수대 장안,낙양지역 불교조각 연구

양은경 ( Eun Kyong Yang ) 한국불교미술사학회 2002 강좌미술사 Vol.18 No.-

The style of Buddhist sculptures in Ch`ang-An and Lo-Yang regions during Shi Dynasty basically took over the characteristics of the Northern C`hi and the Northern Zhou Dynasty and had the regional characteristics as well. Furthermore, the style the sculptures of Ch`ang-An and Lo-Yang regions was combined and mixed with east and west regions and south and north regions due to the nation wide unification during Sui Dynasty. Especially, the style of the Northern Chi brought influences in east, west and other places with Ch`ang-An, capital city. For instance, Buddha garments, such as Y-shaped patterning robe, thick layered robe, the robes covering the pedestal, knotted upper garment, U-shaped pattering cloth, mudra holding clear vase or willow branches on each hand. However, the style of buddhist sculptures during Dynasty was unified and continued to Early T`ang Dynasty. The coverig mode from the nothern C`hi, taking over the style of the northern C`hi capital Yeh had been spreaded in the center of Lo-Yang, another capital during late Sui dynasty and it inflenced to not only Lo-Yang area, Ch`ang-An area Briefly, Buddhism was combined with east and south area from the center of Ch`ang-An and Lo-Yang and the style of Buddhist sculpture from Ch`ang-An area had influence to other areas. Nationwide archeological and political unification led the style of Buddhist sculptures to the unified on during Sui Dynasty. moreover, movement of ministers and monks through all regions during Sui Dynasty helped the unification more naturally happen both capitals It is clear that the style of Buddhist sculpture in Northern C`hi, the North and South Dynasty was different, even though they influenced each other during late the North and South Dynasty. But it started to become on unified style from Ch`ang-An and Lo-Yang during Sui Dynasty with the unification and this unified style continuously influenced to the next Dynasty, T`ang. This fact is the biggest significance of Suk Dynasty to Buddhist sculpture. However, there`s still regional characteristics remained in spite of the unification. there are lots of differences in materials for sculptures as well. there were lots of S´akyamuni Buddha discovered in Ch`ang-an, where as there were many Amitabha Buddha and Maitreya in Lo-Yang The Buddhist sculpture in Ch`ang-An and Lo-Yang influenced each other and got development with buddhism and it continued T`ang dynasty There are relations with Ch`ang-An style and Lo-Yang style which has Lung-mun caves in Ze Tian Wu Hou the years of reign and the style of Buddha from Ch`ang-An and Lo-Yang regions gave influences to nationwide area. Therefore, understanding the characteristics of Buddhist sculpture during Sui Dynasty is important that it offers the fundamental information for studying more about T`ang Dynasty

