다중 난이도를 갖는 시각적 Oddball 작업 수행 시 사상관련전위의 독립요소분석

김자현,윤진,김경환,Kim, Ja-Hyun,Yoon, Jin,Kim, Kyung-Hwan 대한의용생체공학회 2008 의공학회지 Vol.29 No.1

The purpose of this study is to observe the brain activity patterns during visual oddball tasks with two difficulty levels by the analysis of high-density event-related potential (ERP). Along with conventional statistical analysis of averaged ERP waveforms, we applied independent component analysis (ICA) for the individual, single-trial analysis and verified its effectiveness. We could identify multiple ERP components such as early visual components (P1, N1), and two components which seem to be important task-related components and showed difficulty-dependent variability (P2, P300). The P2 was found around central region at $180{\sim}220ms$, and the P300 was found globally at $300{\sim}500ms$ poststimulus. As the task became difficult, the P2 amplitude increased, and the P300 amplitude decreased. After single-trial ERPs were decomposed into multiple independent components (ICs), several ICs resulting from P2 and P300 sources were identified. These ICs were projected onto scalp electrodes and the projected ICs were statistically compared according to two task difficulties. For most subjects, the results obtained from single-trial/individual analysis using ICA gave the tendencies of amplitude change that are similar to the averaged ERP analysis for most subjects. The temporal pattern and number of ICs corresponding to ${\mu}$ rhythm was not dependent on the task difficulty. It seems that the motor response was not affected by the task difficulty.

방귀대장 뿡뿡이 공개방송(노래방)의 창의성에 관한 연구

김자현 ( Ja Hyun Kim ),하경용 ( Kyung Yong Ha ),문혜련 ( Hae Lyun Moon ) 미래유아교육학회 2009 미래유아교육학회지 Vol.16 No.1

쌍둥이설화 연구

김자현 ( Ja Hyun Kim ) 남도민속학회 2007 남도민속연구 Vol.14 No.-

Oral literature is handed down by word of mouth and contains consciousness or intentions of the speaker. Folk tales especially have the strong character of oral aspect. They, created by group of people and handed down by mouth to mouth, reflect human natural emotions. As folk tales involve the frank sentiment of the people of those days, it is possible that feelings or emotions could be comprehended by studying folk tales. Applying this feature, the recognition of twins in folk tales will be discussed in this thesis. In Chapter 1, Ancient document 『Joseon Wangjo Sillok』 and 『Samguk-Sagi』 contain stories about twins. When twins were born, the empowered class granted grain, which meant the attention to the upbringing of twins. On the other hand powerless dominated people. Lack of economic richness made them not to be pleasant to the birth of twins. How these two different perceptions were described in folk tales will be mentioned in the next chapter. The third Chapter is about the transmissive aspect of twins folk tales. Twins folk tales are categorized into four different groups. By analyzing circumstances and the way of coping withsituations in twins folk tales in each category, the aspect of how the perception of twins is transmitted and variated will be discussed. Chapter 4 contemplates the cognitional system and its meaning of twins folk tales by comparing western twins folk tales with those of Korea. Between two children of twins, a choice should be made by reason of the incapability of raising both children. A female one was normally eliminated, because of the Confucianism of first-boy-preference. Consecration and avoidance were both embodied in folk tales, but they vanished as twins became an object on which resentment could be vented. The resentment-vent-on twins had already been freed from all the restrictions they once had.

