간단한 인증키 동의 프로토콜인 Kim-Kim-Hwang 방법의 안전성 고찰

김윤정;김영신;황준 서울여자대학교 컴퓨터과학연구소 2004 정보기술논문지 Vol.2 No.-

The Diffie-Hellman Key Exchange scheme can produce a common session key between the two communicators, but its problem is that it makes a man-in-the middle attack possible. To solve problems like these, several protocols have been put forward, and the Simple Authenticated Key Agreement (SAKA) Protocol is among them. Seo-Sweeney suggested a SAKA protocol initially and the protocol has weakness that a malicious 3rd party can masquerade a valid user. Tseng suggested another protocol that advances this problem but this protocol can still be attacked when the messages in key verification phase are identical. Ku-Wang suggested a new protocol that advances this problem. Kim-Kim-Hwang also suggested a new SAKA protocol and confirmed that their protocol has same safeness and better performance compared to the other SAKA protocols. In this paper, we reanalyze the safeness of SAKA protocols and find out that Kim-Kim-Hwang protocol has not only better performance but also better safeness. Diffie-Hellman의 키 인증 기법에 대한 제 3자 공격 (man-in-the middle attack)에 강한 간단한 인증키 동의 프로토콜인 SAKA (Simple Authenticated Key Agreement Protocol)가 제안된 바 있다. SAKA는 초기에 Seo-Sweeney에 의해 제안되었으며 이 방법은 침입자가 중간에 메시지를 가로채서 정당한 사용자임을 가장할 수 있는 단점이 있다. Tseng은 이 단점을 개선한 방안을 제안하였는데 이것도 키 확인 메시지 두 개의 값이 같을 경우 공격을 받을 수 있음이 밝혀졌다. Ku-Wang은 Tseng 방법의 문제점을 개선한 알고리즘을 제안하였다 그리고 Kim-Kim-Hwang은 새로운 SAKA 알고리즘을 제안하고 이것이 기존 SAKA 프로토콜들과 안전성은 동일하면서도 성능이 개선된 것임을 밝힌바 있다. 본 논문에서는 안전성 분석의 재고찰을 통하여, Kim-Kim-Hwang의 방법이 기존 SAKA 프로토콜들보다 성능면에서뿐만 아니라, 안전성 면에서도 우수함을 밝힌다.

고깔모자를 통해서 본 신라와 사카의 연관성에 관한 연구

이동아 ( Lee Dong A ) 한국동양예술학회 2021 동양예술 Vol.50 No.-

The ancient Korean dress was formed under the influence of the Saka (Scythia), and the Pointed hat, a symbol of the Saka people, was also worn in all Three Kingdoms Period. However, almost the same shape as Saka's Pointed hat appears only in Silla, and relics related to Saka also appear mainly in Silla. Among the various relics, hats are one of the representative means of symbolizing the nation in ancient times, and even if the same type of hats appear to different regions, This phenomenon can be seen very closely related to each other or are of the same ethnicity . Therefore, this study aims to find out the connection between Silla and Saka through Pointed hat. First, we can see that the Silla`s migration route in terms of literature, eclipse optimal observation, and comparative linguistics is almost consistent with the path of the Saka. Saka's Pointed hat, which reflects the bird worship, is divided into three main types, and the common shape appears to have been pointed and straight cones, which vary in height depending on their status. Silla's Pointed hat are also divided into three types: Type 1 and Type 2 are almost identical to that of Saka's Pointed hat, which is characterized by a straight cone with a blunt tip on the top, indicating that the Silla's Pointed hat is the same type as Saka's Pointed hat. As such, the three types of straight Pointed hat, which reflect the migration route and the bird worship, appeared in almost the same form. Therefore, given the symbolism of hats in ancient times, the researcher would like to raise the possibility that the Silla people wearing the same type of Pointed hat were descendant of Saka.