수대 돈황 막고굴과 장안·낙양 : 통일 그리고 Silk Road Dream

양은경 ( Yang Eun Gyeng ) 중앙아시아학회 2020 中央아시아硏究 Vol.25 No.2

This study explores East-West cultural interactions during the Sui dynasty by examining the structures and murals of the Dunhuang Mogao Caves, also known as the Thousand Buddha Grottos, which so far have received less attention than their importance merits. It focuses on the relationship between Dunhuang and the Changan and Luoyang regions, rather than on the interactive relationship between Dunhuang and the countries to the west of China hitherto emphasized by academic circles. Furthermore, it examines the important role that Dunhuang played during the Sui dynasty and the impact of the revival and subsequent frustration of Sui Emperor Yang's pipedream Silk Road initiative on the Dunhuang Mogao Caves. First of all, in terms of the grottos' structure, the central-pillar grottos, which were prevalent in the Northern and Southern dynasties, continued into the Sui dynasty, but there was a change in both the shape and height of the central pillar and in the Buddha statue enshrined in the central pillar. The overall structure has been confirmed as forming a set relationship with the three-wall structure, each wall having a niche. Investigation of the Mogao Caves has identified not only the popular but short-lived three-wall structure with niches characteristic of the Sui dynasty, but also a cave structure with an altar set into the front wall (正壁設壇窟), which was only built during the reign of Emperor Yang of Sui, and a cave structure with three walls, each with an altar (三壁設壇窟). These grotto structures have all been found to share similarities with those in the regions of Hebei, Henan, and Shanxi, which date from the Northern and Southern dynasties to the Sui dynasty. In addition to the different grotto structure, the Sui Mogao Caves contained fewer of the murals of the Buddha's Life Story and the Buddha's Previous Birth Story popular during the Wei-Jin and Northern and Southern dynasties, and instead featured a new style of mural, “Paintings of Sutras”. First, the Murals of the Vimalakirti Sutra in the Sui Mogao Caves depict statues of Vimalakirti and Manjusri sitting inside house-shaped buildings. In fact, this layout differs from that of the Mogao Caves in the Northern and Southern dynasties, and rather seems to be connected with the sculptures inside the grottos, represented by the Liushi Cave of the Longmen Grottos, in the Henan region. A close examination of the painting of the Amitabha Buddha's Pure Land in the Sui Mogao Caves, with the focus on the canvas structure expressing the Western Paradise World and the posture of the Amitabha Triad, revealed many similarities with those of the Nan Xiangtangshan Caves in Northern Qi. The newly discovered details of the structure and murals of the Sui Mogao Caves are different from those of their counterparts in Central Asia, which were strongly reflected in the Dunhuang grottos in the Wei-Jin and Northern and Southern dynasties, and are closely connected with the grottos in the Changan and Luoyang regions of Eastern China in particular. This suggests that, during the Sui dynasty, there was a close interaction between the Dunhuang region and the Changan and Luoyang regions. Among such interactions, human interactions are deemed the most important. First, as regards the movement of people, the examination of history books and cemetery names has made it possible to identify political officials who were appointed to the Dunhuang area from inland China. Second, when the Stupa to Emperor Wen of Sui was erected in 601, it is noted that the monk Jiui, who stayed in the Mogao Caves Jisang monastery-Sunggyo Temple for several years after being sent there, was identified as a monk of Northern Qi lineage. Furthermore, analysis of the Buddhist scriptures discovered in Dunhuang revealed that the monks who lived in Changan moved to the Dunhuang area, suggesting the spread of the Buddhist culture of the Changan and Luoyang regions. Lastly, Emperor Yang's Silk Road initiative was presented as the reason for and background to the massive change that occurred once again in the Mogao Caves during the reign of Emperor Yang of Sui. Emperor Yang sent Baegu to Dunhuang on a diplomatic mission with various western countries, and he himself traveled to the Hexi region in 607. This fact is presumed to constitute the background to the major changes that occurred in Dunhuang, a key center of East-West exchange at that time, and in the Mogao Caves. However, Emperor Yang's Silk Road initiative lost its force with the fall of the dynasty, and, as a result, it is presumed that the excavation of Mogao Caves and new elements also lost the light of their glory.

체육계열 대학생의 코로나19에 관한 은유분석

양은심 ( Yang Eun-sim ),김진아 ( Kim Jin-a ) 국제문화&예술학회 2023 국제문화예술 Vol.4 No.2

연구목적: 본 연구는 체육계열 대학생의 코로나19에 관한 경험적 인식을 은유분석을 통해 알아보는데 목적이 있다. 연구방법: 연구대상은 서울 소재 H대학교의 체육관련 전공 학생 232명이다. 반구조화된 개방형 질문지를 e-class에 탑재하여 응답한 자료를 수집하였고, Gök & Erdogan(2010)의 개념적 은유분석 단계에 따라 범주화하였다. 연구결과: 은유분석 단계를 통한 분석 결과 걸림돌(48%), 절망 속 희망(32%), 긍정의 전환점(20%) 총 3개 영역의 주요 범주가 도출되었다. ‘걸림돌’의 하위 요인으로는 위험 요소, 기회 상실, 목표 상실, 대학생활 방해로 구성되었으며, 부정적 경험을 나타내고 있다. ‘절망 속 희망’의 하위 요인으로는 기회, 선악 공존, 반성으로 구성되었으며, 긍정적 경험 및 인성 함양이 포함되어 있었다. ‘긍정의 전환점’의 하위 요인은 생활의 전환, 생각의 전환, 삶의 전환으로 구성되었고. 내재적 동기를 기반한 긍정적 효과를 나타내고 있었다. 결론: 포스트 코로나가 시작된 시기임에도 오늘날의 지구촌은 환경오염과 또 다른 감염병, 인구구조의 변화가 계속 되어 언제든 찾아올 수 있는 유사성 팬데믹에 대한 교육학적 대안을 마련해야 한다. 이 연구에서 도출된 결과를 바탕으로 추후 대학교의 비대면 체육수업 및 미래 체육교육을 대비하기 위한 기초자료가 될 수 있길 기대한다. Purpose: This study aims to find out the empirical perception of COVID-19 among college students in physical education through metaphorical analysis. Methods: The subjects of the study are 232 students majoring in physical education at H University in Seoul. The semi-structured open questionnaire was mounted on the e-class to collect the answered data and categorized according to the conceptual metaphor analysis stage of Gök & Erdogan (2010). Result: As a result of the analysis through the metaphor analysis stage, a total of three main categories were derived: obstacles (48%), hopes in despair (32%), and turning points of positivity (20%). The sub-factors of ‘stalking stones’ consisted of risk factors, loss of opportunity, loss of goal, and obstruction of college life, and showed negative experiences. The sub-factors of “hope in despair” consisted of opportunity, coexistence of good and evil, and reflection, and included positive experience and personality cultivation.The sub-factors of the ‘transition point of positivity’ consisted of a change in life, a change in thought, and a change in life. It showed a positive effect based on intrinsic motivation. Conclusion: Today’s global community must come up with an educational alternative to the similarity pandemic, which can come at any time as environmental pollution, another infectious disease, and changes in demographic structure continue, even though the post-COVID-19 began. Based on the results derived from this study, it is expected to serve as basic data for preparing for non-face-to-face physical education classes and future physical education at universities in the future.

