• Journal of the Daesoon Academy of Sciences
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• v.26
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• pp.45-75
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• 2016

The aim of this study is to explain characteristics of Maitreya and Maitreya belief from a point of view that 'Jeungsan is the very Maitreya(甑山卽彌勒)'. In 『Jeon-gyeong』, Maitreya is mentioned several times. Thus, new religions of Jeungsan of Daesoonjinrihoe take 'Jeungsan is the very Maitreya' belief for truth. Due to the fact that characteristics of Maitreya are so multi-layered and complicated, it is necessary to explain clearly what kind of feature Maitreya has in 『Jeon-gyeong』. If believing and following 'Jeungsan is the very Maitreya' without clarifying it, they will be faced with a problem that they regard Jeungsan of Supreme being of the Ninth Heaven as one of Maitreya and take its belief for truth. Furthermore, with respect to the characteristics of 'Jeungsan is the very Maitreya' belief, while believing in Mireukasaeng, longed-for Millenarian movement by people through Messianism and Mireukasaeng belief is found in Daesoon Thought, whereas there is a need how to understand the point that we cannot finped Messianism and Millenarian movement in Daesoon Thought. To solve this problem, I draw a conclusion that 'Jeungsan is the very Maitreya' in 『Jeon-gyeong』 has to be understood with two meanings by four demonstrations. First of all, the people perceived late Joseon dynasty as the age of decadence but Maitreya's divinity which is desired by the people is not divinity of Maitreya Sutra(Mileuggyeong). Maitreya's divinity is reflected in the people's cherished desire and it is newly created as the Messiah. Thus, the idea of Jeungsan being the very Maitreya was developed in a way that the people desired the Messiah, encompassing this inclination. That is the Messiah of the people and the divinity of Jeungsan. Although Jeungsan as Supreme being of the Ninth Heaven satisfied the people's desire, it shows a different way to salvation from the way in Maitreya Sutra(Mileuggyeong). It is 'the Great Reordering of the Universe' and 'the Great Reordering of the Three Realms'. Reordering in Jeungsan shows that divinity of Jeungsan is not limited to the people's Messiah. In other words, divinity of Jeungsan is established as The Messiah, surpassing divinity of Maitreya Sutra(Mileuggyeong). And following statements prove this divinity of Jeungsan. Jeungsan's emphasis is not only the people's desire and the Gods' appeal. Jeungsan's emphasis is that only does Supreme being of the Ninth Heaven correct heaven and earth, which is the Gods' appeal. Therefore, 'Jeungsan is the very Maitreya' belief embraces the people's Messianism and at the same time it runs with he Gods' appeal. Thus, Reordering through the Great Reordering of the Universe and the Great Reordering of the Three Realms builds up a new ideal world.

• Journal of the Daesoon Academy of Sciences
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• v.24_2
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• pp.117-164
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• 2015

