• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.79-116
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• 2020

This paper examines the nature of the transcendent, absolute, and personal host of ancient philosophical notions of the Higher Power (天觀 cheongwan, literally 'view of heaven'), which flows through Toegye's Principle of Reality (Li), Dasan's Supreme God (Sangje), Suwun's Lord of Heaven (Cheonju), and Jeungsan's Supreme God (Sangje). This confirms the sentiment that despite the conceptual differences relating to appearance, as represented by the Principle of Reality, the Dasanian Supreme God, the Suwunian Lord of Heaven, and the Jeungsanian Supreme God, the contents of these notions do not substantially differ from one another. Moreover, the nature of the ancient philosophical notions of the Higher Power lead to Toegye's Principle of Reality, the Dasanian Supreme God, the Suwunian Lord of Heaven, and the Jeungsanian Supreme God. Toegye emphasized the nature of the Principle of Reality as transcendental and absolute, and also as a personal host. This led to Dasan's Supreme God, and furthermore, it also inspired the Suwunian Lord of Heaven and the Jeungsanian Supreme God. In other words, although Dasan criticizes the Principle of Reality and presupposes a Supreme God, a personal host, this is not especially different from the character or role of Toegye's Principle of Reality. It likewise does not especially differ from the Suwunian Lord of Heaven or the Jeungsanian Supreme God. On the contrary, without the foundation of the religious tradition behind Toegye's Principle of Reality, it would have been difficult to establish a theoretical system leading to the upper system of the Dasanian Supreme God, the Suwunian Lord of Heaven, or the Jeungsanian Supreme God. Of course, the construction of heaven and earth, which in Daesoon Thought is actually performed by the Jeungsanian Supreme God, is, in fact, fundamentally different from Toegye, Dasan, and Suwun's previous notions of the Higher Power. In this sense, it is necessary to present more clearly the religious character of Toegye's Principle of Reality.

• The Journal of Korean Philosophical History
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• no.58
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• pp.201-243
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• 2018

Understanding the theory of how a religion accepts the perspective on death is a prerequisite to grasp the identity and characteristics of such religion. Furthermore, contemplating the perspective on death, itself has a significant meaning as the contemplation provides an insight on how religion has, currently is and how it would influence the practical life of the human race. This current study compares and analyzes the perspective on death accepted by New Religions of Jeungsan, Confucianism and Taoism. By comparing the perspectives on death, this study seeks to conclude the similarity and discrepancy of New Religions of Jeungsan, Confucianism and Taoism. The objective of this study is to summarize the religious characteristic and identity of New Religions of Jeungsan, and the social role of New Religions of Jeungsan. How does New Religions of Jeungsan preach afterlife? This question implies varieties of questions including: In what shape or form does human exist in afterlife?; Does human maintain their original identity in afterlife?; What happens to relations with family members in afterlife?; What is one's role in afterlife, and what would one experience in afterlife? or Does soul transmigrate or are reborn? This current study compares the answers to these questions one by one with Confucianism and Taoism.In general, this current study was conducted with a non-religious methodology. Death can be explained in three different domains: the psychological domain explaining the individual psychological awareness upon encountering death; the philosophical-religious domain explaining the death through the philosophical understanding of the human concept; and the socio-cultural domain explaining death through the social ceremonies upon death.This current study focuses on the philosophical domain of the perspective on death accepted by New Religions of Jeungsan, with a comparison of the socio-cultural significance. To understand the perspective on death preached by New Religions of Jeungsan, It is indispensable to explain the five key elements of Hon(魂), Baek (魄), Shin(神), Young(靈) and Seon(仙) that construe death. The perspective on death preached by New Religions of Jeungsan imposes a multi layer of acceptance and overcoming. This current study complements the problems and limits of previous studies by comparison with Confucianism and Taoism. Throughout this process, this current study intends to highlight the key elements of the perspective on death preached by Deasunjinrihoe, and identify the aspects of each key element. With the sophisticated discussion of the perspective on death provided by New Religions of Jeungsan with clarity, this current study will provide grounds for future studies to extract, in detail, the aspects of the perspective on death preached by New Religions of Jeungsan, in further subjects including: discussions on death such as rituals for death, treatment of bodies, funerals, educating death, euthanasia, or suicide; discussions on the existence of hell; discussions on psychological aspects of ones who encounter death; or discussions on rebirth of those who died during the creation era. This current study will provide an overview on what kind of perspective on death does those who are faithful to New Religions of Jeungsan have and currently are living their life with.

