조선시대 포은 후손의 경남 동부지역 이거 양상 연구

정경희(Jung Kyung-hee) 포은학회 2014 포은학연구 Vol.13 No.-

This study is on the migration of Poeun(圃隱)'s descendants from western Gyeongsangnam-do(慶尙南道) to the eastern Gyeongsangnam-do during the late 17th and 18th centuries in Joseun Dynasty. In the 15th century Seolgok(雪谷) Jung Bo(鄭保), the grandson of Poeun Jung Mongju(鄭夢周), was forced to exile to Danseong(丹城) located in western Gyeongsangnam-do because of having criticized the usurpation of King Sejo(世祖). After that Poeun's descendants started to settle down in the localities of western Gyeongsangnam-do such as Hapcheon(陜川), Jinju (晉州) and Danseong(丹城). In the 16th century Poeun started to be venerated and his descendants came to be powerful and prominent. From the 17th century, the branch of Sir Limheon(林軒公系) founded by Limheon(林軒) Jung Sephil(鄭世弼) became leading nobility power in western Gyeongsangnam-do. Generally they tended to belong to military nobility such as Bukin(北人) Party and Nammyung(南冥) School. In the late 17th century Seoin(西人) and Noron(老論) Parties grasped political power, therefore, Bukin Party started to be divided and stagnated gradually. This affected to Poeun's descendants in the western Gyeongsangnam-do. Their status in military nobility was weakened and their academic and political discourses fell under the influence of Noron Party. In general stagnation of Poeun's descendants in western Gyeongsangnam-do, some of them migrated to eastern Gyeongsangnam-do. The branch of Sir Limheon migrated to Yangsan(梁山) and Haman(咸安), and the branches of Sir Sean(世安公系) and Sir Seryun(世倫公系), to Ulju(蔚州) and Gimhae(金海). Jung Doman(鄭道萬)'s family of the branch of Sir Limheon in Yangsan was central force of Poeun's descendants of the eastern Gyeongsangnam-do. They had produced a leader for national independence in Japanese colonial era and has been editing the tradition of unswerving loyalty(忠烈) of Yangsan in modern times. We can see that the tradition of unswerving loyalty inherited from Poeun to Seolgok and Limheon continues in modern times. 본고는 15세기 이래 경남 서부 합천ㆍ진주ㆍ단성 등지에 정착한 포은 후손들이 17세기 후반~18세기를 지나면서 인근의 경남 동부 양산ㆍ함안ㆍ울주ㆍ김해 등지로 이주해 간 양상에 대한 연구이다. 포은 정몽주의 손자인 설곡 정보가 세조의 왕위 찬탈을 비판하다 경상도 단성지역에 유배된 이후 그 셋째 아들 정윤관이 이곳에 정착하면서 포은 후손들의 경상도 지역 세거가 시작되었다. 16~17세기 포은이 사림세력의 절대적 추앙을 받으면서 포은 후손들이 재기하게 되는데, 경상도 지역에서 는 정윤관의 손자이자 병마절도사를 지낸 임헌 정세필을 계파조로 하는 '임헌공계'를 중심으로 합천ㆍ단성ㆍ진주 등 경남 서부지역의 유력 사족세력으로 자리잡았다. 이들은 대체로 남명학파 북인계이자 무반 가문으로서의 면모를 보였다. 17세기 후반 이래 서인-노론의 집권으로 경상도 지역의 북인계 세력은 침체 국면에 놓이게 된다. 당시 임헌공계의 경우 정세필의 증손인 합천의 '정욱계' 및 단성ㆍ진주의 '정훤계' 양대 계열이 중심이 되고 있었는데 무반 가문으로서의 면모가 현저히 감손되었고 학문이나 당색 면에 노론화하는 경향이 나타났다. 이러한 분위기 속에서 인근 경남 동부지역으로 옮겨가는 세력이 생겨났으니 임헌공계 중 함안ㆍ양산, 세륜공계 중 울주, 세안공계 중 울주ㆍ김해 등지로 옮겨간 경우가 그러하다. 특히 경남 동부 포은 후손의 중심세력인 양산 지역 임헌공계 정도만 계열에서는 일제시기 독립운동가를 배출하며 현대에는 일제시기 양산지역 항일독립운동의 전통, 또 고대 이래 양산지역에 면면히 내려온 충렬의 전통을 집대성하는 흥미로운 면모가 나타났다. 포은-설곡-임헌으로 이어지는 충렬의 가풍이 시대와 지역의 격간을 넘어 이어지고 있었던 것으로 바라보게 된다.