Religion is not fixed and permanent and is constantly transforming and changing phenomenon. But in some religions, religious culture happens that emphasize the original and authentic teaching of the founder and removes the other accumulations among the accumulated religious tradition. So some religious communities advocate the original teaching of the founder and insist that they are the orthodox and the others are heresy and make the theory of true transmission etc. Jongtonglon(宗統論) of Daesoonjinrihoe(大巡眞理會) looks similar to the theory of true transmission on the surface. The aim of this paper is the contribution to the understanding of Daesoon thought and the religious culture of Daesoonjinrihoe by studying the characteristics of Jongtonglon. I want to highlight on the characteristics of Jongtonglon by comparing it to Bubmaeklon(法脈論) of Korean Buddhism. Bubmaek(法脈) of Korean Buddhism is well showed in the constitution of Jogaejong(曺溪宗) that represents Korean Buddhism. The constitution says that Jogaejong considers SakyaMuni the main Buddha and Doyi (道義) the founder of Jogaejong and BojoJinul(普照知訥)·TaegoBou (太古普愚) the restorer of tradition and also says that Jogaejong succeedes Cheongheo(淸虛) and Buhyu(浮休). Between SakyaMuni and Doyi, there are several monks of Seocheon(西天)-28Choseol (祖說) and China-6Choseol(祖說). Jinul is highly praised for enhancing the atmosphere of performance of Jogaejong and Bou was regarded as the founder of Jogaejong since late Joseon dynasty. In modern times there were conflicts between Bojojongjoseol(普照宗祖說) and Taegojongjoseol(太古宗祖說), but today's Bubmaek(法脈) of Korean Buddhism was erected after the conflicts was controled. Jongtong of Daesoonjinrihoe was erected by Jo Jengsan(趙鼎山) Doju(道主) who was received Heaven's will through divine revelation. Dojeon(都典) succeeded Jongtong by Doju's will and he didn't say a word when he went to Heaven. So the succession of Jongtong is ended. The first characteristic of Jongtonglon of Daesoonjinrihoe is that the succession of Jongtong was decided by Heaven and has been expected from long ago. The second, Jongtonglon has the sacred characteristic which is not shown in Bubmaeklon. The third, the distinction between Yeonwun(淵源) and Yeonun(緣運) is not appeared in Bubmaeklon. The fourth, Jongtonglon has more anti-syncretic feature than Bubmaeklon. The fifth, Yeonun(緣運) and Bubmaeklon are different in that feature. As Jongtonglon occupies a prominent place in Daesoonjinrihoe, the understanding of it can contribute to grasp the doctrine and culture of Daesoonjinrihoe.

• Journal of Korean Historical Folklife
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• no.57
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• pp.197-228
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• 2019

This study was conducted under the judgement that there was a need to make several mentions by reference to studies about the spatial composition of the traditional village. The judgement was not about the dimension that there was a problem about the spatial composition of the existing village but that it would be effective to make a fresh reorganization of it in a little more detail. As a result, this study presented seven spaces in the spatial composition of the traditional village. It attempted to analyze it by dividing it into four spaces such as ① natural space, ② residential space and work space, ③ moving space and boundary space and ④ play space and ritual space to fit its basic nature. First of all, it made a pictorial presentation of the basic form of the spatial composition of the traditional farming village in the late Joseon Dynasty which was most general and whose form has been handed down up to the present. And it described the composition of each space accordingly. It was not intended for a specific village. So it presented the historical change, the behavior of the members surrounding the village and a difference according to the nature of the village, which were judged to be very important in explaining the items of the composition of each space. As a result, it was found that the spatial composition of the traditiona Korean village well embodied the framework of their life in terms of their view of nature, lifestyle and worldview. The view of nature acted on the spatial composition of the village as a whole and is well reflected in the natural space in particular. Their lifestyle is reflected in the residential space, farming space, moving space and play space, and their worldview is spcifically mirrored in the boundary space and ritual space. In particular, this study focused on how to take a look at the element of Feng-Shui in discussing the spatial composition of the village.

• Journal of Conservation Science
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• v.37 no.2
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• pp.167-178
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• 2021

For the preservation and efficient content sharing of 5 volumes (2,866 pages) of Yu Kil-Chun's book published in 1971, which provides an important collection of data for the study of modern Korean history during the late 19th century (enlightenment period of Joseon dynasty). The books were purchased and its preservation status investigated and documented electronically by scanning for permanent preservation of content and to determine the condition of preservation at the time of documentation. The degree of deterioration and damage, such as discoloration, hardening, breakage, and damage in these 50 years old modern printed books was quantified through image analysis and made attempts to visualize the damaged areas. It was observed that the degree of deterioration and damage depended on the material and the surface condition of the paper used, the degree of exposure to light, and the storage environment. The comparison of the preservation status at the time of the photographing (or scanning) and judgment as to whether or not the image under investigation was artificially modified was accomplished by comparing the electronically documented images of Seoyugyeonmun (西遊見聞) in Volume 1 of Yu Kil-Chun's works with images provided on other websites. Practical problems encountered while considering the effective preservation of electronically documented data and publicly sharing it, in the course of this study, with other academic researchers around the world were also summarized.