북방 유라시아 초원지역과 한반도 교류의 고고학

강인욱(Kang, In Uk) 한국상고사학회 2018 한국상고사학보 Vol.100 No.-

In spite of almost one hundred year of debate on steppe relationship in Korean ancient culture, our understanding on this matter didn’t make a fruitful result. The main reason resulted from misunderstanding the various spatial and chronological context of inflowed steppe culture. In this article, author concentrates to discuss the inflow of steppe style bronze in the early iron age of Korea and early Silla. Author points out the wide spread of Saka culture from Central Asia(mainly in eastern part of Kazakhstan) to Xinjiang and Great Wall area of China during 4-2nd cen. BCE. In this period, chinese warring states built Great Wall to realize the territorial governance, and subsequently it arose conflicts with nomad peoples like Linhu, Donghu, Loufan, Xirong, Chidi, Beidi and early Xiongnu. It is worthwhile that big barrow of dynasty Yan in Yanxiadu shed light on the inflow and interaction of saka culture to Manchuria and Korean peninsula. In Xinzhuangtou No. 30 tomb found plenty of Saka style ornament included europoid anthrophogenic figure with peak-topped hat, regarded as distinguished feature of Saka people, and weapon made by gold. silver and bronze and korean style halberd Ge. These exotic materials in Yan tomb were interred in result of intensive campaign with neighboured people and expansion of dynasty Yan. The expansion of dynasty Yan leads to inflow the expelled saka-style steppe culture to Korean peninsula and Japan. Mould for Akinakes from Kamigoden of Chiga prefecture is one of prominent cases. Furthermore, another case of wooden coffin tomb from Tapdong, Kyongju shows the concrete evidence of the saka-culture’s inflow onto early Silla culture. Materials from Tapdong as Sitting animal style belt hook, animal style horse bit, iron cauldron and small animal style show the influence of Saka culture in Great Wall area of China to early phase of Silla in 2~1st cen. BCE. Like this, reexamination of steppe cultural elements in iron age and early Silla phase as a result of saka culture inflow could be a clue to identify the steppe cultural element of ancient Korea in detail. 이제까지 한반도 북방계 문화의 계통에 대한 연구는 구체적인 접근에 이르지는 못했다. 그 이유는 북방 초원 지역과의 관계는 시기별로 지역과 공간을 달리해서 다양하게 전개되지만 그를 시공적인 맥락에 대한 이해가 없이 막연하게 북방계로 통칭했다는 데에 그 근본적인 원인이 있다. 본 고는 한반도 북방계 문물의 유입을 시간과 공간적인 맥락에 따라 정리하고 특히 한국의 초기 철기시대 북방계 문물의 흔적과 주요한 관련이 있는 기원전 4~2세기대의 교류상을 살펴보았다. 필자는 이 시기 중국 북 방 장성지대에 널리 확산되는 사카계통의 문화에 주목했다. 그들은 毛慶溝유형으로 대표되는 기존의 오르도스 고원의 문화와는 이질적인 문화상으로 중앙아시아 일대에서 신장과 감숙회랑을 거쳐서 중국 북방으로 유입되었다. 이 세력은 사서에 따르면 서융, 북적, 적적, 정령, 임호, 누번, 동호 등으로 불리웠다. 특히 연나라 북쪽에 거주했던 사카계 주민인 동호는 연국과 대적했다. 연 신장두 30호묘에서 발견된 다양한 문화상은 이러한 연국이 장성 일대의 주민들과 교류했던 양상을 잘 보여 준다. 연국의 팽창은 북경 이북 연산산맥 일대에 거주하던 옥황묘문화의 해체로 이어졌고, 그들의 문화요소는 그 이동의 비파형동검문화권으로 확산되었다. 한반도 남부의 동물장식으로 대표되는 북방계문화는 이러한 중국 북방의 문화변동과 이어서 연결해볼 수 있다. 나아가서 중국 북방의 제후국과 중앙아시아 사카계 문화의 관련성은 한대 이전에 실크로드의 형성에 대한 자료를 제공한다. 이러한 사카계통 문화의 확산에 또 다른 배경은 기원전 4세기를 중심으로 중국 북방의 제후국들 사이에서 확산되는 영역화와 관련이 있다. 사카계통의 문화가 한국과 일본으로 확산되는 과정은 일본 카미고덴에서 발견된 기원전4~3세기 오르도스 지역 일대에서 사용된 동검의 거푸집으로 확인된다. 또한 경주 탑동에서 출토된 북방계 유물은 기원전 4~2세기대 오르도스 고원지대 일대 널리에서 발견되는 원형의 동물형 절약과 동물형 대구 장식의 원형인 동물저립문 들이 발견되었다. 이는 문헌에서도 확인되는 바, 진-한 시기 중국 장성 일대의 사회변동에 따라 사카계유물이 주변지역으로 확산된 결과 중 하나라고 볼 수 있다. 사카계 문화의 유입과 확산은 한반도 북방계문물의 유입과정을 설명할 수 있는 또 다른 예라는 점에서 한국과 북방교류의 실마리를 찾는 새로운 계기가 될 것으로 기대한다.