신라 나얼(奈乙, 蘿井) 祭天 유적에 나타난 “얼(井)” 사상

정경희 ( Kyung Hee Jung ) 국제뇌교육종합대학원 국학연구원 2013 선도문화 Vol.15 No.-

This study is on the Sundo仙道 thought in the relics of ‘Naeol’, the highest Sodo(蘇塗, the sacred place of Korean Sundo) of Silla noted for the first king Park-Hyeok-Keose朴赫居世`s birthplace and the national shrine site for Heaven天. In the theory of One-Three一?三論 or the theory of One-Three-Nine 一?三?九論, the core onthology of Korean Sundo, One Ki氣(Chun天? Ji地?In人, Eol?Ul?Al, Haneol?Hanul?Hanal Three Ki三氣) is the substance of all being and the cosmic life particle that is originated from Heaven nearby the Big Dipper and the Korean language of it is ‘Eol’. Also ‘井’, the Chinese character marking of ‘Eol’ is the pictograph to express the creativity of ‘Eol’. Not only the name of ‘Naeol’ keeps the idea of Eol but also the facilities of it was constructed by the idea of Eol. The column to Heaven 天柱 in the first facilities about B.C. 2C, the central column心柱 of the round shape shrine for Heaven in the second facilities during the reign of King Soji炤知 in A.D. 5C and the central column of the octagonal shrine for Heaven in the third facilities during the reign of King Munmu文武 in A.D. 7C all symbolize a sympathy with ‘One Ki(Three Ki) or Eol’ from Heaven. Besides the octagonal shrine for Heaven in the third facilities symbolizes the ‘井’ character. Generally the octagon is considered Buddhist facilities, but the present writer indicates the idea of Eol as the constructing theory and the ceremonial instrument for Heaven rituals祭天 of Hungshan Culture紅山文化 in Baedalkook倍達國 period as the historical origin. According to the idea of Eol, one has ‘One Ki(Three Ki) or Eol’ in one`s body. So one advances ‘Sungtong(性通, Eol’s awakening)→Kongwan (功完, Eol`s practice after awakening)→Jochun(朝天, Eol`s revolution to the origin) through the process of the union of Heaven`s Eol and human Eol(天人合一 or 人合一) gradually. Because the core theory of Sundo discipline, ‘Sungtong→Kongwan→ Jochun’ is kept in the idea of Eol like this, the name of ‘Naeol’ can be understood as ‘Eol`s awakening’. Also we get to understand that the facilities of ‘Naeol’ sodo function to intermediate one`s discipline as the symbol of the union of Heaven`s Eol and human Eol.