• Convergence Security Journal
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• v.13 no.5
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• pp.107-116
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• 2013

Occur in various parts of the world and the new aspects of the regional conflict is spreading. Nation and civilization, one based on religious ideology, hegemonic tendencies areas of conflict are factors that appear. It has the characteristic that inheritance and conflict between civilizations is spreading. Christian and Islamic books, especially the confrontation and conflict is surfaced in the international political aspects, and a threat to the security of the human race is approaching. To assert the superiority of Western Christianity emerging countries, the salvation of mankind and world peace mission with the historical non-democracy, human rights, women's rights, underdevelopment, nuclear issues, and the spirit of Christian civilization, considered to be linked and reverse, Democracy Launching and human rights issues are forcing Western development model. Islam believes in absolute monotheism that God Lord only determined by the 'slave' and having the determination to serve the religious, political, social and cultural nature ingrained, and closely adjacent to each other geographically, to focus on in quency characteristics higher than the other civilizations are appearing. To assert the doctrine of non-violent Islam 'Koran' and 'knife' became known as the violent images appear in the armed conflict between the culture method. Today the world is facing a clash of civilizations is derived from the religious conflicts and confrontation and friction between the nations appear. In particular, the deep religious roots of Christianity and Islam, the Arab-Israeli conflict, including the right to live in strife confrontation between Christianity and Islam was spread. By a factor of civilization and the spread of terrorism occurred historically proven came here from all over the earth that is being generated is true. Civilization are the symbol of the nation and the species identity.

• Journal of Korean Philosophical Society
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• v.145
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• pp.119-141
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• 2018

This paper is to address the consonance between Confucianism and Christianity, focusing on the first-generation clergy in Andong, North Gyeongsang Province, Korea. Andong has turned out many Confucian scholars since Yi Hwang, and thus founded the school of Togye (Yi Hwang's nom de plume). Meanwhile, some of Confucians in Andong converted to Christianity after reading the Bible. Thus, their religious activities and their interpretation of the Bible Confucian factors smacked of Confucianism, which suggests a need to reestablish the relationship between Confucianism and Christianity. This study produced the following results: First, the converts did not aspire to Christianity itself but to saving their country. The first-generation clergy in Andong wanted to sublimate their patriotic and Confucian spirits into Christianity, which is backed up by the independence movement planned jointly by Confucians and Christians in Andong. As for Confucians in Andong, their devotion to their country was a cause of the conversion to Christianity. Second, it was small wonder that Christianity was harmonious with Confucianism at least for early Christianity in Andong. In those days, Confucians in Andong had to achieve their realistic goals and thus did not need to deny Christianity. To relieve the national suffering, they had more need of Christian religiosity than Confucian morality. Likewise, missionaries wanted to propagate Christianity, and therefore did not deny the worldliness of Confucianism. On this wise, the two kept their identities and at the same time could compensate for their shortcomings from each other. This study names such Korean Christianity a 'humanistic religion.'

• (The) Research of the performance art and culture
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• no.39
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• pp.637-667
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• 2019

I have researched in the field the religious and performance culture of Indonesia through the musical iconography of Borobudur. There are many kinds of musical instruments which belong to India or Indonesia, performers being either court or folk musicians. Contemporary south-east Asian Indonesia has a broad religious heritage. Most of the population is Muslim, but the culture and customs are rooted in Indian Ramayana. I discovered, for example, the same percussion instruments played on a person's knees. I also came across similar string instruments with long and elliptical resonance casks on the iconography of the Incense Burner and Byam temple stone pagoda of Beakje dynasty in Korea and in Borobudur in Indonesia. The two musical instruments can not be found in other countries, such as Silla, Koguryŏ, China or the silk road area, but only Indonesia or India. This suggests that Beakje Buddhism is from the southern regions rather than China. I also discovered the same dancing motion with the court performers on the iconography of Borobudur, and the same musical instrument and performance in the Gamelan in today's Indonesian performance. Despite a disjuncture between the people and their past, the Shailendra Buddhism is alive in people's life and culture in the present day. So we can discover some familiarities between Indonesia's Gamelan and the percussional performance in Korean Buddhist rituals.

• Korean Journal of Culture and Social Issue
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• v.15 no.1
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• pp.133-153
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• 2009

Two empirical studies were conducted to examine what determines the happiness of Korean adolescents. In Study 1, 155 high school students were asked to describe situations where they felt happy. Content analysis was conducted for their responses, which led to three categories, physical (economy, health and appearance), psychological (self-related responses, rest and leasure, and religion), and social one (haman relationship including family, friendship, etc, and social achievement). In Study 2, 450 high school students rated themselves on each of 88 happiness items developed through the responses obtained in Study 1. Factor analysis created 10 happiness factors labeled familial relationship, individuality, academic performance, religion, dating friends, appearance, self-discovery, economy, friendships, and psychological composure. These findings were compared with those findings about the middle-aged and the old-aged, and discussed on the developmental and cultural perspective.