와가츠마 사카에(我妻榮)의 법진화론

양천수 ( Chun-Soo Yang ) 안암법학회 2022 안암 법학 Vol.- No.65

Japanese law professor Wagatsuma Sakae (我妻榮) is a law professor who has important meanings not only in Japan but also in Korea. The theory of civil law, established by Wagatsuma Sakae, has influenced Korean theory of civil law for a long time. Earlier, his civil law textbooks were translated into Korean and also used as textbooks for a long time. As a result, Wagatsuma Sakae is known only as a distinguished Japanese civil law professor in Korea. However, considering the whole academic system established by Wagatsuma Sakae, it is not appropriate to simply define him as a civil law professor. This is because Wagatsuma Sakae was also interested in legal sociology, legal philosophy and economics under the influence of Japanese law professor Suehiro Izutaro (末弘嚴太郞) etc. This can be seen, among other things, in his famous work, “The Superior Status of Claims in Modern Law” (近代法における債權の優越的地位). Here, Wagatsuma Sakae deals with the “change of civil law in response to the development of capitalism”. In other words, he deals with the question of how civil law changes in the capitalist system. This article intends to grasp these academic works from the perspective of legal evolution. According to the author of this article, Wagatsuma Sakae presented his own theory of legal evolution. It means that he is not only civil law scholar, but also a legal sociologist. In this article, the author will deal with this theory of legal evolution of Wagatsuma Sakae.