소아 대엽성 폐렴에서 마이코플라즈마 폐렴의 임상적 특성

양은애 ( Eun Ae Yang ),강미현 ( Mi Hyeon Gang ),유선영 ( Sun Young You ),김진환 ( Jin Hwan Kim ),이재호 ( Jae Ho Lee ) 대한소아알레르기호흡기학회(구 대한소아알레르기 및 호흡기학회) 2012 소아알레르기 및 호흡기학회지 Vol.22 No.3

Purpose: This study was conducted to evaluate the prevalence, clinical characteristics and laboratory findings of lobar pneumonia in children caused by Mycoplasma pneumonia and to find a diagnostic tool for identifying M. pneumoniae infection in children. Methods : We analyzed medical records of 78 children between March 2010 and December 2011, who were admitted to our hospital and diagnosed with lobar pneumonia on the basis of chest X-rays. White blood cells (WBC), C-reactive protein (CRP), procalcitonin (PCT), specific antibodies to M. pneuomoniae, and cold agglutinin (CA) were measured at the time of admission. Children were divided into 2 groups: those with M. pneumoniae infection (group A) and those without infection (group B). Group A children were also subdivided into 2 categories: those with increased CA (group 1) and those without (group 2). Results: The prevalence of lobar pneumonia was higher in the year 2011 than in 2010. M. pneumonia infection usually occurs in summer and autumn. Group A children accounted for 75.6% (59/78) of all the cases. The onset ages was higher in group A than in group B (P =0.016). WBC counts and PCT values were higher in group B than in group A.(P =0.015 and P =0.011, respectively) Radiologic findings showed that the lower lobe was most commonly involved without predilection for either side and pleural effusion was present in 13.6% of all the cases. The duration of fever before admission was longer in group 1 than in group 2.(P =0.019) Conclusion : It is concluded that lobar pneumonia caused by M. pneumoniae can be more accurately diagnosed using serum PCT values than using CRP values.

