultural landscapes of Hogyesamso, Gugokdongcheon(九曲洞天), and Palgyeng(八景), is not only good enough for the way of Buddhism and Confucianism but also for a place for the three religion consilience embracing the three religion.

• Journal of the Korean Institute of Oriental Medical Informatics
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• v.14 no.1
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• pp.19-42
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• 2008

Blood-Letting Therapy is a rational and ecological medical treatment by which we can heal most of the diseases by removing the static blood which precipitates in the blood vessel and blocks the flowing of blood. And the static blood is the generic term for the injurious, bad, dead and precipitated blood which is blocked the capillary vessel. The Yellow Emperor's Canon of Internal Medicine says that "the patient is treated with drugs internally and stone acupuncture externally. "In the old texts, the blood-letting therapy is mentioned as blood-letting, network vessel pricking, bloodletting, pricking, and arousing pulses etc and it is noted down as the method of network vessel pricking in 'On the Application of Needles' of Spiritual Pivot. Nine-pricking therapy, twelve-pricking therapy and five-pricking therapy are recorded in the methods of network vessel pricking and among them, the method of squeezing blood after pricking the affected part is explained as the network vessel pricking. There are four methods of network vessel pricking, pricking, picking, cluster needling and scatter-pricking and they are fluidly applied to the various symptoms of diseases. In 'On Discriminative Treating for Patients of Different Regions' in Elementary Questions, Ki-baek emphasizes "most of the local people, there are black in skin and loose in striate, and their diseases are mostly of carbuncle kind. It is suitable to treat the disease with stone therapy to prick with stone, so the stone therapy is transmitted from the east. "And in 'On the Corresponding Relation Between the Eum and Yang of Man and All Things' in Elementary Questions, when the Emperor asked Ki-Back, he answered "sthenia means the sthenia of evil, and deficiency means the deficiency of healthy energy. When the blood is sthenic, the evil should be discharged by pricking when out letting the blood; deficiency of vital energy is the asthenia of channels and network vessels, so the energy should drain from the channel which is not deficient, to replenish. "And in this case we can use the methods of 'Breaking out the static bloods', 'driving out the static bloods', blood-letting'. With this we can infer that the blood-letting therapy is made use of the important medical treatments from the ancient times. Especially in referring to the principles of treatment in The Yellow Emperor's Canon of Internal Medicine, it mostly alluded to acupuncture therapies and only eleven times to medicinal treatments. This is to verify that the blood-letting therapy formed the foundation of the medical art. In Dong's Therapy of Acupuncture-Moxibustion and Bloodletting, Dong Kyeong-Chang gave emphasis on the points that there must be extravasated bloods without exception in the serious illnesses which is old, unnatural, accompanying acute pains and so we can revive our body‘s sprit by circulating 'gi' and static blood piled up in the network vessel, regulating the weakness and strength, and controling the disharmony of the internal organs. The blood-letting therapy has effect on the orifice in emergency, such as fore draining, freeing network vessels, harmonizing gi and blood, relieving pain, dispersing swelling and concretion, sedation, resolving toxin as well as strengthening the heart, relieving itching. So it has distinguished effect on all kinds of medical treatment to the modern people. But by the change of social customs and the confucianism of confucius - it is widely spread on the period of North and South Dynasties, 'Wi' and 'Jin' in china and the period of the Three States in korea - The blood-letting therapy which was regarded as the most important medicinal treatment withered rapidly. And Confucius accentuated the importance of our body and all its members, loyalty and filial piety and banned any damage of our body under no circumstances. As a result of it, the therapy of blood-letting had a rapid decrease and barely kept itself in existence in both countries. What is worse, at the period of Japanese colonial rule of korea and our nation's founding of early stage, it has been withered by the high-handed policy to change Oriental Medicine into modern medical science. So the therapy of blood-letting barely kept itself in existence in some Buddhist temples. Another case, it has handed down as a old-fashioned quick fix in folk remedies. But all kinds of the contamination of heavy metals and the misuses of antibiotics are widely spread nowadays, which increased diseases of adult people and incurable diseases as modern society unavoidably made its way into a highly industrial society. To make us more miserable, the western medical science - the antibiotics and surgical operation medical science - already reveals itself into a limit. The necessity of a new medical science which can give a security to the patients who are suffering from the diseases of adult people and the incurable diseases is especially come into the force nowadays. In view of the results after bibliographically studying on the blood-letting Therapy in Elementary Questions of the Yellow Emperor's Canon of Internal Medicine, the blood-letting therapy has acted for the important Oriental medicinal science and has been clarified the prominent effects on the diseases of adult people and the incurable diseases. So it is regarded as an appropriate thing that we lay out a determined theory of the blood-letting therapy and of course prevent the unwanted side effects from inappropriate medicinal treatments, and make full use of clinic by elevating the curative value and that we win back our self-respect of medical treatment which is dominated from the western medical science and ultimately contribute to national medical welfare.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3192-3202
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• 2014