Textual relationship of the Proto-Buddhāvataṃsaka and its Tibetan parallels

이혜빈(Hye bin Lee),황순일(Soon il Hwang) 보조사상연구원 2021 보조사상 Vol.60 No.-

나띠에르는 2004년과 2007년 각각 발표한 두 편의 논문 “The Proto-History of the Buddhavataṃsaka: The Pusa benye jing 菩薩本業經 and the Dousha jing 兜沙經”과 “Indian Antecedents of Huayan Thought: New Light from Chinese Sources”를 통해 소위 “원시화엄(Proto-Buddhāvataṃsaka)”으로 불리는 초기 한역경전들, 즉 불설도사경 (T280), 불설보살본업경 (T281), 제보살구불본업경 (T282), 보살십주행도품 (T283)의 중요성을 학계에 부각시킴과 동시에, “화엄경”으로 통칭되는 방대한 문헌군의 성립 및 초기 발전과정에 대한 설득력 있는 가능성을 제시했다. 본 논문에서는 이러한 나띠에르의 연구에서 한 발 더 나아가, 지겸의 보살본업경과 지루가참의 “도사경 그룹” 그리고 이에 상응하는 티벳본 화엄경의 일부를 보다 세밀하게 비교해 보았다. 구체적으로, 세 문헌의 관계를 다음과 같은 여섯가지 범주((1) 지루가참, 지겸, 티벳본이 모두 상응하는 경우 (2) 지루가참본과 티벳본만이 상응하는 경우 (3) 지루가참본과 지겸본만이 상응하는 경우 (4) 지겸본과 티벳본만이 상응하는 경우 (5) 지루가참, 지겸, 티벳본이 모두 상응하지 않는 경우)로 나누고 각각의 경우가 의미하는 바를 분석해 보았다. 이를 통해, 다음과 같은 네 가지 결론을 얻을 수 있었다. (a) 지루가참, 지겸, 티벳본은 그 내용과 구조에 있어서 전반적으로 상응하며, 특히 “보살의 하루”를 다루고 있는 제보살구불본업경, 보살본업경의 제2 원행품(願行品), 그리고 그에 해당하는 티벳역의 경우 문장단위의 매칭이 가능할 정도로 일치함을 보여주었다. (b) 지겸은 번역과정에서 선행본, 즉 지루가참의 번역본을 직접 참고한 것으로 보인다. 하지만 동시에 중국 고전 한문의 “맛과 멋”을 살려 자신만의 새로운 한역본을 만들었다고 할 수 있다. (c) 지겸은 지루가참본 뿐만 아니라, 인도 고전어로 쓰여진 원본을 참고했을 것으로 추정된다. 하지만, 그 원본이 지루가참이 사용했던 것과 동일한 판본으로 보이지는 않는다. (d) 티벳본은 지겸, 지루가참이 사용한 저본들보다 내용적인 측면에서 훨씬 더 확장된 판본을 사용한 것으로 보인다. 그럼에도 불구하고, 세 문헌들이 공유하고 있는 공통적인 요소가 곳곳에서 확인되었다. This paper examines the intertextuality of the proto-Buddhāvataṃsaka corpus in order to more precisely understand its textual development and relations. To be specific, this study investigates the proto-Buddhāvataṃsaka sūtras in conjunction with the corresponding parts of the complete Tibetan Buddhāvataṃsaka, and analyses their relationships by dividing them into five cases: (1) Lk = ZQ = Tib; (2) Lk = Tib ≠ ZQ; (3) Lk = ZQ ≠ Tib; (4) Lk ≠ ZQ = Tib; and (5) Lk ≠ ZQ ≠ Tib. The following conclusions could be drawn from this analysis: the original sources, which Lokakṣema, Zhī Qiān, and Tibetan translators used respectively, might have been similar in terms of the concept and content of the sūtra; while Zhī Qiān must have referred to Lokakṣema s translation, he would make his own translation as a liberal translation according to the classical Chinese grammar; it is likely that Zhī Qiān had a Sanskrit recension which is different from what Lokakṣema used, considering the fact that the Zhī Qiān version has unique parts; it appears that the original source of the Tibetan version is far different from that of the Chinese versions.

A Silk Road Hero: King Chashtana

ELMALI, MURAT Academia Via Serica 2018 Acta Via Serica Vol.3 No.2

