• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.581-587
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• 2022

The water god, Venerable Bhadra, Indian Tammola (Tamla as the 'mol' and 'ju' characters were eliminated) came to Tamla with 900 Arahants(The highest Buddhist monks) around 563-483 BC. It is the propagation of Buddhism through the world's most sacred water (Heiligkeit). The traces of the three surnames of Goyangbu are the first samsunghyeol and the dwelling of the den of Jonjaam(cave of venerable Bhadra) in Yeongsil, giving a glimpse into the era of living in caves. The second is a link that is in line with 3, the basic number in the decomposition of 900 (=3^*3^*100) disciples of Bhadra, considering that 3 and 3 of the three surnames in Goyangbu are three times 9. At this time, 3 is the person of heaven and earth, religiously, marriage, hope, or complete number, and Jeju culture is resting everywhere. For example, 3 of the samsunghyeol, 3 of the 1, 2, 3 Dodong, 3 of the 3 Dado, 3 of the 3 Mudo, 3 of the 3 disasters, 3 of the Goyangbu 3-surnames, 3 of the house Olle Jeongnang and, among 900 (=3^*3^*100) disciples of Venerable Bhadra, the common factor is 3. It is the 'island of 3'. These papers consist of 1 and 2 parts. In Part 1, the name of Tamla came from Tammola, India, and 900 Indian Buddhist Arahants estimated that the three surnames in Goyangbu were the ancestors. Part 2 highlights how the basic principle of jeonganag derived from Indian customs has evolved and is being used in modern mobile communication and DNA gene life science.

• Journal of Korean Historical Folklife
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• no.33
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• pp.115-143
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• 2010

The purpose of this study is to analyze contents and process of rites about sacrificial rites related Royal Mausoleums in early Joseon Dynasty, and to conclude, to review the position of Royal Mausoleums in the whole National Rites System. The sacrificial rites related Royal Mausoleums started from building Royal Mausoleums of 8 persons-ancestors since King T'aejo's great-great-grandparents, in 1392, founding Joseon Dynasty. In 1408, King T'aejo had died and his Kŏnwŏnnŭng (健元陵) was builted in Yangju, Gyeonggi-do. Since then, after kings of many generations died, each of Royal Mausoleums was builted solemnlly. In the process of this, sacrificial rituals modified and supplemented, especially during the reign of king Sejong(1418~1450). After all, the sacrificial rites related Royal Mausoleums was settled in KukchoOryeūi(國朝五禮儀, Five State Rites) compiled during the reign of King Sŏngjong. In process of Institutionalization of sacrificial rituals, the argument between king and vassals about four-seasons' ancestral rites was properly or not was occurred. That was because the memorial times of Royal Mausoleums overlaped Chongmyo's and more important Chongmyo's ancestral rites was neglected. But four-seasons' ancestral rites of Royal Mausoleums was continued until 17th century. Sacrificial rites related Royal Mausoleums as royal personal rites had simple processes compared to sacrificial rites of Chongmyo, upper-graded formal ancestral rites, under National Rites system. Justifying to served his parents with devotion, the kings in early Joseon Dynasty went to Royal Mausoleums 2-3 times annually. During coming and going, he show off his presence as king in power to his subjects through magnificent guard of honor. On the one hand, he met his subjects directly and acceded to various petition. Above all things, The kings in early Joseon Dynasty emphasized his military power through military training, namely, hunting, disposition of troops, and so on.

• Journal of Korean Historical Folklife
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• no.33
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• pp.31-72
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• 2010