여말 학계와 『天符經』

정경희 ( Kyung Hee Jung ) 국제뇌교육종합대학원 국학연구원 2009 선도문화 Vol.6 No.-

When we give chase to 『Chunbu-kyung』(天符經)』, first we get to encounter Kosung(固城) Lee`s family. The origin of Kosung Lee`s family studies was Lee-am(李암), a scholar of late Koryo dynasty. He had compiled a Korean Sundo history book like 『Taebaek-jinhoon(太白眞訓)』, 『Dangun-segi(檀君世紀)』. Although all teaching that does not conform to Confucianism was attacked since the founding of Confucianism state Chosun, Lee-am`s descendants of the fourth generation, Lee-mak(李陌) had compiled one of the most important Korean Sundo history book 『Taebaek-ilsa太白逸史』. As the confucian criterion had been strengthened in late Chosun dynasty, Kosung Lee`s family had to move to Pyungbook(平北) Sakju(朔州) region, and their studies had disappeared. When Confucianism had missed the role as the spirit of the times in the close of Chosun dynasty, their studies could revive again. In the end of 1890`s, Lee-gi(李沂), the member of Kosung Lee`s family and his follower Gye-yoonsoo(桂延壽) started to publish and write notes on Sundo history ooks stored in Kosung Lee`s family. They gathered to organize `Danhakwhe(丹學會)`. Since modern times Kosung Lee`s family contributed to the revival of Korean Sundo greatly. Like this Kosung Lee`s family since modern times, handed down many sundo books, among these books 『Chunbu-kyung』 was accounted very importantly. Lee-am`s sundo was propagated to Kosung Lee`s family first. On the other side it was propagated to scholars of the day through Lee-am`s school. Lee-am`s sundo was propagated to his follower Lee-sack(李穡). Lee-am and Lee-sack`s sundo was propagated to Dumoon-dong(杜門洞) scholars, i.e. Bum-saedong(范世東), Min-anbu(閔安富). Bum-saedong had compiled one of Korean Sundo history book 『Bookboo-yuegi北夫餘記』 and had written notes on 『Chunbu-kyung』. Min-anbu had handed down 『Chunbu-kyung』. Min-anbu`s 『Chunbu-kyung』 is very important because it is the only old book, more over the type of Gabgol-moon(胛骨文, inscriptions on bones and tortoise carapaces). With the exsistance of Min-anbu`s 『Chunbu-kyung』, we can know that the Nokdo-moon(鹿圖文, the letter shape of deer`s footprint)-typed 『Chunbu-kyung』 had appeard in the age of Sinsi-Baedal(神市倍達) and the Gabgolmoon-typed 『Chunbu-kyung』 had used jointly with it in the end of Dangun-chosun(檀君朝鮮). The Gabgolmoon-typed 『Chunbu-kyung』 had handed down to the age of Koryo dynasty.

홍산문화 女神廟에 나타난 ‘삼원오행’형 ‘마고7여신’과 ‘마고 제천’