감숙성박물관(甘肅省博物館) 소장 <불설보부모은중경변(佛說報父母恩重經變)> 연구

김자현 ( Ja Hyun Kim ) 중앙아시아학회 2014 中央아시아硏究 Vol.19 No.1

The transformation painting of Bulseol-bo-bumo-eunjung-gyeong (佛說報父母恩重經變), kept in Gansu Museum, is highly regarded as a representative work of transformation paintings of Bumo-eunjung-gyeong in the Dunhuang region, because it illustrates the greatest number of iconographies along with accompanying inscription and has a letter of prayer which provides a clear indication of the era when it was produced. This study particularly focuses on the fact that this painting is in the most complete form among existing works of transformation paintings of Bumo-eunjung-gyeong in Dunhuang, and that it depicts a scene which is not found in any other works. The painting is divided into three parts. A painting of Seven Buddhas of the Past (過去七佛) and a transformation painting of Maitreya Sutra (彌勒經變) are illustrated at the top. They are not found in any other works of transformation paintings of Bumo-eunjung-gyeong. This study suggests that the representation of such unique iconographies indicates the donor’s intention to reflect the faith in Maitreya of that era: she wished that her parents would ascend to Tusita(兜率天) where Maitreya lives and then descend to the earth together with Maitreya. At the middle layer, Seolbeop-do (說法圖) is located at the center and transformation paintings of Bumo-eunjung-gyeong on both sides. The transformation paintings have 16 scenes-15 with iconographies and accompanying inscription and 1 with iconographies only-on which various aspects of human life are depicted, including the mother being pregnant, the parents bringing up the baby, the child serving her parents and disobeying them, the parents relying on each other after the child leaves them, and one of the parents passing away. At the bottom, the bhikkhuni, who is the donor of the transformation painting, is depicted, and “Hoebulmakjingi (繪佛邈眞記),” which is equivalent to a letter of prayer of a transformation painting, is written. According to the record, this painting was produced in May 22, 991 (the second year of Chunhua of the Northern Song Dynasty), and the donor is a bhikkhuni conducting ascetic practice in Mahayana Temple. She had already been dead when the letter of prayer was written. This study assumes that before she died, the donor asked her disciples or relatives to produce this painting for her and her venerable parents. In addition, the fact that the painting inserted a transformation painting of Maitreya Sutra, which reflects the faith in Maitreya of that era, into transformation paintings of Bumo-eunjung-gyeong shows that the donor expressed her gratitude for her parents’ love and wished that her parents would descend to the earth again. This also demonstrates that the donor was a Buddhist monk who had deep knowledge in the Buddhist ideology.

조선 후기 『화엄소초』의 한국 유전과 불교미술의 제작 양상

김자현(Kim, Ja-Hyun) 동국대학교 불교문화연구원 2023 佛敎學報 Vol.- No.102

18세기 조선에서는 1681년 우연한 기회로 전래된 가흥대장경을 계기로 화엄 교학의 중흥이 일어났다. 그 중 澄觀의 『화엄소초』와 普瑞의 『화엄현담회현기』와 같은 화엄 관련 불전의 전래는 조선 후기 불교 교학의 일대 전기가 되었고, 이 불전들이 복각되어 강원 교재로 사용되면서 화엄학이 본격적으로 유행하게 되었다. 그리고 화엄을 우위에 두면서도 다른 교학과 禪을 포섭하고 유교, 도교와 같은 중국적 사유와 불교를 회통하고자 했던 징관의 제교융합적 화엄은 고려 후기부터 점차 선교겸수의 경향을 강화시켰고, 조선후기에 이르러 선, 교, 염불의 삼문체계의 정립과 간화선과 화엄이 양립하는 선교겸수의 구조에 지대한 영향을 미쳤다. 또한 이 시기 화엄학의 성행은 신앙과 사찰의 장엄에도 영향을 미쳐 화엄 교학이 반영된 새로운 미술품들이 제작되었다. 이 시기에 그려진 <화엄경변상도>와 <연화장세계도>는 화엄경의 구조와 화엄의 연화장세계를 시각적으로 구현한 대표적인 화엄계 불화이다. 또한 화엄신중신앙의 반영으로 이전까지 단독이나 불화의 구성 요소로 표현되던 호법신들이 화면에 군집을 이룬 구성으로서 하나의 독립된 畵目으로 전각에 봉안되기 시작한 <신중도>, 과거 53불의 53이라는 숫자와 『화엄경』 「입법계품」에 등장하는 선지식의 法數를 매개로 화엄과 多佛신앙을 융합한 사례도 조선 후기에 나타난 독특한 양상이다. In the eighteenth-century, Joseon, a fortuitous introduction of the Jiaxing Dazangjing (嘉興大藏經, K. Gaheung Daejanggyeong) in the country led to the revival of the Hwaeom (Ch. Huayan) doctrine. In particular, the transmission of Chinese Huayan sutras such as Chengguan 澄觀s Huayanshuchao (華嚴疏鈔, K. Hwaeom Socho) and Pureuis 普瑞 Huayanxiantanhuixuanji (華嚴懸談會⽞記, K. Hwaeom Hyeondam Hoihyeongi) laid a significant foundation for Buddhist studies in the late Joseon dynasty. These sutras have been reproduced and used as textbooks, leading to the widespread popularity of Hwaeom studies. Chengguans Huayan theory that sought to embrace Chan (禪, K. Seon) and other Buddhist doctrines and harmonize Buddhism with Confucianism, Taoism, and other Chinese philosophies, promoted the simultaneous practice of both Seon 禪 and Gyo 敎 (Doctrinal Buddhism) in the late Goryeo dynasty. In the late Joseon dynasty, his theory greatly influenced the establishment of the Discipline of the Three Gates of Seon, Gyo, and Yeombul 念佛, as well as the simultaneous practice of Seon and Gyo, which sought the coexistence of Ganhwaseon 看話禪 and Hwaeom 華嚴. The flourishing of the Hwaeom doctrine in Joseon during this period had a profound impact on devotees’ faith and decoration of Buddhist temples. This led to the creation of new types of Buddhist artworks reflecting the Hwaeom doctrine, and representative examples from this period include the Illustrated painting of the Avatamsaka Sutra 華嚴經變相圖 and the World of Lotus Flowers 華藏世界圖, which are visual representations of the structure of the Avatamsaka Sutra and the World of Lotus Flowers. In addition, starting from the eighteenth century, as a reflection of the worship of Hwaeom deities, Sinjung-do 神衆圖, painting of a gathering of numerous Buddhist deities guarding the Buddhist Dharma, was enshrined as an independent subject of Buddhist art inside the hall of a Buddhist temple. This period also witnessed a unique combination of the Hwaeom doctrine and the belief in many Buddhas, promoted by the coincidence of the number 53 symbolizing the 53 Buddhas of the past and the number of Dharmas (53 teachings by 53 teachers) appearing in the chapter “Entry into the Realm of Truth 入法界品” of the Avatamsaka Sutra.