During the Old Uighur period, many works were translated into Old Uighur under the influence of Buddhism. Among these works, literary works such as $Da{\acute{s}}akarmapath{\bar{a}}vad{\bar{a}}nam{\bar{a}}l{\bar{a}}$ hold an important place. These works were usually translated from Pali to Sanskrit, from Sanskrit to Sogdian, Tocharian and Chinese, and to Old Uighur from these languages. These works which were added to the Old Uighur repertoire by translation indicate that different peoples along the ancient Silk Road had deep linguistic interactions with one another. Aside from these works, other narratives that we have been so far unable to determine whether they were translations, adaptations or original works have also been discovered. The Tale of King Chashtana, which was found in the work titled $Da{\acute{s}}akarmapath{\bar{a}}vad{\bar{a}}nam{\bar{a}}l{\bar{a}}$, is one of the tales we have been unable to classify as a translation or an original work. This tale has never been discovered with this title or this content in the languages of any of the peoples that were exposed to Buddhism along the Silk Road. On the other hand, the person whom the protagonist of this tale was named after has a very important place in the history of India, one of the countries that the Silk Road goes through. Saka Mahakshatrapa Chashtana (or Cashtana), a contemporary of Nahapana, declared himself king in Gujarat. A short time later, Chashtana, having invaded Ujjain and Maharashtra, established a powerful Saka kingdom in the west of India. His descendants reigned in the region for a long time. Another important fact about Chashtana is that coinage minted in his name was used all along the Silk Road. Chashtana, who became a significant historical figure in north western India, inspired the name of the protagonist of a tale in Old Uighur. That it is probable that the tale of King Chashtana is an original Old Uighur tale and not found in any other languages of the Silk Road brings some questions to mind: Who is Chashtana, the hero of the story? Is he related to the Saka king Chashtana in any way? What sort of influence did Chashtana have on the Silk Road and its languages? If this tale which we have never encountered in any other language of the Silk Road is indeed an original tale, why did the Old Uighurs use the name of an important Saka ruler? Is Saka-Uighur contact in question, given tales of this kind? What can we say about the historical and cultural geography of the Silk Road, given the fact that coinage was minted in his name and used along the Silk Road? In this study, I will attempt to answer these questions and share the information we have gleaned about Chashtana the hero of the tale and the Saka king Chashtana. One of the main aim of this study is to reveal the relationship between the narrative hero Chashtana and the Saka king Chashtana according to this information. Another aim of this study is to understand the history of the Saka, the Uighur and the Silk Road and to reveal the relationship between these three important subjects of history. The importance of the Silk Road will be emphasized again with the understanding of these relations. In this way, new information about Chashtana, who is an important name in the history of the India and the Silk Road, will be put forward. The history of the Sakas will be viewed from a different perspective through the Old Uighur Buddhist story.