정경희(Jung, Kyung-Hee) 비교민속학회 2016 비교민속학 Vol.0 No.60

홍산문화의 기반 문화인 선도문화의 요체는 우하량 단․묘․총 유적 및 총에서 출토된 옥기 유물과 같은 제천 유적․유물에 잘 나타나 있다. 이중에서도 특히 묘(여신묘)는 제천의 신격을 여신, 그것도 등신대의 3배․2배․1배 크기로 3구분되는 총7구의 여신으로 표현하는 바, 홍산문화시기 선도 제천의 성격을 명확하게 보여주는 선도문화의 시금석이다. 우하량 여신묘는 십자형 구조였으며 여신상 또한 등신대의 3배․2배․1배 크기로 3구분된 7여신상이 십자형으로 배치되고 있었는데, 이러한 십자형의 의미는 선도기학적 세계관인 ‘삼원오행론’에 잘 나타나 있다. 선도 전통에서는 모든 존재의 본질이자 우주의 근원적인 생명력인 일기․삼기의 ‘물질화(현상화)’ 과정을 신화의 방식으로 표현하는 전통이 있어왔다. 곧 일기․삼기를 ‘마고여신(하느님․삼신, 마고․삼신할미)’으로 표현하고, 또 이러한 일기․삼기가 분화하여 물질화(현상화)하는 과정을 마고가 궁희․소희를 낳고 다시 궁희․소희가 4천녀․4천인을 낳아 4천녀․4천인의 단계에 이르러 기․화․수․토로 이루어진 물질계(현상계)가 만들어지는 것으로 표현하였다. 여기에서 마고, 궁희․소희, 4천녀와 같은 여신(‘마고 7여신’)은 물질계를 이루는 4대 원소인 기․화․수․토의 보이지 않은 차원, 곧 물질화 이전의 단계에 대한 상징임을 알게 된다. 또한 일기․삼기(마고)의 분화 과정은 ‘입체 十字形’, 또는 ‘입체 球形’의 형태로 표상화되었다. 이것이 ‘마고신화’이며 선도기학적으로는 ‘삼원오행론’으로 개념화된다. 이러한 마고신화(삼원오행론)의 ‘마고7여신’이 여신묘의 7여신으로 나타났으니 여신묘의 7여신을 ‘삼원오행형 마고7여신’으로 이름해보게 된다. 이러할 때 여신묘의 ‘마고 7여신’이란 보이지 않는 생명氣의 차원일 뿐 물질(현상) 세계에서의 구체성을 지닌 특정의 인격신이 아니며, 따라서 여신묘에서 행해진 제천의 본질도 우주의 근원적 생명氣과 사람속의 생명氣의 합일을 추구하는 천인합일(신인합일, 인내천)의 수행임을 알게 된다. 반면 중국학계는 홍산문화를 중국문화의 원류로 인식, 여신묘나 여신신앙에 대해서도 후대 중국 왕조의 천인분리(신인분리)적 제의 체계나 제의 방식을 투영, 천인합일(신인합일, 인내천)과 정반대의 해석을 하였다. 여신묘나 단․묘․총은 물론 홍산문화 전반에 대한 연구가 한단계 깊어지기 위해서는 선도문화, 특히 그 본질인 천인합일(신인합일, 인내천)에 대한 이해가 선행되어야 할 것이다. The key of Sundo仙道 Culture, the cultural foundation of Hungshan Culture(Baedalkook倍達國) is the remains and relics of ‘Sundo Heaven rituals 祭天’ like Altar壇․Shrine廟․Tomb塚 and jade tools. Especially the godship of Shrine(Goddess Shrine) in Uharyang牛河梁 remains is 7Goddess clay statues that are classified into three categories of 3times-sized, 2times-sized and life-sized of human. These 7Goddess accurately show the character of Sundo Heaven rituals in the period of Hungshan Culture. Goddess Shrine of Uharyang is the cruciform building and 7Goddess statues are arranged crosswise. The meaning of these cruciform symbol is written in the idea of the five natural elements of the three dimensions(三元五行論), the core theory of Korean Sundo. In Sundo tradition, the differentiation(materialization) processes of One Ki氣-Three Ki, the primal Ki of the cosmos used to be symbolized to myth.[Mago myth]. That is to say, One Ki-Three Ki is symbolized to ‘Mago goddess’. And the differentiation(materialization) processes of One Ki-Three Ki into ‘Ki氣․ fire火․water水․earth土, 4 elements of the material world is symbolized that Mago goddess gives birth to 2 daughters, Gung-hee and So-hee and Gung-hee and So-hee give birth to 4 daughters, 4 heavenly maid. These 7Goddess, i.e. Mago․Gung-hee and So-hee․4 heavenly maid is just the symbol of the pre-differentiation(materialization) stages of the material world. In addition, the differentiation(materialization) processes of Mago is represented to cubic globular shape and a plane figure of it is cruciform.[the idea of the five natural elements of the three dimensions三元五行論] These 7Goddess of the idea of the five natural elements of the three dimensions are nothing but 7Goddess of Goddess Shrine. Thus we can understand that ‘Mago 7Goddess of Goddess Shrine’ is only invisible and primal Ki of the cosmos, not a personal God and the essence of Sundo Heaven rituals in Goddess Shrine is Sundo practice pursuing for the unification of primal Ki of heaven and inner Ki of human, i.e. ‘Unification of heaven(God) and human天人合一’. On the other hand, Chinese scholars misread Sundo Heaven rituals in Goddess Shrine as ‘Separation of heaven(God) and human天人分離’ conversely.