• Publications of The Korean Astronomical Society
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• v.36 no.3
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• pp.79-95
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• 2021

This study aims to develop a restoration model of an armillary sphere of Tongcheon-ui (Pan-celestial Armillary Sphere) by referring to the records of Damheonseo (Hong Dae-Yong Anthology) and the artifact of an armillary sphere in the Korean Christian Museum of Soongsil University. Between 1760 and 1762, Hong, Dae-Yong (1731-1783) built Tongcheon-ui, with Na, Kyung-Jeok (1690-1762) designing the basic structure and Ann, Cheo-In (1710-1787) completing the assembly. The model in this study is a spherical body with a diameter of 510 mm. Tongcheon-ui operates the armillary sphere by transmitting the rotational power from the lantern clock. The armillary sphere is constructed in the fashion of a two-layer sphere: the outer one is Yukhab-ui that is fixed; and the inner one, Samsin-ui, is rotated around the polar axis. In the equatorial ring possessed by Samsin-ui, an ecliptic ring and a lunar-path ring are successively fixed and are tilted by 23.5° and 28.5° over the equatorial ring, respectively. A solar miniature attached to a 365-toothed inner gear on the ecliptic ring reproduces the annual motion of the Sun. A lunar miniature installed on a 114-toothed inner gear of the lunar-path ring can also replay the moon's orbital motion and phase change. By the set of 'a ratchet gear, a shaft and a spur gear' installed in the solstice-colure double-ring, the inner gears in the ecliptic ring and lunar-path ring can be rotated in the opposite direction to the rotation of Samsin-ui and then the solar and lunar miniatures can simulate their revolution over the period of a year and a month, respectively. In order to indicate the change of the moon phases, 27 pins were arranged in a uniform circle around the lunar-path ring, and the 29-toothed wheel is fixed under the solar miniature. At the center of the armillary sphere, an earth plate representing a world map is fixed horizontally. Tongcheon-ui is the armillary sphere clock developed by Confucian scholars in the late Joseon Dynasty, and the technical level at which astronomical clocks could be produced at the time is of a high standard.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.6
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• pp.97-109
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• 2008

This study first attempted to catch the transformational affairs and motives of the representative pavilion, Hanbyeok in Honam after its construction. Especially, it re-illuminated the morphologic, significant and functional change process of a pavilion after the early Joseon Dynasty by taking the local scenery, Hanbyeokdang as a sample, and considering the space and scenic characteristics, and diachronically understood its creation process and rebuilt its inherent positional meaning to reach the following conclusion. 1. Weoldanglu, at its early foundation, seems to have stressed the function of a private banquet and lecture hall to train younger students, and served as a reception space. Then the reception function gradually increased, and up to before 1530, it seems to have been called Weoldanglu(月塘樓) or Weoldangwon(月塘院). 2. In 1619, Governor Yoo Saek changed the pavilion name to Hanbyeokdang through the subject of a poem. 200 years after Weoldang's death, it became a public space called Hanbyeokdang, an amusement place in which scholars cultivated great morale, and participated in the sending-off and welcoming of predecessors and successors. This seems to have taken a foothold as a public event or entertainment space for the local administration, Jeonjuboo(全州府) through the remodeling process sponsored by the public. 3. Scenic language such as its indicating name, expression type and surrounding view through old map and so on, the shape of Hanbyeokdang evolved and changed to diverse types after the foundation of Weoldanglu, at the heart of which Hanbyeokdang with its two legs standing at a rock was located. 4. During the late 18th century, Hanbyeokdang seems to have been a wing corridor connected closely to the left corridor of the Jeonju stream bed, whose pattern is presumed to have existed even during the early 19308. Such changes in scenic language make us assume that diverse auxiliary space, a wing corridor, was erected for use as a public banquet and amusement spot of Jeonjuboo Castle, the inherent function of Hanbyeokdang after the mid 18th century. 5. Penetration of Hanbyeokgool and the erection of Hanbyeokgyo caused the change of the ancient shape of Hanbyeokdang. Specifically, a great Hanbyeokgyo passing by the pavilion changed the relative scale, so the pavilion image of pursuing unity with nature has lost the old inherent refinement and visual character.