몰입형 가상현실을 활용한 디지털 패션 커뮤니케이션 특성

양은경(Eun Kyoung, Yang),이지현(Jee Hyun, Lee) 한국복식학회 2018 服飾 Vol.68 No.8

황순원의 「왕모래」에 나타난 욕망의 의미

양은창 ( Yang Eun-chang ) 국제어문학회 2005 국제어문 Vol.33 No.-

The predominant goal of literature researches to decode meaning from within the literary work. Encountering a good piece of literary work makes research enjoyable. Hwang Sun-won`s `Wangmorae` is not placed in high importance in literary history and neither is this novel one of his representative works. However, it is meaningful in that it describes one generation so well in the form of fiction. That is to say, it reveals a ruined consciousness in the midst of war and also shows a completely destroyed interior human consciousness. Accordingly, it contains comprehensive meaning in terms of its capacity to detect human essence as well as understanding the human interior consciousness; it`s aesthetic structure, and how it develops as a novel are important from the aspect of desire. After we trace `Wangmorae`s interior world in his character, we can see the compactness of the inner view of humanity and the tragic meaning typical of 1950`s novels. A nine year old boy has to face with his father`s death and is also deserted by his unfilial mother. He stays with other families until he becomes seventeen. He seeks maternal affections badly and gets caught up in a kind of Oedipus complex. This improves our understanding of the inner human desire as well as the tragic elements of the 1950s. In a compact way, this work introduces various relationships between humans and reality, and between reality and the novel. `Wangmorae` is a comprehensive text covering the relationships between the war and the human interior consciousness, and at the same time deals with this Oedipus complex and the rite of passage from the aspect of interior consciousness and therefore it includes most of the elements related with 1950s`s novels. Accordingly, it summarises the characteristics of 1950 novels. In that sense this novel is significant as it is closely related to reality and sheds light on the history of novels.

배양된 인공피부와 인공각막 등 인체조직을 이용한 화장품원료의 안전성 및 효능평가 기술

양은경 ( Eun Kyung Yang ),고강일 ( Kang Ii Ko ),김성포 ( Sung Po Kim ),이종원 ( Jong Won Lee ),박정극 ( Jung Keug Park ),김기호 ( Ki Ho Kim ) 대한화장품학회 2001 대한화장품학회지 Vol.27 No.2

초등학교 4 학년 음악 수업의 PBL ( Problem - Based Learning ) 적용

양은실(Eun Shil Yang) 한국음악교육학회 2002 음악교육연구 Vol.22 No.-

The purpose of this study aimed to design a music program which helps a learner to develop his or her musical problem solving ability and musical creativity and to investigate the possibility of a PBL based music class by applying the program into class. For the purpose of the study, PBL applied music program was developed and introduced to 44 fourth graders in an elementary school. The program focused on the following factors; a learner`s acquisition of learning contents about music, his or her experiencers as a self-directed learner and as a cooperative learner through group-based classes, the relations between the problems involved in the actual features of music and the learners interest and concern for learning, and a teacher`s role to lead the PBL based music class. The process of data analysis took through the students` satisfaction in class, self- and mutual assessment, observation, interviewing, and self-reflection journals. The conclusions were as follows: First, there found some changes in musical understanding, musical activities, and musical attitudes of a learner. The learners were observed to effectively solve problems by increasingly using musical terms and developing their musical ability. Second, the students learned in a self-directed way by, for example, selecting an assignment that fit their own musical ability, aptitude, need, and interest. As the result, they got to actively participate in classes, appear as an active learner, and improve their self-directed learning ability. Third, the learners could accomplish the cognitive awareness of music and the definitional learning purposes by responsibly taking part in learning as a cooperative learner solving problems in collaboration with other students. Fourth, the students participated in the problem solving process concerning music with interest and active attitude, which proves that a PBL based music class does have influence on students` musical responses and their interest in music. Fifth, the teacher turned out to act as a guide and adviser from the beginning to the closing of the class, leading the PBL based music class. Sixth, a new possibility of music education was sugjlgested at the result of the application of PBL in music class.

코로나19 사태에서 사회복지사가 인식하는 심리방역 자원으로서의 음악치료

양은정(Eunjung Yang),박지원(Jiwon Park),문소영(Soyoung Moon) 한국산학기술학회 2021 한국산학기술학회논문지 Vol.22 No.9