정조의 『의리론』에 대하여 -사도세자 문제를 중심으로-

정경희 ( Kyung Hee Jung ) 일지사 2003 韓國學報 Vol.29 No.1

한국선도의 일,삼,구론(삼원오행론)에 나타난 존재의 생성,회국론 -한국선도의 수행 이론-

정경희 ( Kyung Hee Jung ) 한국동서철학회 2009 동서철학연구 Vol.53 No.-

동아시아 적석단총에 나타난 삼원오행론과 선도제천문화의 확산

정경희 ( Jung Kyung Hee ) 국제뇌교육종합대학원 국학연구원 2020 선도문화 Vol.29 No.-

This paper is a study on the Sundo(仙道) thought and regional changes of the ‘Circle(圓)·Square(方)·Octagon(八角)’ symbol and the ‘3·7·5·9 staircase’ symbol in the stone mound altar·tomb of the East Asia with the perspective of Korean Sundo culture that is different from the perspective of Chinese ritual culture and the perspective of Western or Northern shamanism. Korean Sundo culture is based on the Ki(氣) philosophical worldview called ‘the idea of the five natural elements of the three dimensions(三元五 行論)’. It is the theory on ‘the creation and regression of the being’, that is, ‘One-Three(One Ki氣-Three Ki三氣, Chun天·Ji地·In人, Circle圓· Square方·Triangle角)’ is the substance of all beings and the cosmic life particle, becomes phenomena(materialization) and the phenomena converge again into the dimension of the substance through the process of ‘1·3 ↔ 2 ↔ 4↔ 8’. The creation and regression process of the being had symbolized by various statues(象) and numbers(數), and reflected in Altar(壇)·Shrine(廟)·Tomb(塚) and jade artifacts of Baedalkook(倍達國). The ‘Circle·Square’ symbol and the ‘3 staircase’ symbol of the representative Heaven Ritual facility of Baedalkook, ‘the hilly Heaven Ritual facilitiy with a moat(‘three layer-circle·square-moat’ typed stone-mound altar·tomb)’, was the expression of the theory of One-Three一·三(One Ki-Three Ki, Chun·Ji·In, Circle·Square· Triangle), the core onthology of Korean Sundo and Jigam(止感)·Josig(調 息)·Geumchog(禁觸) Sundo discipline. The stone-mound altar·tomb system during Baedalkook period led to the coexistence and combination with the Dolmen system during Dangun Joseon(檀君朝鮮) period. By the third century B.C., it was resurrected in the west side of Mt.Baekdu(白頭). In Goguryeo(高句麗), it regained its status as a representative Heaven Ritual facility, and was prominent in the west side of Mt.Baekdu, Korean Peninsula, and Japanese archipelagos. Since the third century B.C., The stone-mound altar·tomb system in the west side of Mt.Baekdu, the Korean peninsula and the Japanese archipelago succeeded the original form of Baedalkook and showed some diversification within ‘the idea of the five natural elements of the three dimensions’. In addition to Circle(圓)·Square(方) symbol, Octagon(八角) symbol appeared newly. Also in addition to 3 staircase symbol, 7·5·9 staircase symbol appeared newly. On the other hand, ‘4 staircase symbol’, the deformation form by the theory of ‘the five natural elements of Yin and Yang(陰陽五行論)’ had appeared in China.