At first, I extract materials on folk religion from four encyclopedic literatures of late Chosun dynasty-Lee, Ji-Bong-Ryu-Seol(『芝峯類說』) by Soo-Kwang(李晬光), San-Lim-Kyung-Jae(『山林經濟』) by Hong, Man-Sun(洪萬選), Sung-Ho-Sa-Seol(『星湖僿說』) by Lee-Ik(李瀷), O-Ju-Yeon-Moon-Jang-Jun-San-Go(『五洲衍文長箋散稿』) by Lee, Kyu-Kyung(李圭景), and present these materials by tables. Second, I examined the contents and characters of these materials on folk religion. The conclusions from this research are as follows. ① There are common features and points of difference between these four encyclopedic literatures. One of common features are that all these four are encyclopedic works, but San-Lim-Kyung-Jae is more practical than another three. ② These encyclopedic literatures regard folk religion as a negative culture, because these literatures based on Confucianism. But they did not deny miraculous virtues of folk religion. ③ These encyclopedic literatures give us many informations on gods and spirits of Korean folk religion, i.e. city gods(城隍神)·Yup-Sin(업신)·spirits of disease, god Kim-Bu(金傅大王神)·god Jung-Duk-Yang(鄭得揚)·god of King Kuan-u(關王神)·god Bu-keun(付根神) etc. So I review these gods and spirits referenced in encyclopedic literatures. ④ These encyclopedic literatures show much interest in ghost in common. The reason of interest is that authors of these encyclopedic literatures are all scholars of Sung Confucianism and Sung Confucian was concern about ghost. The Sung Confucianism denied the ghost as personal being whom Korean folk religion regards to a kind of spirits. Instead of beliefs in ghost of folk religion, they insist on the ghost as Ki(氣), a kind of cosmic principle. But these encyclopedic literatures acknowledge some parts of folk religion's beliefs in ghost, because they admit the miraculous virtues of these parts. ⑤ There are many items on divination in these encyclopedic literatures. But they show dual attitude on divinations. The one is negative attitude to divinations on individual destiny and the other one is positive attitude to divinations on agriculture. ⑥ There are also many items on witchcrafts in these encyclopedic literatures. Through these items, I assumed pervasiveness of beliefs on witchcraft at that time. ⑦ Shamans, as religious specialist, are stand on a central position of Korean folk religion. So it is a matter of course that these encyclopedic literatures concerned on Korean shaman. As Confucians, authors of these encyclopedic literatures did not regards shamans as positive one. But they did not deny miraculous virtues of shamans. In spite of these encyclopedic literatures have negative view points to, and include false informations Korean folk religion, I would like to emphasis on importance of these encyclopedic literatures to understand Korean folk religions, especially Korean folk religions of late Yi Dynasty.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.27-36
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• 2019

Today, the Korean wave headed by K-pop is newly named as 'New Korean Wave' in that it has been extended to United States, Europe and Russia. K-POP, the main player of the new Korean wave, has been successful in SNS marketing channels. Furthermore, the content of K-pop has attracted the attention of the global audience. The media and public attention on the Korean Wave is meaningful because it is not merely a cultural export. It also makes Korean people feel national pride, seeing the mental influence of its culture on other regions. Moreover, the development of the cultural industry in our society, which is different from industrial or material development, is a proof that Korean society is at the center of globalization. Until the 20th century, Korean culture had been rather receptive than dominant. In other words, it was focused more on acceptance of other cultures than active creation or outflow of its own. Now, however, K-POP is not anymore copying Western culture. It is creating its own unique characters, which makes K-pop very competitive. Korean culture has been formed for a long time in Korea's unique historical background. Korean popular culture also has to establish a solid foothold in world markets through its distinctive and traditional feature. The positive consumer response to Korean pop culture will create the added value of Korean contents and their derivatives, which will heighten Korea's national image also. In other words, if traditional art and K-POP are converged and equipped with our own unique and highly artistic culture, they will take the lead in the global cultural art market. In this study, we will recognize the possibility, growth and development of K-pop culture and analyze the cases of combining K-pop and Korean traditional art. First, we have to blend traditional art and other various genres to create diverse contents, and we have to actively utilize media channels. Second, we must improve people's awareness of the copyrights of traditional art. Also, we have to mitigate the copyrights of creative dance to expand the disclosure of contents which can be utilized. Third, we have to learn about traditional arts from younger age. Fourth, we will expand traditional arts to the whole of Korean cultural policies, which can enhance the nation's cultural value and create economic benefits. These four are expected to be effective ways to preserve the identity of traditional art and at the same time, globalize Korean culture.

• Maritime Security
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• v.4 no.1
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• pp.1-56
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• 2022

Why has India become a key actor in the maritime-configured Indo-Pacific region? There are some external factors, but for India, its geo-strategic frontier encompassing its geopolitical and maritime interests is expanding rapidly beyond its territorial space across both the Indian and Pacific oceans amidst an increasingly arduous geopolitical and security environment. India must, therefore, acquire the ability to influence events within this strategic arena using all facets of national power, including maritime-military power. Lately, therefore, New Delhi has invested much intellectual capital to review its maritime-security strategy. India's new strategy is premised on the concept of holistic security involving the 'softer' aspects of maritime-security, and a rekindling of maritime consciousness in India, a nation that has traditionally been beset by 'sea-blindness'. The strategy adopts a region-wide, inclusive, and a more proactive approach than hitherto, as is evident in its title 'Ensuring Secure Seas: Indian Maritime Security Strategy'. While it deals with the growing concern of new non-traditional threats in the Indian littoral and the need for military deterrence and preparedness, it also addresses the imperatives for India to seek a favorable and rules-based benign environment in its immediate and extended maritime periphery, including through multi-vectored strategic partnerships dictated by its enduring principle of strategic autonomy. For a more profound and comprehensive understanding of India's maritime-security strategy, this paper examines the key unstated and implicit factors that underpin the strategy. These include India's historical and cultural evolution as a nation; its strategic geography; its geopolitical and security perceptions; and the political directions to its security forces. The paper deals specifically with India's response to maritime threats ranging from natural disasters, crime and state-sponsored terrorism to those posed by Pakistan and China, as well as the Indian Navy's envisaged security role East of the Malacca Straits. It also analyzes the aspects of organizational restructuring and force planning of India's maritime-security forces.