이 연구는 코로나19 사태 속에서 사회복지사가 심리방역 자원으로서의 음악치료를 어떻게 인식하고 있는지 파악하고자 Colaizzi의 현상학적 연구 방법을 적용하였다. 연구 참여자는 음악치료서비스를 담당한 경험이 있는 사회복지사 5명이었고, 자료 수집 및 분석은 2020년 6월부터 2021년 5월까지 진행하였다. 연구 결과는 ‘심리방역 자원으로서의 음악치료’, ‘프로그램 중재자로서 느끼는 한계’, ‘코로나19 상황에서 음악치료를 위한 제안’이라는 3가지 범주로 분석되었다. 결과를 통해 사회복지 현장에서 음악치료서비스가 긍정적인 효과가 있다는 경험을 바탕으로 심리방역 자원으로 음악치료가 활용되기를 바라는 인식을 확인할 수 있었다. 그러나 사회적 거리 두기와 방역지침으로 치료서비스가 중단됨에 따라 연구 참여자들은 치료사 역할을 대신 수행하며 역량의 한계가 있음을 경험했다. 이는 사회복지사와 음악치료사간의 긴밀한 교류 및 협업의 필요성을 나타내고, 사회복지 현장의 음악치료 적용에서 체계의 재구성에 관한 시사점을 제공한다. 이 연구는 코로나19와 같은 위기 상황에서 심리방역 자원으로서 음악치료서비스의 대면/비대면 적용 가능성에 관한 사회복지사의 인식을 탐색해본 것에 의의가 있다. This study aimed at identifying how social workers perceive music therapy as a resource for psychological prevention under the COVID-19 global pandemic by applying the Colaizzi phenomenological research method. The participants in the study were five social workers with experience in music therapy services, and the collection and analysis of relevant data were conducted from June 2020 to March 2021. The collected data fell into three categories; ‘music therapy as a resource of psychological prevention’, ‘limitations felt as a program mediator’ and ‘proposals for music therapy’ under the COVID-19 Pandemic. The results confirmed the perception that music therapy is useful as a psychological prevention resource based on the experience that music therapy services have a positive effect in social welfare settings. On the other hand, as treatment services were discontinued due to social distancing and quarantine guidelines, the study participants experienced limitations in their capabilities and took on the role of therapists instead. This indicates the necessity of a close exchange and collaboration between social workers and music therapists and provides inputs for the reorganization of the system for applying music therapy in social welfare settings. This study is meaningful in exploring social workers’ perception of the possibility of face-to-face/non-contact application of music therapy services as psychological prevention resources in crises such as the COVID-19 global pandemic.

