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"Penelitian ini bertujuan untuk mengkaji simbol alam pada lagu Barami Bureooneun Got (바람이 불어오는 곳, Tempat dari Mana Angin Berhembus) karya Kim Kwang-seok yang dirilis pada tahun 1994. Teori yang digunakan adalah teori semiotika Roland Barthes. Metode yang digunakan adalah kualitatif deskriptif, dengan sumber data primer lirik lagu Barami Bureooneun Got, dan sumber data sekunder berupa penelitian terdahulu terkait penggunaan simbol alam pada karya sastra yang berasal dari negara-negara barat dan Korea Selatan, serta Kamus Bahasa Korea Dasar (Hangugeo Gicho Sajeon, 한국어기초사전) dan Kamus Lengkap Bahasa Korea (Pyojun Gugo Daesajon, 표준국어대사전). Hasil analisis menunjukkan bahwa terdapat tujuh simbol alam pada lirik lagu tersebut yakni angin, sinar matahari, ombak, langit, garis cakrawala, pohon, dan daun. Ketujuh simbol alam itu menyiratkan harapan akan lingkungan hidup yang subur dan kehidupan bermasyarakat yang lebih baik, serta sifat masyarakat korea yang gigih dalam mencapai harapan tersebut. Secara keseluruhan, simbol-simbol tersebut menjadi representasi dari aspek-aspek kemanusiaan.

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This article analyzes nature symbolism in Barami Bureooneun Got (바람이 불어오는 곳, Where the Wind Blows) song lyrics by Kim Kwang-seok that was released in 1994. Roland Barthes’ theory of semiotics was applied to explain the meaning of the nature symbols. This article used descriptive qualitative method. Song lyrics, literature reviews about the usage of nature symbolism in western and South Korean literature, as well as Basic Korean Dictionary (Hangugeo Gicho Sajeon, 한국어기초사전) and Standard Korean Dictionary (Pyojun Gugo Daesajon, 표준국어대사전) were utilized to collect data. Result showed that there are 7 nature symbolism used in the song lyrics: wind, sunshine, waves, sky, horizon, tree, and leaves. Those symbolism were implying the hope Korean people have for a better environment with fertile soil to live in and a better society, as well as their persistence to achieve that hope. Overall, the symbols represent the aspects of humanity."

"Notes: The study of the Buddhist branch of Indian iconography is one of the most interesting and fascinating of all studies. In Buddhist iconography the whole world is interested because Buddhism is not confined within the limits of India like Hinduism or Jainism, but travelled far and wide beyond the Himalayas to Tibet, China, Japan, Korea and Mongolia on one side, and to Indo-China, Siam, Indonesia, Burma and Ceylon on the other. The fountain head of inspiration relating to Buddhist iconography was furnished by the ancient Sanskrit manuscripts of India, and the ideas and directions contained therein travelled to different countries, notably Tibet and China, where they were coloured by the art and culture characteristics of the respective peoples. We have now reached a stage where it is no longer possible to isolate Buddhist iconography of India from its developments in Tibet and China which were profoundly influenced by the Buddhist Tantras of India. This is the second edition of this famous work which has been thoroughly revised and greatly enlarged. New chapters have been incorporated, old chapters have been redistributed. Many pictures have been deleted, and many new ones have been included in order to make the study as up-to-date as possible. But with the availability of fresh material, after the publication of the first edition, the other side, namely the psychic side, also became apparent. "