• (The) Research of the performance art and culture
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• no.39
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• pp.509-547
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• 2019

The cocoon breeding related national ritual ceremony exercised from the beginning time of Joseon is the 'clothing culture' that has taken its role in the ritual ceremony where it demonstrates the resolution of a state that placed importance in 'things to wear'. During the reign of King Seongjong, it enhanced the level of importance by adding the 'procedure to pick up the mulberry leaved by the queen personally'. During the reign of King Youngjo, the implication of the ritual ceremony was even more expanded that there was an new emergence of new type of national ceremony for the Joseon Era with its first ritual ceremony for woman to personally administer the memorial ceremony to the 'woman divinity' in addition to the 'Jakheonrye' procedure to personally present by the queen for the cocoon breeding. This is intended to meet the status of chingyeonguirye (farming-friendly ceremony) with King Youngjo to personally cultivate the dry field after administering Seonnongje (good harvest paying ceremony) that it is conspicuously demonstrating the importance of farming and cocoon breeding activities. As a result, the Chinjam (a type of ceremony that queen personally breeds cocoon for fabrics) related ceremonial rite that was rearranged during the reign of King Youngjo was settled into 11 ceremonial rites with the expansion of its contents. It ranges from the procedure to leave the palace for carrying out the ritual ceremony to the procedure for the crown princess and Hyebin-gung to accompany the queen, ritual for the queen to devote the Jakheonrye to exercise Chinjam, the ritual for the king to announce his royal message, johyeonui (morning assembly) exercised after completing Chinjam, it is the ritual for the queen to receive the box that contained the cocoon. This type of ritual ceremony is a significant expansion when compared with the exercise carried out earlier and it is part of characteristics displayed for ritual overhaul trend in the reign of King Youngjo. In the main procedures of these ceremonial rites, the music is accompanied and the music includes folk music, inspiration and so forth. The Chinjam related ritual ceremony in the reign of King Youngjo was established in the direction to establish it as the ritual ceremony for a woman who had the divine role of the seonjamje ritual to administer the ritual in a way of having the justification and reality to be consistent.

• (The) Research of the performance art and culture
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• no.22
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• pp.371-411
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• 2011

In the twenty first century of rapid cultural change performing art requires new mode of expression based on imaginative power and creativity as well as establishing its own identity. The modern technological environment support this with advanced technology and bring about the expansion of reason from new experience. The introduction of digital media on artistic expression in particular, expands the physical ability of human body which is the main subject of performing art. A virtual body from digital technology is freed from physical boundaries and goes over space and time. It also suggests the possibility of new mode of communication with audience. This study aims at examining the subject of performing art and its digitalized movement focusing on EveR, the world's first professional robot actor. The robot actor which came on stage according to the new expression medium, a digital body, stands in need not only of technological value but also of cultural and artistic application for expression in art. In this endeavor to meet the demand, this study examines the development process and function of 'EveR' the robot actor. Also it searches into the performance of Ever which replaced human being as well as the historical significance of the title:the world's first. To be more specific, there is a example research on two performances:a pansori play "EveR is simply stunning(2009)" and children's play "The Robot Princess and Seven Dwarfs(2009)." Through this example research, it is enabled to anticipate the influence of robot actors on performing arts and to search for the better way of them to evolve. Furthermore, it aims at finding ways to create high value through promoting robot actors to be familiar to the public as well as supporting them to become active cultural contents. The performance with robotic technology is one of the artistic experiment that may cause the change of the future of performing art by actualizing technological imagination together with human body and machinery. As a consequence, it is expected that the meeting of performing art and robotic technology gives positive influence on activating performing art as one of the integrated cultural phenomenon which satisfies the taste of modern era. Moreover, this study may also be the beginning of the expansion of performing art to stretch to diverse field.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.192-214
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• 2023