• Publications of The Korean Astronomical Society
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• v.29 no.1
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• pp.1-16
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• 2014

Sambok (三伏, Three Hottest Days) is the common designation of Chobok (初伏, Early Hot Day), Jungbok (中伏, Middle Hot Day), and Malbok (末伏, Late Hot Day), and widely known to be one of the Korean folk customs. Hence, Sambok is notated in Manseryeok (Ten Thousand-Year Almanac) and in the annual astronomical almanac published by Korea Astronomy and Space Science Institute. In this paper, we investigate the changes of Sambok in Korea based on various documents such as Joseonwangjosilok (朝鮮王朝實錄, Annals of the Joseon Dynasty), Jeungbo-Jakryeoksik (增補作曆式, The Supplement of Manual for Calendar Making), astronomical almanacs, and so forth. According to Jeungbo-Jakryeoksik preserved in Kyujanggak Institute for Korean Studies, Chobok and Jungbok are defined as the third and fourth Gyeongil (庚日, The Day Starting with the Seventh Heavenly Stems in Sexagenary Cycles Assigned to Each Day) after the summer solstice, respectively, and Malbok is the first Gyeongil after Ipchu (Enthronement of Autumn). However, if the summer solstice is Gyeongil, then the third Gyeongil counting from the solstice becomes Chobok. Malbok depends on the time of Ipchu. Ipchu itself becomes Malbok if the time of Ipchu is in the morning, or next Gyeongil becomes Malbok if it is the afternoon. On the other hand, Malbok is defined as Ipchu itself regardless of its time according to Chiljeongbobeob (七政步法, Calculating Method for Sun, Moon, and Five Planets), Chubocheobryeo (推步捷例, Quick Examples for Calendrical Calculations), and so on. To verify the methods used to determine Sambok, we examined the record in the extant almanacs during the period of 1392 to 2100 for which the summer solstice or Ipchu is Gyeongil. As a result, we found a periodicity that if the time of Ipchu is in the morning, in general, the time is in the afternoon after two years and then is back into in the morning after nineteen years, i.e., the 2 + 19 years periodicity. However, we found the 2 + 17 years periodicity in some years. We also found that the Chobok method of Jeungbo-Jakryeoksik has been used since 1712, the thirty-eighth reign of King Sukjong (肅宗). In addition, we supposed that Malbok had been determined by the method like Chubocheobryeo since either 1846, the twelfth reign of King Heonjong (憲宗), or 1867, the fourth reign of King Gojong (高宗). At present, these methods of Sambok are customarily used without any legal basis. We, therefore, think that this study will help conventionalize the method defining Sambok in the future.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.106-119
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• 2014

The $76^{th}$ National Treasure is consisted of seven volumes of Nanjung Ilgi (War Diary of Admiral Yi Sun-sin; each titled by the author based on the zodiac name of the year covered, i.e. Imjin Ilgi, Gyesa Ilgi, Gabo Ilgi, Byeongsin Ilgi, Jeongyu Ilgi, Sok Jeongyu Ilgi, Musul Ilgi), Seogancheob (Letters of Admiral Yi) and Imjin Jangcho (Drafts of Imjin War Reports of Admiral Yi). These are currently in the custody of Hyeonchungsa shrine, the state-managed memorial shrine of Admiral Yi, and has been added to UNESCO's Memory of the World Register in June 2013 in the appreciation of its historical and academic importance as a commander's hand-written battlefield accounts during Japanese invasions of Korea. Imjin Jangcho, among these nine volumes, is a record of battles, including observations on the enemy fleets, suggestions on naval matters, battle expenditure, and methods of battle preparation, transcribed by someone else according to Admiral Yi's instructions. It is Admiral Yi's honest detailobservations on the war situation during Japanese invasions of Korea from 1592 as a Naval Commander of Left Jeolla Province, till 1594 (Year 27 of King Seonjo's reign) as a Commander-in-Chief of the Naval Forces of the South. It is a draft of the war report to be submitted to the King in a single volume as a folio (each sheet folded once to produce one leaf) bound in a side-stitched binding with five holes and inner binding of twisted paper. This study explores the condition and the treatment performed on Imjin Jangcho which could have an implication for the conservation of cultural assets on paper of late Joseon Dynasty.