이식 쿠르간(Issyk Kurgan) 의 동물양식 금공품과 사카의 세계관

이송란 원광대학교 인문학연구소 2018 열린정신 인문학연구 Vol.19 No.3

Pastoralism that keeps livestock in the dry areas of grassland is the most appropriate economic activity. The work of art in which the aesthetic sense of nomads is best exhibited in grassland nomadic culture is the animal style metalwork. Saka people established grassland Silk Road connecting the East and the West, mainly around the nomadic economy in which they kept livestock like sheep in dry steppes. Saka’s elite class Kurgan shows the common aspect of gold jewelry or the decoration of golden artifacts on the costume, although there was a certain difference in the level of the kind or quantity of the grave goods. It is judged that these animals were related to the identity of the upper class that ruled the Saka society. Animal styles consist of imaginary animals, in which several animals were mixed like Griffin or twisted animals distorted with a posture, hard to see in the actual nature. There is an opinion that these animals were expressed out of a shamanistic hope for the power not possessed by humans, but it is judged that they were an expression of the worldview of the nomads who lived in the grassland in the dry climate. This study examined the animal styles of the golden tile decorations on a golden man’s hat and belt of Issyk Kurgan between the 4th century BC and the 3rd century BC, located in the Jetísu area, Kazakhstan, which was Saka people’s central zone. The golden man in the period when Saka people had an ancient state system of the league was a figure in the elite class. This study considered the golden man’s costume a special dress worn at the ritual of Saka. Various animals such as sheep, tiger, bird, deer, and horse were those composed, reflecting the Saka people’s worldview. Saka people considered the universe a vertical axis consisting of the lower world, the middle world, and the upper world and identified the highest peak as the sun. Accordingly, it was judged that a golden horn sheep symbolizing the sun was decorated at the tip of the golden man’s hat. In addition, the belt where bird-headed antler tines were expressed was interpreted as serving as a mediator in ascending to heaven. The hat with gold horn sheep decorated at the top was found also in the golden man in the Arzhan-2 Tomb in the 7th century B.C., a much earlier period than Issyk Kurgan. In addition, on the hat worn by Priestess of Sarmatian Taksai-Ⅰ No. 6 Tomb No. 3, gold horn sheep was also discovered at the top. In addition, on this hat, long gold pendants were hanging on both sides, passing the human temple part. These pendants were judged to mean the staircase ascending to heaven. 건조한 초원 지대에서 가축을 기르는 유목은 가장 적합한 경제활동이다. 초원 유목 문화에서 유목민들의 미감이 가장 잘 발휘된 미술품은동물양식의 금공품이다. 사카인들은 건조한 스텝지역에서 양 등의 가축을 키우는 유목경제를 주축으로 하면서 동과 서를 잇는 초원 실크로드를 구축하였다. 사카의 엘리트급 쿠르간에서는 부장품들의 종류나 양이 일정한 수준차이는 있으나, 금제 장신구나 복식에 금패식으로 장식하는 공통적인 양상을 보이고 있다. 이들 동물들은 사카사회를 지배하는 상층 계급의정체성과 관련이 있을 것으로 생각한다. 동물양식은 그리핀과 같이 여러 동물들이 혼합되어 있는 상상의 동물들이거나 실제 자연에서는 보기 어려운 자세를 왜곡되게 비튼 동물 도상으로 구성된다. 이들 동물들은 인간이 가지지 못한 힘을 소유하길 바라는 주술적 소망에 의해 표현되었다는 의견도 있으나 건조한 기후의 초원에 거주하는 유목민들의세계관이라는 표현으로 생각된다. 이 글에서는 사카인들의 중심지역인 카자흐스탄의 제티수 지역에 위치한 기원전 4세기에서 기원전 3세기의 이식쿠르간 황금인간의 모자와허리띠 등에 장식된 金製牌飾의 동물양식을 살펴보았다. 황금인간은 사카인들이 연맹체의 고대국가 체제를 가지고 있던 시기 엘리트급 인물이다. 글에서 황금인간의 복식은 사카의 의례에 착용하였던 특수한 복장으로 보았다. 양, 호랑이, 새, 사슴 말 등의 각종 동물들은 사카인들의 세계관을반영하여 구성된 동물들이다. 사카인들은 우주를 하계, 중계, 상계로 구성된 수직의 축으로 보았고, 최고 정점을 태양으로 비정하였다. 이에따라 황금인간의 모자의 맨 끝에는 태양을 상징하는 금제 뿔양이 장식된것으로 파악하였다. 또한 새머리 장식 사슴뿔Bird-Headed Antler Tines 이 표현된 허리띠는 천상으로 올라가는 매개체의 역할로 해석하였다. 금제뿔양이 정점에 장식된 모자는 이식쿠르간보다 훨씬 연대가 앞선시기인 기원전 7세기의 아르잔(Arzhan)-2 무덤의 황금인간에서도 확인되었다. 또한 사우로마트의 탁사이-Ⅰ 6호 무덤 3호의 여사제가 쓰고 있던 모자에서도 금제뿔양이 꼭대기에서 발견되었다. 또한 이 모자에서는 사람의 관자놀이 부분을 지내가도록 양 쪽에 긴 금 수하식이 매달려 있었다. 이 수하식은 천상으로 올라가는 계단의 의미로 파악되었다.