Wooden architectural cultural heritages are one of the visible legacies that show the national's identity. Even when the concept of 'the original' of cultural heritages was not accurately understood, the emphasis of preservation and management of cultural heritages was placed on 'preservation of the original form' or 'maintenance of the original form'. Moreover, these days, following the trend of international preservation principles, cultural heritages are considered important as "values as historical objects." This paper is the result of an attempt to determine the scope and content of what parts should be monitored to maintain the original form of wooden architectural cultural heritage. The first thing to be done in monitoring wooden architectural cultural heritage is to check the condition of the ground and foundation. The second is the column. This is because the instability of the column causes damage to the joint with each member and the fitting part, resulting in physical changes leading to damage to the wall. The third is monitor the roof tiles. If the leak continues into the building due to the separation or damage of the roof, the defect should be partially dismantled and repaired, so it should be monitored to maintain its original shape as much as possible. The monitoring range of the base, column, and roof serves as a reference point for identifying what damage is being done to the relevant cultural heritages. In other words, the data at the time when monitoring began becomes the 'original' for the year. Alternatives based on the analysis of monitoring for the preservation of original cultural heritages should be actively introduced. In addition, by sharing the current state and situation of cultural heritages as a result of monitoring with various related organizations, preventive preservation should be established rather than preservation of cultural heritages by "intervention."

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.288-318
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• 2023

This work began with the aim of examining the history of the concept "cultural property" that is expected to disappear, and the main subject of research was the history that preceded the spread of this notion throughout society. The phrase "cultural property" first appeared in the 1920s, and was used in various fields such as literature, history, music, and philosophy in the context of cultural resources. Until immediately following liberation from the Japanese colonial era, the meaning of cultural assets was widely applied in the range of "cultural resources," and during this period, it was often used to help supplant the reality and history of Japanese occupation. Immediately after the Korean War, it was also employed for the purpose of 'restoration of cultural resources through war'. Recognition of cultural property directly influenced by Japan's Cultural Heritage Protection Act has occurred since 1950s. In the early 1960s, the enactment of various laws related to cultural properties and the establishment of the Cultural Heritage Administration caused the meaning of cultural property to be limited to 'cultural heritage'. In this way, the definition of state-led cultural property has continued to apply to this day. It has not been clearly confirmed whether the concept of cultural properties was imported from Japan through means such as the Cultural Heritage Protection Act. Cases in which several Japanese students endorsed the concept of cultural property within Korea serve to increase the likelihood that the concept was indeed imported from Japan. However, "coined language using multiple Chinese characters," "the phenomenon of cultural complex words in the 1920s,", and "cases of non-Japanese international students using the concept of cultural property" also open up the possibility of their own occurrence. Apart from the general importance of the concept of cultural property, intellectuals at the time used this concept to promote internal development and the overcoming of colonial Joseon. In this research, it was confirmed that the conceptual word cultural property was older and had a wider history than the general perception had indicated previously. The history of the conceptual term "cultural property" may appear to be more than 60 years old based on the enactment of the Cultural Heritage Protection Act, but in fact it is nearly 100 years old when traced back to on 1925, as established here. In general, the creation and disappearance of terms may proceed naturally with social change, but such terms may alternatively be created or erased through national policy. Identifying the origins of a phrase that is about to disappear represents a significant task for purposes of establishing its historical meaning.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.132-158
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• 2023

The five-story and seven-story stone pagodas at Cheongnyangsaji temple site in Gongju are located under the Sambulbong peak of Gyeryongsan mountain, and are known to have been built of the middle in Goryeo dynasty. As the two pagodas in which two types of Baekje stone pagoda coexist in one era, their historical and academic value are recognized. The seven-story pagoda was overturned by robbery in 1944, and as a result, the five-story pagoda was tilted. Although the two pagodas were restored in 1961, structural instability was continuously raised. In this study, measurement data accumulated from May 2021 to March 2022, and seasonal characteristics were reviewed, and the micro behavior of pagodas were analyzed according to temperature and precipitation during the same period. As a result, the micro thermoelastic behavior was repeated according to the daily temperature change in all sensors, and both the slope and the displacement showed microscale behavior. In the inclinometer, moisture containing the surface and inside of the stones repeated expansion and contraction due to temperature change, showing the micro movements. In particular, the upper part of the five-story pagoda moved up to 3.89° to the northwest, and the seven-story pagoda tilted up to 0.078° to the northeast. The maximum displacements were recorded as 0.127 and 0.149 mm in the five-story and the seven-story pagoda, respectively. These values tended to return to the original position at the end of the measurement, but did not recover completely, indicating a state requiring precise monitoring. The result obtained through the study can be used as basic data for the stable conservation of the two stone pagodas. Based on the behavioral characteristics considering various environmental factors should be analyzed, and the preventive conservation through the maintenance of measurement system built this time should be continued.