통화 만발발자 제천유적 추보(追補) 연구: 『통화만발발자유지고고발굴보고』를 중심으로

정경희(Jung, Kyung-Hee) 한국유라시아연구원 2020 유라시아문화 Vol.3 No.-

This paper is a supplementary study that sheds light on the changes of ‘Wanfabozi萬發撥子 relic’ according to the periods by adding 『Tonghua Wanfabozi Site Archaeological Excavation Report』 to my previous study on Wanfabozi relic. During the early 1st period of Wanfabozi(4000B.C.∼3500B.C., early Baedalkook倍達國), the huge scale stone mound altar·tomb, i.e., ‘the three-layered circular altar with attached square altar(3層圓壇·方臺)’ that captured the symbolism of Samwon三元(Cheon天·Ji地·In人, Won圓·Bang方·Gak角), a key element of Sundo仙道 ideas, was built. Its owner was King Ung-nyeo熊女君, a competent good leader who transformed ‘Totem Ung熊 people’ society into ‘Heavenly Maek貊 people(Hwanung桓雄 people + Ung people)’ society by accepting the advanced Sundo culture brought by Hwanung people in early Baedalkook. During the 1st period of Wanfabozi(4000B.C.∼3000 B.C., early and middle Baedalkook), in contrast to the huge scale of ‘the three-layered circular altar with attached square altar’, the traces of concise and plain ritual procedure showed the starting point of the Sundo Heaven Ritual culture, which is faithful to the basics and the essence of the Sundo without any unnecessity. In the 2nd period of Wanfabozi(the 13th century B.C.∼the 8th century B.C., late Dangun Josun檀君朝鮮), there were only two main and secondary temples for Heaven Ritual on a part of ‘the three-layered circular altar with attached square altar’. The framework of the Sundo Heaven Ritual culture, which was established in the 1st period, was maintained. In the 3rd period of Wanfabozi(the 8rd century B.C.∼the 3rd century B.C., late Dangun Josun), the Sundo Heaven Ritual culture was formalized and complicated, and even the hierarchical tendency that had never existed before was formed. In the midst of the division and disintegration of the Maek貊 society in late Dangun Josun, the Sundo Heaven Ritual culture was also being secularized. In the 4th period of Wanfabozi(the 3rd century B.C.∼the 3rd century, early Goguryeo高句麗), the Sundo Heaven Ritual culture, which had been flowing in the direction of secularization, had been arranged in order again and had taken a new phase of stability. These changes were coincided with the mood of the times that the founding of Goguryeo brought a new stability to the Maek society. During the 5th period of Wanfabozi(the 3rd century∼the 5th century, middle Goguryeo), the noticeable point of change in Wanfabozi were just the miniaturization of the Heaven Ritual facilities and the reduction of ritual space. These points show that the status of the Sundo Heaven Ritual culture in the Maek society was gradually weakening from this time on.

흑수백산지구 소남산문화 ‘적석단총-옥석기문화’의 요서지구 소하서문화∼흥륭와문화로의 전파

정경희(Jung, Kyung Hee) 한국유라시아연구원 2022 유라시아문화 Vol.7 No.-

The indigenous tomb style of Xiaohexi culture(小河西文化), the first neolithic culture in Liaoxi(遼西) region, was a pit burial tomb(土壙墓) in the form of Geojimyo tomb(居地墓) or Geosilmyo tomb(居室墓) and the stone mound altar⋅tomb of Amur river-Mt.Baekdusan region did not appear. On the other hand in the field of ritual objects(儀器), a partial influence of the jade⋅stoneware of Xiaonanshan culture appeared but the degree of influence was insignificant in many ways such as materials and types. As these influence had given from the outskirts of Xiaonanshan culture, it can be said that Xiaohexi culture was under the ‘indirect’ influence of Xiaonanshan culture. After Xiaohexi cultural period, reaching Xinglongwa culture(興隆窪文化), there was a new change that the stone mound altarㆍtomb-the jadeㆍstoneware culture of Xiaonanshan had spread to Liaoxi region ‘directly’. The stone mound altarㆍtombs of Xiaonanshan appeared in Baiyinzhanghan(白音長汗) society of Xinglongwa culture. In addition, the main jadeㆍ stoneware types of Xiaonanshan including Gyeol(玦) and Bi(匕) appeared in Baiyinzhanghan society. Baiyinzhanghan society was placed under the full-fledged influence of Xiaonanshan culture.(‘Baiyinzhanghan type’) Baiyinzhanghan type became a base for cultural propagation to spread Xiaonanshan culture within Liaoxi society and played a role in spreading ‘the stone mound altarㆍtomb-the jadeㆍstoneware culture’ of Xiaonanshan throughout Liaoxi region including Zhahai(査海) society. Although Zhahai society was basically influenced by Xiaonanshan culture through Baiyinzhanghan society but adopted the indigenous Geosilmyo tomb style instead of accepting the stone mound altarㆍtomb and greatly compromised some old traditions of boneware and earthenware, the main ceremonial items prior to the main use of the jadeㆍstoneware. These style was somewhat distant from the typicality of Xiaonanshan culture.(‘Zhahai type’)