가야 연화문과 가야 불교

양은경(Eun Gyeng Yang) 부산고고학회 2017 고고광장 Vol.- No.21

This article begins by asking the question whether Buddhism existed in the Kingdom of Gaya. I traced Gaya’s brand of Buddhism based on real materials, i.e. lotus flower patterns, rather than engaging in research focusing on existing literature. I compared the lotus flower patterns of China with those of the Three Kingdoms on the Korean Peninsula (Silla, Baekje, and Koguryeo), using historic sites and relics of Gaya associated with them as basic materials. Although few lotus flower patterns of Gaya remain today, they display a wide range of shapes, and there are many whose periods have not yet been identified. Thus, I engaged in the work of estimating the period of the remaining patterns and how they changed over time by classifying them into types. Thus, the remaining lotus flower patterns of Gaya were divided into six types. As regards their shapes, there are single, double, and triple petals, with pointed petals outnumbering round-shaped ones. About half of them display decorative petal lines/angles or ovaries, while the other half do not. I traced the periods of lotus flower patterns of Gaya by using information on the sites from which they were unearthed and a method based on classification of their types. Thus, No. M3 Tomb in Okjeon, Hapcheon and No. 8 Tomb in Dohang-ri, Haman are said to date back to the late fifth century; No.2 Kiln in Songrim-ri, Goryeong and the one in 158-2 Goa-ri, Goryeong to the early sixth century; and the tomb with murals in Goa-dong to the mid-sixth century. As for the lotus petals, single/plural petals were prevalent in the late fifth century and double petals in the sixth century. Pointed petals were in fashion in all the periods. However, I could not confirm the connection between decorative lines/angles pips and the periods. As it was impossible to determine the periods of the lotus flower patterns made on convex roof-end tiles, they were estimated by comparing them with the concave roof-end tiles unearthed together with them and examining their production techniques. The lotus flower patterns made on the convex roof-end tiles collected from the sites of Dae Gaya royal palaces were estimated to date back to the period preceding the fall of the kingdom in the sixth century based on the shape of decorative lines on the single petals, the way convex roof-end tiles were joined to their concave counterparts, and the way concave roof-end tiles were made. Some of the lotus flower patterns made on the convex roof-end tiles unearthed from Jisan-ri, Goryeong display similarities with those on the original roof tiles of Heungryunsa Temple in terms of the patterns themselves and the production techniques. Thus, they were also estimated to date back to the period preceding the fall of Dae Gaya in the sixth century. I surmise that the lotus flower patterns found in East Asia are associated with Buddhism, and also that the lotus flower patterns made in China from the late fifth to the mid-sixth century and those of the Three Kingdoms on the Korean Peninsula - when the lotus flower patterns of Gaya were made - are directly linked to Buddhism. This article also looks at how lotus flower patterns developed in order to ascertain the interrelationships between the lotus flower patterns of Gaya and Buddhism, and whether Buddhism existed in Gaya, with the help of the relevant literature. The lotus flower patterns of Gaya are thought to have been associated with Goguryeo and the Southern Dynasties of China in the late fifth century and with Baekje and Silla by the early sixth century. Only a few lotus flower patterns of Gaya remain, but they appear to have derived from diverse sources and systems. Gaya was engaged in a direct diplomatic relationship with the Southern Dynasties of China in the late fifth century, yet the writer could not identify any factors associated with them in the lotus flower patterns of Gaya. In this sense, the lotus flower patterns found in No.8 Tomb in Dohang-ri and the si 본고는 가야에는 과연 불교가 존재하였는가에 대한 의문점을 던지면서 출발하게 되었다. 이에 필자는 기존의 문헌중심 연구에서 벗어나 연화문이라는 실물자료를 기준으로 가야 불교를 추적하였다. 가야 연화문은 현존하는 수량은 적지만 다 양한 형태를 보일 뿐만 아니라 연대가 밝혀지지 않은 사례들이 많았다. 그렇기 때문에 필자는 일차적으로 유형분류를 통 한 연화문의 변화상과 연대를 추정하는 작업을 하였다. 형식분류 결과 가야 연화문은 총 6가지로 구분되었다. 연판의 형태는 단판, 복판, 중판이 모두 확인되었으며 판단은 뾰족한 형태가 둥근 예보다 많은 수를 차지하였다. 능선 혹은 능각의 장식유무와 자방부의 유무는 반반을 차지하는 양상으로 나타났다. 가야 연화문에 대한 연대는 유물이 출토된 유적지의 기존 연대를 활용한 방법과 유형분류를 기초로 한 방법으로 나누어 추적하였다. 연판의 형태는 5세기 후반에는 단판과 복판이, 6세기에는 중판이 확인되었다. 판단은 뾰족한 형태가 시기를 막론하고 유행하였다. 능선, 능각 등의 장식과 연자배치는 시기적인 차이가 확인되지 않았다. 유적의 연대가 규명되지 않은 연화문은 모두 수막새에 표현된 것이었다. 이에 수막새의 제작기법과 동반 출토된 암키 와와의 비교분석도 참고로 하여 연대를 추정하였다. 전 대가야궁성지에서 지표 채집된 연화문 수막새는 단판 능선의 연판 형태, 수키와被覆接合法, 고식 암키와 조와술을 통해 6세기대 대가야 멸망 이전시기로 추정하였다. 고령 지산리일대에서 출토된 연화문수막새 중 일부 유형은 흥륜사 창건와와 문양, 제작기법면에서 유사성이 발견되어 6세기대 대가야 멸망 이 전시기로 편년하였다. 일반적으로 동아시아에서 연화문은 불교와 관련이 있는 것으로 추정되고 있다. 그러므로 본고에서는 가야 연화문과 불교와의 상관관계를 고찰하기 위해 연화문양의 계통문제를 살펴보았다. 그리고 이를 바탕으로 하여 문헌기록과의 결부를 통해 가야에 불교가 존재하였는지를 고찰하였다. 가야 연화문양은 5세기 후반에는 고구려, 남조와의 관련성이 엿보였으며, 6세기로 접어들면 백제, 신라와의 영향관계가 확인되었다. 현존하는 가야 연화문은 그 수량은 적지만 기원처와 계통은 다양하다는 것을 알 수 있었다. 특히 가야는 5세기 후반 중국 남조와의 직접적인 외교관계를 진행하였음에도 불구하고 오늘날까지 남조적인 요소를 확인할 수 없었다. 이러한 의미에서 도항리 8호분과 송림리 가마터의 연화문은 남조와의 교류를 시사하는 중요한 자료로 평가할 수 있다. 고아동벽화 속 연화문은 고구려 고분벽화와 동일하게 불교적인 의미를 내포한 것으로 파악하였다. 고령에서 발견된 연화문수막새 역시 당시 중국, 삼국과 동일하게 불교적인 내용을 가진 것으로 추정하였다. 이러한 추론은 가야인들이 불교를 인식하고 있었기 때문에 가능하다고 보았다. 가야인들의 불교인식에 대한 근거로는 『三國遺事』기록 속 452년 금관가야 왕후사의 존재와 월광태자의 명칭에서 확인되는 불교식 명칭, 6세기 초중반 백제가 불교를 외교정책에 적극적으로 이용한 사실을 제시하였다.