This study has its purposes on analyzing specific features of the elements according to scales of 32 main buddhist sancta among wooden temples with gable roof that are nationally designated as cultural assets, and analyzing influences and proportional relations between main and submaterials, so that it could be basic and objective data for restore and repair cultural assets in the future. Results of the study are following. First of all, the average plane proportion of doritong (facade) and yangtong (side) in 3-room building is about 1.31:1, while it is 1.70:1 in 5-room building. Secondly, as a result of analyzing the locational proportion and thickness of pillars at each location, floor room turned out to have wider space between pillars than that of edge room or side room in both cases of 3 and 5-room buildings. In the mean time, for the average thickness of the pillars in 3-room building, it was 491mm for corner pillars, 433mm for general pillars in cases of 3-room building, while it was 595 and 511mm respectively in cases of 5-room building. The reason why corner pillars are 60~80mm thicker than general ones in average, is determined to considered structural stability and optical illusion. For the third, as a result of analyzing the influences on pillar thickness, eaves projection and eaves height according to the scale(dimension) of buildings, 3-room buildings have outstanding correlation as its scale(dimension) goes bigger, while 5-room ones are not very much influenced by its scale(dimension). For the fourth, as a result of the relation between pillars and eaves, both of 3 and 5-room buildings have longer-projected and higher eaves as their pillars go taller; especially height of eaves turns out to have very close relation between length of pillars. In addition to that, both of 3 and 5-room buildings have much projected eaves as the eaves go higher.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.3
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• pp.1-10
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• 2020

The purpose of this study is to identify whether the cranes had been bred in the palace of the Joseon Dynasty period and to consider the related cases. The temporal range of this study is in the Joseon Dynasty period, and the spatial range is throughout the entire palace, including the naejeon(內殿) and oijeon(外殿), and government offices inside(闕內各司) and government offices outside(闕外各司). The reference materials for this study were partly extracted and translated from the original documents to consider, and a Korean version of documents was used in the database of the Institute for the Translation of Korean Classics. The results of this study are summarized as follows. First, the cranes were bred from the early Joseon Dynasty Era in Uijeongbu, the highest government office in the Joseon Dynasty period. After the Japanese Invasion of Korea in 1592, crane breeding in Uijeongbu(議政府) seems to have been suspended due to the damage to the government building and the change in the status of the government office. Second, crane breeding in Hongmungwan(弘文館), which was responsible for the classics colloquium(經筵) and public opinions and assisted the king by the side, continued from the early Joseon Dynasty period(Jungjong's Era) to the late Joseon Dynasty period(Jeongjo's Era) after the Japanese Invasion of Korea in 1592. Third, in the Jeongjo's Era, the cranes were also bred in Gyujanggak(奎章閣), which was newly established as the central institution of learning to strengthen the royal authority. At that time, it seems that several cranes were bred in Gyujanggak. Fourth, it is judged that 'Crane breeding' in the core government offices of Joseon, such as Uijeongbu, Hongmungwan, and Gyujanggak, was meaningful as a symbol of identities, such as the status and character of the institution. Fifth, it seems that the cranes bred in the palace, including Hongmungwan, were conventionally brought by the Baecheon County of Hwanghae-do. This convention caused minor conflicts between the central and local government offices during the Yeongjo's Era, but it seems to have continued throughout the Jeongjo's Era. In this study, there is a limit that most of the studies were conducted based on local data. If further data discovery and translation outcomes are accumulated in the future, more abundant cases will be identified. The deepened follow-up studies are also needed, other than the cases of rearing cranes in the local government offices and temples.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.2
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• pp.128-140
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• 2021

This study applied the theory of Landscape Ecology to representative resources of Jeju Olle-gil, which is a representative subject of walking tourism, to identify ecological characteristics and to establish a technique for landscape ecological analysis of Olle-gil resources. Jeju Olle Trail type based on the biotope type, major land use, vegetation status around Olle Trail and roads were divided into 12 types. Based on the type of ecological tourism resource classification, the Jeju Olle-gil walking tourism resource classification was divided into seven types of natural resources and seven types of humanities resources, and each resource was characterized by Geotope, Biotope, and Anthropopope, just like the landscape ecology system. Geotope resources are strong in landscape characteristics such as coast and beach, rocks, bedrocks, waterfalls, geology and Jusangjeolli Cliff, Oreum and craters, water resources, and landscape viewpoints. The Biotope resources showed strong ecological characteristics due to large tree and protected tree, Gotjawal, forest road and vegetation communities, biological habitat, vegetation landscape view point. Antropotope include Culture of Jeju Haenyeo and traditional culture, potting and lighthouses, experience facilities, temples and churches, military and beacon facilities, other historical and cultural facilities, and cultural landscape views. Jeju Olle Trail The representative resources for each type of Jeju Olle Trail are coastal, Oreum, Gotjawal, field and Stonewall Fencing farming land, Jeju Village and Stone wall of Jeju. In order to learn about the components and various functions of the resources representing the Olle Trail's ecological culture, the landscape ecological technique was interpreted. Looking at the ecological and cultural characteristics of coastal, the coast includes black basalt rocks, coastal vegetation, coastal grasslands, coastal rock vegetation, winter migratory birds and Jeju haenyeo. Oreum is a unique volcanic topography, which includes circular and oval mountain bodies, oreum vegetation, crater wetlands, the origin and legend of the name of Oreum, the legend of the name of Oreum, the culture of grazing horses, the use of military purposes, the object of folk belief, and the view from the summit. Gotjawal features rocky bumps, unique microclimate formation, Gotjawal vegetation, geographical names, the culture of charcoal being baked in the past, and bizarre shapes of trees and vines. Field walls include the structure and shape of field walls, field cultivation crops, field wall habitats, Jeju agricultural culture, and field walls. The village includes a stone wall and roof structure built from basalt, a pavilion at the entrance of the village, a yard and garden inside the house, a view of the lives of local people, and an alleyway view. These resources have slowly changed with the long lives of humans, and are now unique to Jeju Island. By providing contents specialized for each type of Olle Trail, tourists who walk on Olle will be able to experience the Olle Trail in depth as they learn the story of the resources, and will be able to increase the sustainable use and satisfaction of Jeju Olle Trail users.

• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.