신라초 북부여계 파소·박혁거세의 단군조선 계승과 태백산의 마고제천 - ‘백두산 신시’를 이은 ‘태백산 신시’의 중창 -

정경희 ( Jung Kyung-hee ) 국제뇌교육종합대학원 국학연구원 2018 선도문화 Vol.25 No.-

Around the third century B.C. ~ the first century B.C., many dominant elites of Dangun Josun檀君朝鮮 migrated toward the Korean Peninsula and the Japanese archipelago during the disintegration process of Dangun Josun. Especially Princess Faso婆蘇 and her son Park Hyeok-geose朴赫居世 who came from North Buyeo北扶餘 royal family migrated to the Gyeongju慶州 branch in the south of the Korean peninsula and took control of ideological and religious initiative through the ‘Sundo Heaven rituals(Mago Heaven rituals)’ at the ‘Mt. Sundo仙桃’s Heaven rituals Altar祭天壇 and Heaven rituals Shrine祭天廟. With this, they succeeded in the consolidation of the six villages and opened Saroguk斯盧國, at last became the central nation of the Jinhan辰韓 Federation. In Sundo’s historical awareness, the reason why Dangun Josun was pushed to the Chinese Han漢 was that the value of China(Yin and Yang theory) had flowed into Dangun Josun and had broken down the traditional values(The idea of the five natural elements of the three dimensions三元五行論) of Dangun Josun. According to this recognition, Faso and Park Hyeok-geose expressed their vigilance and defense consciousness to Chinese Culture and declared strong will to protect Dangun Josun’s Sundo Culture. ‘The idea of Dangun Josun’s Sundo Reconstruction’ was conceptualized as ‘the theory of Budo符都 Reconstruction’. ‘Budo’ means ‘the center of Sundo thought’. At this time, Dangun Josun was not only a dimension of ‘territory and politics’ but a dimension of ‘ideology and culture’. It was the theory of Dangun Josun’s ideological and cultural identity Restoration. It was different from ‘Dangun Josun’s old territory Restoration’. The key issue of the Sundo Reconstruction policy pursued by Park Hyeok-geose was the Rebuilding of ‘Mt. Taebaek太白’s Shinshi神市(Heaven rituals Altar)’, which inherited ‘ Mt. Baekdu白頭’s Shinshi.’ Mt. Taebaek which is connected to Mt. Baekdu(Mt. Samshin三神山(the holy mountain of Sundo) of Dangun Josun), was designated as new Mt. Samshin of the Jinhan Federation. The Rebuilding of ‘Mt. Taebaek’s Shinshi was the symbolic event showing a new development of Mago Heaven rituals spreading in the Jinhan Federation at the time. Mago Heaven rituals at Mt. Taebaek’s Shinshi, which was expressed the direct succession of Mt. Baekdu’s Shinshi, led to deep empathy for refugees of Dangun Josun. It served as a central cause of the union of the Jinhan Federations and led Saroguk to stand firmly as the ruler of the Jinhan Federations.