• The Journal of the Korea Contents Association
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• v.6 no.1
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• pp.93-101
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• 2006

The purpose of this research is to verify what are the characteristic points of the tourism resources in the historical sites and what kind of factors can roll as the tourism resources in two old cities, Kyungju and Kyoto, Those two old cities are the oldest cities in the world and they have several world cultural heritages that registered by UNESCO. In Old historic cultural sites has its own tourism resources factors and characters such as Uniqueness, Authenticity, Historical character, Regional character, Art factor, Religious factor,

• (The) Research of the performance art and culture
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• no.23
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• pp.37-61
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• 2011

The Noh(能) performance is a traditional drama that represents Japan. The Noh performance was approved in the background of religious thought such as Shintoism(神道), Buddhisms(佛敎), and Syugendo(修驗道). Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. The Noh was approved while receiving a large influence from Shugendo. It can know the feature of the Shugen(修驗) culture in the Middle Ages through the consideration of . Moreover, the appearance of the training of 'Yamabusi(山伏)' can be seen. "Yamabusi" has not been paid to attention up to now in the research of . And, the focus was appropriated to Yamabusi and it researched in this text. Moreover, the problem of "Chigo(稚子)" is thought through . "Chigo culture" was general in the Middle Ages. It is thought that "Chigo culture" is reflected in . is an Noh performance for the boy named 'Wakamatsu' to enter the mountain and to train. It is because mother's sickness was cured. However, the boy gets sick while it is training. It was dropped to the valley according to the law of Shugendo, and it died. However, it revives by the Yamabusi's prayers. 'Taniko' is to drop to the valley and to bury it when the Yamabusi gets sick while lived. The title of the Noh originated in here. has elements of history, content of training of Shugendo, "Filial piety", and the Chigo culture, etc. These are features of the culture in the Middle Ages. It is not only a sad content though this is a content of the cruel remainder. It is because of the revival though waited rapidly at the end. As for the difficulty of training is drawn in the round, and the appearance of the training at that time is understood well. The essence of Shugendo is to train in the mountain. Supernatural power can be obtained through training. Moreover, it was thought that it was able to be newly reborn through training. The leading part of Shugendo is an Yamabusi. The Yamabusi took an active part in not only the mountain but also the village. The Yamabusi is ordinary people's lives and because the relation is deep, an important factor it knows the folk customs of Japan. The word 'Chigo' is not written in . However, a spectator at that time is 'Chigo' Wakamatsu and is already sure to have understood 'Chigo'. Because everyone knew the Chigo culture in the Middle Ages. A religion at that time and knowledge of the society are necessary to understand the play of Nho well.

• (The) Research of the performance art and culture
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• no.39
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• pp.669-700
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• 2019

Farmers' band music is a religious ritual in Korea. It is a solemn ritual to exhibit the auspicious holiness of the people to the God. Most of the ritual is accomplished by music. The music of the farmers 'band, in this sense, has its meaning as the expression of holiness by sound. In this paper, I will explore the principle to make various rhythms of farmers' band music, especially focusing on the chaegut (lit. "stroke music"). It is very symbolic because the name of the music shows the strokes of the gong, called jing, in a rhythmic phrase. In this sense, the chaegut is man-made music based on the specific principles in accordance with the strokes of the gong. Among many chaegut rhythms, samchae (lit. "three strokes") to chilchae (lit. "seven strokes") are the main rhythms. They were made after the principle of 'forward with drums, backward with gongs' in Five way procession. It the basic principle of military procession from the early Joseon Dynasty. The procession follows with the sound of the drums and gongs. There was always a principle of "five strokes" to control the procession. The "five strokes" became the basis of the making of chaegut rhythms. The rhythms of the samchae to chilchae are based on the rhythm of samchae. The samchae has three gong strokes in a cycle, which exhibits the chaotic moment with the rhythmic noise. The name of the rhythm exhibits the correspondence of the signifiant, that is the name "three strokes" and the signifié, that is the real three strokes of gongs in music. Other four rhythms has made up from the samchae with half cycles are added in accordance with the strokes of the gongs. In this way, the chaegut shows the principle of "five strokes" in the military procession. The rhythm of ochae jilgut is a mixture of ochae (lit. "five strokes") and jilgut (lit. "road music") which is usually performed on the road to a mountain shrine. The musical structure of ochae jilgut corresponds to the colotomic structure of Southeast Asian music and the 15th-century music of old musical scores. The rhythm of gilgunak chilchae is a mixture of gilgunak (lit. "road military music") and chilchae (lit. "seven strokes"). The rhythmic structure is similar to other regional music, sijo ("short song") of the literati music and norae garak (lit. "some melody") of the shaman music. In sum, the chaegut is very artistic music made from the military procession of the Joseon Dynasty. The name of the rhythm corresponds with the strokes of the gong in a cycle. In this way, the chaegut shows the principle of music-making to exhibit the ritual characteristics of the Korean people.

• Journal of Korean Library and Information Science Society
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• v.33 no.2
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• pp.139-166
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• 2002

This paper analyzes and studies all the publications as well as the flow of knowledge and information on the Korea-Japan relationship during the 20th century, especially in the area of culture. For the purpose of the systematic study, the subject area was divided into the following six parts, 1) Civilization at large, 2) Philosophy, 3) Religion 4) Arts, 5) Language, and 6) Literature. As the result of the study, a union catalog for monographic publications from both countries has been produces. The union catalog has produced that more publications have bean issued in Japan than in Korea in every part of the subject. During the part 15 years, however, Korea has produced over 106 publications more than Japan.