드미트리 메드베데프 대통령의 러시아연방 연방의회 교서

김자현 ( Ja Hyun Kim ) 한국외국어대학교 러시아연구소 2008 슬라브연구 Vol.24 No.2

조선시대『佛說阿彌陀經』變相版畵의 도상연구

김자현(Kim Ja Hyun) 동국대학교 박물관 2015 佛敎美術 Vol.26 No.-

Regardless of the times, people have constantly desired to go to (Amita) pure land after death, and this popularity of Amita faith has brought a number of transformation paintings to be produced and reproduced. In this sense, the transformation painting of Amitabha-sutra provide some insight into the Amita faith of that time and are also an important field of study in examining iconography included in the paintings. A total of 29 woodcut prints related to Amitabha-sutra are passed on and known to be published in Joseon, among which, 13 woodcut prints contain transformation paintings and were produced in the late 16th century. The transformation prints of Amitabha-sutra of Joseon are classified into two different types based on how the paintings are placed inside the book: one is putting paintings and texts together; the other is placing paintings only at the beginning of the book. The iconography included in the paintings can be examined based on the scriptures. The transformation prints of Amitabha-sutra of Joseon belong to the first type and have paintings on the upper part and texts on the lower part. This type of prints is 5 in total, and it either copied or revised the image painted on the book published in 1572 in Deokju temple. Such prints also have 26 (transformed) scenes engraved, except for the one published in Yongchun temple which adds Yongsunjubindo (龍船接引圖) onto 18 to 24 sheets of printing blocks. This type of print of Amitabha-sutra was produced in Ming of China as well. However, they are different in details of the image and in the way of writing the accompanying inscriptions. This suggests that China may have produced the prints which have paintings at the top and the texts at the bottom, apart from (the type of) the Chinese prints existing today. There are 8 transformation prints of Amitabha-sutra which place paintings at the beginning of a book. This number includes transformation prints of Amitabha-sutra and related scriptures such as Bulsul-Amitabha-sutra-yohae(佛說阿彌陀經要解) and Dae-Amitabha-sutra (大阿彌陀經). Unlike the type of prints mentioned earlier, this type of prints is composed of many different images, except for the reprinted editions of the book published in Duck temple (1871) in the 20th century. For this type of prints, key images are selected from the type of the transformation prints described above, and some images are adopted from other transformation prints of the Lotus Sutra and Amitayurdhyana Sutra. A good example is the transformation prints included in Dae-Amitabha-sutra (大阿彌陀經), which is Amita-related scriptures published in Bokwang Temple in 1881. They consist of paintings printed in 2 sheets of printing blocks - Painting of Sakyamuni's Preaching and a memorial tablet printed on one side and Painting of Amita Pure Land printed on the other. They can find their origin in the transformation prints of Sakyamuni Platform Painting published in Qing and the transformation prints of Amita Pure Land published in Ming, both of which exist today. Therefore, there is a need to conduct more in-depth studies on such combination of iconography.

용담댐 건설후 하류부 하천 생태계의 탁수영향 평가

김자현 ( Ja Hyun Kim ),서진원 ( Jin Won Seo ),나영언 ( Young Eun Na ),안광국 ( Kwang Guk An ) 한국하천호수학회 2007 생태와 환경 Vol.40 No.1

다양한 하천생태모델을 이용한 생태계 진단 및 평가

김자현 ( Ja Hyun Kim ),이의행 ( Eui Haeng Lee ),안광국 ( Kwang Guk An ) 한국하천호수학회 2007 생태와 환경 Vol.40 No.3

미꾸리의 생물지표를 이용한 농업지역의 수생태계 건강성 스크리닝 평가(사례연구)

김자현(Ja-Hyun Kim),한선영(Sun-Young Han),염동혁(Dong-Hyuk Yeom) 한국농약과학회 2012 농약과학회지 Vol.16 No.1