사카 노부요시(坂信彌) ― 가노야(鹿屋)지역에 점령군 `위안`시설 원형을 만든 내무관료

후지메유키 ( Fujime Yuki ) 한국사회사학회 2017 사회와 역사 Vol.0 No.115

근현대 일본에서 `폐창`이라 불렸던 내용은 공창제도(공권력을 의한 성매매 통제) 폐지와는 거리가 멀었다. 내무관료였던 사카 노부요시 삶을 따라 보면 `폐창을 향한 국제 여론`을 조심하는 상황 아래 내무성이 어떻게 군대의 이익을 지키고 어떻게 성매매를 통제했는지에 대해서 알 수 있다. 중일전쟁 발발 전년 1936년 가고시마현 경찰부장이었던 사카 노부요시는 가노야 해군항공대에서 요청을 받아 군인 `위안` 시설지구를 가노야 아오키초에 설립했다. 사카는 국내외 폐창 여론이 높으므로 대좌부 면허 지정지를 새롭게 설립하는 것은 어렵다고 판단하여, 법망을 뚫게 하는 방법으로 `댄스홀`이나 `특수음식점`이라는 명목으로 성매매지구를 만들었다. 접대 여성의 성병 검진을 철저히 진행하기 위해 일본정부와 가고시마 현이 검진시설에게 아낌없는 지원을 했다. 사카 노부요시는 1938-1939년에 상해총영사관 영사·경찰부장으로 일했다. 국제도시 상해에서는 일본 내지 이상으로 `폐창` 의식이 강했으니 사카가 취임하기 전부터 거류 일본인을 상대로 하는 일반 성매매 시설과 해군위안소가 존재하여 영사관은 성병검진 실시와 군 위안소로 여성 알선이라는 역할을 다했다. 패전 직후 1945년 8월 18일 내무성 경보국은 각 청·부·현에 대해 점령군 상대 성적 위안 시설 설치를 요구하는 통첩을 보냈다. 경시총감이었던 사카는 `위안소` 설치에 활약했다. 그는 업주에게 RAA(성적위안시설협회)를 조직하게 하여, 여성을 모으고, 시설을 만들었다. 또한 내무성 경제 보안부장과 상담해서 관업은행에 거액의 비용을 융자하게 했다. 사카는 가노야나 상해에서 경찰부장으로 성매매 통제에 관여한 경험으로 점령군 `위안소`를 창설하여 그것으로 전후 공창제도의 기초를 구축한 것이다. 이상과 같이 1930년대부터 1940년에 일본에서 나타났던 `폐창`이라는 주장은 내무성이 군대에 여성을 제공하는 것을 막지 못했고 공창제도는 명칭과 법령 조절로 확충 및 강화되어 갔다. 사카가 체현한 존창론은 오늘날도 여전히 사회에 뿌리깊게 살아남아 있다. Haisho or the abolition of licensed-prostitution, as it is referred to today, was far from “abolition” of such system. It was rather a means of managing prostitution through governmental authority. Traversing the life of Saka Nobuyoshi (坂信彌), a bureaucrat, exposed how the Naimusho (the Home Ministry) preserved military control of prostitution under purview of “international public opinion that headed toward the abolition of licensed-prostitution.” One year prior to the outbreak of the Sino-Japanese War in 1936, Saka Nobuyoshi, then chief of police of Kagoshima Prefecture, established a military “comfort” facility district in Aoki-cho, Kanoya at the request of the Kanoya Navy Aviation. Perceiving the domestic and international backlash that a licensed-prostituion area for Kashizasiki (貸座敷) would cause, he evaded the law through deceptive naming such as “dance hall” or “special restaurant.” An additional testament to the true intentions of this facility was the Japanese government and Kagoshima Prefecture`s strict examinations for venereal diseases they required women to undertake. Saka Nobuyoshi served as consul and a chief of police at the Consulate General of Japan in Shanghai from 1938 to 1939 during the Sino-Japanese War. Despite strong Haisho sentiment in Shanghai, a global city, general prostitution facilities and “comfort” brothels had already existed before Saka`s appointment. The Consulate General served as supplier, providing women for military brothels while forcing them to undergo venereal diseases exams. Soon after the war on 18 August 1945, the Naimusho police department delivered a note to every governmental prefectures, ordering that they install sexual recreation facilities for Occupation Forces. Saka served as police commissioner and played a role in the installation of these “comfort stations.” He ordered related business owners to organize the RAA (Recreation and Amusement Association), assemble women, and create these facilities. Moreover, in consultation with the head of the Naimusho economic security department, he pushed banks through state enterprises to finance large funds to facilitate the construction. Thus, Saka established “comfort stations” for Occupation Forces due to his actions in Kanoya or Shanghai, where he participated in the management of prostitution as chief of police. Consequentially he constructed the foundation for the post-war licensed-prostitution system. The claim for “Haisho” in Japan during the 1930s and 40s could not stop Naimusho from providing women for military “comfort,” which gradually led to the expansion of the licensed-prostitution system through consolidating and management of names and regulations. Sonshoron (存娼論), which Saka had embodied, still lives and is deeply embedded in contemporary society.