• 보존과학연구
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• s.28
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• pp.121-147
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• 2007

A large variety of mineral pigments has been used for Korean paintings and it has known that organic pigments have been used together on the Buddhist painting and the portrait. Haehakbando-do, which is from Honolulu Academy Museum in the United States, 12-fold screen was commissioned by Court of the late Joseon Dynasty in order to pray for the King's longevity. Therefore, it seems that all material used including pigments were selected very carefully and a great deal of technical effort was gone into its process. The purposes of this research were to estimate the pigments and the contributory elements of each color used on Haehakbando-do, in accordance with the conservation treatment carried out by Gochang Conservation Institute throughout last year. Without extracting sample, property of pigment was measured by nondestructive method, X-ray spectral analysis, and by comparing with the data about ancient pigments. In spite of the limited range of pigment analysis by nondestructive method, it should be noted that this method would not cause damage to the cultural properites. White pigment was found in all colored parts except the background, so it can be suggested that white color was used as a grounding of other color pigments. This would be flake white[$2PbCO_3{\cdot}Pb(OH)_2$] as Pb was found. Pb was the only element could be found in yellow, however, it can be organic pigment like Gamboge as same as background. Red would be Cinnabar (HgS) as hydrargyrum (Hg) was detected. For the light purple in cloud, organic pigments were probably used since any element is not detected except for Pb, which is used for background. It is possible that green color is the mixture of Malachite[$CuCO_3{\cdot}Cu(OH)_2$] and Azurite [$2CuCO_3{\cdot}Cu(OH)_2$], which share Cu as their main element. Azurite[$2CuCO_3{\cdot}Cu(OH)_2$] was used for bluish pigments. Black is carbon compound. For gold, solid gold (Au) was detected. It shows that gold was gilded on the flake white background. Red painted on the frame of screen was identified as Cinnabar (HgS) and the gold pattern was solid gold (Au). The supporting leg of folding screen was made of brass because both copper and zinc were detected. In conclusion, white pigment was used as grounding of all colors of Haehakbando-do, and specific pigments were used for each color. Additionally, result from the analysis of several pigments shows that mineral pigment and organic pigment, or different mineral pigments were mixed to make various colors.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.5
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• pp.840-857
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• 2017

In 1995, the costumes were restored in an unknown woman's tomb at the Jeonju Lee's family cemetery in Gapyeong, Gyeonggi-Do, and there are currently nine items remaining. In this study, we first introduced these 9 relics to academia and analyzed the morphological characteristics of the costumes. We also estimated the time and person of burial compared with costumes unearthed from other burials. Jeogories (short jacket) are all four items. One of these items was unusual in shape, and the upper part of the seop (gusset) was wrinkled and shaped. This type of Jeogori appears only till the 1520s in other tombs. There are also two skirts, one of which is characterized by a superimposed pattern. The top and bottom / middle part of the skirt were rolled up, and the skirt, which was double-rolled up in this way, was first discovered. An analysis of the shape of Jeogori and skirt indicated that the person buried in the Jeonju Lee's family tomb was believed to have survived until the early 16th century. Based on these estimated periods, as a result of looking at the genealogy of Jeonju Lee's family, it was concluded that the tomb was probably a woman named Lee Geum Myeong (李金命) born in the mid-15C and died between the late 15C and the early 16C.