『화엄경』 계율의 현대적 조명

권탄준(Kwon Tan-jun) 한국불교연구원 2007 불교연구 Vol.26 No.-

  Human beings in modern society of a rapid technological development have not a few problems socially and emotionally, while producing lots of brilliant achievements technologically. That is because human relationships are getting worse in the process of industrialization and urbanization, and many people feel a sense of alienation and frustration without the aim or course in their lives. Those people who crave for fulfilling their desires and emotional pleasure in the modern state of chaos are forgetting the real value of lives, and finally losing the dignity of themselves. In this sense, what is needed for human beings in this era is to build up character in general. And the first step for this is to think much of virtue and to put the moral standard in practice.<BR>  ??la and vinaya, the key precepts in Buddhism, is not only a medicine that cures people from these kinds of diseases, but also a way of removing those problems by the roots. That is because ??la and vinaya is a teaching of building the spiritual strength to be away from the improper lives by themselves. True meaning of happiness in one"s life can be achieved when people purify their body and mind as well as build up their character, not by pursuing emotional pleasure.<BR>  In this sense, it is worthy of notice that avata?saka-s?tra, which teaches to lead a life of enlightenment, lays stress on ??la and vinaya. Buddha is the perfect example of life for all buddhists. Bodhisattva tries to follow a right way of life with the belief in Buddha, and raises a strong will and vows to realize a wise and merciful life of enlightenment, following his’ example. With this will and vows, bodhisattva purifies his life and leads a bright one. It is shown in 「Chapter of Xianshou」 of Xianshou bodhisattva’s teaching that if bodhisattva believes in Buddha all the time, he can learn what to do following ??la-cary?, and ??la-cary? opens the origin of bodhi from budh.<BR>  Therefore, if there is no ??la-cary?, bodhi from budh also can not exist. That is why Fahui bodhisattva , in 「Chapter of the law of mantra」 preached a pure practice that bodhisattva should pursue and the importance of following several precepts, and emphasized no to violate precepts when he is practicing.<BR>  Besides, bodhisattva who are sticking to desires should focus on the teaching in 「Chapter of the ten necessary activities」 that preaches to enrich perform which helps not only oneself but also others, and says not to cling to objects of all the senses, keeping pure precepts.<BR>  In this way, avata?saka-s?tra puts press on several precepts. But, among them, it is remarkable that it focuses on the ten commandments. As concerned above, there is always the ten commandments in the core of the preaching of the collection of rules in 「Chapter of the ten boundless treasuries of a bodhisattva」, the three cumulative commandments in 「Chapter of the ten stages」 vimal?, and ten prohibitions in 「The vinaya pi?aka」 that explain precepts. In that case, it can be said that the ten commandments is the fundamental precept in avata?saka-s?tra. The ten commandments has been already focused in 『?gama』 as an important one. Although the ten commandments is for Buddhist priests on the whole, basically it is for bodhisattva. In addition, it can be considered in many views that avata?saka-s?tra preaches the ten commandments, not dividing priests from bodhisattva. However, that might be because the 250 precepts for priests has a limit to follow as a bodhisattva who has to practice acts of compassion positively in society.<BR>  Even though precepts in avata?saka-s?tra are based on the ten commandments, it is clear that it has a feature of altruistic. All the precepts taught in 「avata?saka-s?tra」 clearly show the spirit of bodhisattva that considers giving benefits and comfort to others as a basic in practice. Also it can be shown in t

<연화장세계도>의 구조와 표현 방식 고찰

정하연 ( Jung Ha-youn ) 동아시아불교문화학회 2024 동아시아불교문화 Vol.- No.62

The purpose of this paper is to compare and analyze “The Lotus Pedestal System Paints of Dharmadhata”, produced by Late Joseon Period, with Avatam-Sakas̄tra and Commentary of Avatam-Saka. “The Lotus Pedesstal System Paints of Dharmadhata” is the Illustration of the Avatamsaka Sutra, which was intensively produced in the late Jose on Dynasty based “Lotus Pedestal System” on the 80-volume Avatam-Sakas̄tra. “The Illustration” is a picture drawn by literally changing the contents of a scripture into a “shape,” so it must be studied together with the scriptures to understand it. However, most of the studies conducted to date have focused on the perspective of art studies. Although the study was compared with the scriptures, only the name of “World Species” was compared and could not be reviewed with the meaning of the iconography or along with the commentary. Therefore, in this paper, the iconography was analyzed by comparing it with “Avatam-Sakas̄tra” and “Commentary Paper of Avatam ̣ Saka” by referring to previous studies. As a result of the study, “The Lotus World Paints of Dharmadhata” can be classified into three main types. It can be seen that it expresses the direction of rotation of the lotus pedestal system or the 20-story world surrounding the ‘world species’ based on the scriptures. In the meaning of the study, it is intended to inform that the true value of the Illustration Sutra, produced based on the scriptures, lies in the completion of the Illustration of the Sutra along with the pictorial completion, and to present the basis for more active research from this perspective in the future.