• Journal of Conservation Science
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• v.34 no.3
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• pp.235-244
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• 2018

The forms of stone cultural properties vary depending on the purpose of construction. In general, pagodas and statues of the Buddha (including the Maebul) are representative of stone cultural properties and demonstrate important aspects of cultural history and scientific technology. The purpose for which cultural properties were constructed may influence construction technologies, so we must carefully think about and clearly understand the purpose of construction, namely the cultural and/or philosophical history, when conducting conservation treatments now. This may be examined through the relationship between "why?" and "how?": Why did the builders construct these stone cultural properties, and how did they use such technologies? We may be deeply impressed by the form and delicacy of the sculpture, which is the "how" aspect of the technologies, but we must also understand the effect of the "why." namely the soul and/or spirit of those who created the properties. The form of stone cultural properties may be influenced by (1) the political-social sphere, (2) religion, or (3) the cultural history of the period, which have changed over time. It is important that this is the view taken in current conservation treatment.

• The Journal of the Korea Contents Association
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• v.18 no.10
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• pp.618-630
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• 2018

The contemporary shoes have been progressively trying a variety of designs using patterns as well as the formative change. However, for making those patterns secure the continuing values as the design having global competitiveness without being a temporal trend, it is required to develop the patterns which reflect the unique identity of Korea. Such development can be realized through the analysis on the traditional patterns of Korea. The patterns are the symbol of collective values. The traditional patterns implicitly express the philosophical thinking of members in a society as having been inherited up to now. Thus, this paper analyzed the gilt bronze shoes in Three Kingdoms Era using the patterns as unique design elements among traditional shoes of Korea. The symbolism of those patterns was expressed as transcendence of time and space, harmony of spirit and materials, and convergence of a region and religion. On the aspect that our ancestors interpreted and overcame the bounds of nature around human beings, pursued the ideal beyond reality and accepted a variety of thoughts, it is considered that the patterns used in gilt bronze shoes expressed anthropocentricism, idealism and inclusivism.

• The Journal of Korean Philosophical History
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• no.35
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• pp.309-334
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• 2012

This study attempts to study in what form Folk Taoism in the late of $Chos{\breve{o}}n$ Dynasty has existed and discuss the contents and characteristics of ideological aspects forming the foundation of private Taoism. While Guan Yu Belief(關帝信仰) in the late of $Chos{\breve{o}}n$ Dynasty is a folk belief focusing on Guan Yu, Seoneumjeulgyo(善陰?敎) and Musangdan(無相壇) are religious groups with organization. In case of Seoneumjeulgyo(善陰?敎), 'Seoneumjeul' contains perspective of Tian(天觀) of Confucianism but the ascetic practice method is to practice by reciting the name of the Buddha and the targets of a belief are Gwanje, Munchang, Buwoo. This shows the unified phenomenon of Confucianism, Buddhism, Taoism of Folk Taoism in the late of $Chos{\breve{o}}n$ Dynasty. Guan Yu Belief started at the national level led by the royal family of $Chos{\breve{o}}n$ after Japanese Invasion of Korea in 1592 was firmly settled in non-official circles. Guan Yu in the late of $Chos{\breve{o}}n$ Dynasty is expressed as the incarnation of loyalty and filial piety as well as God controlling life, death and fate. As this divine power and empowerment were spreading as scriptures among people, Guan Yu Belief was settled as a target to defeat the evil and invoke a blessing. Seoneumjeulgyo is the religious group that imitated 'Paekryunsa(白蓮社)' of Ming Qing time of China. Seoneumjeulgyo emphasized 'sympathy' with God through chanting. And it expressed writing written in the state of religious ecstasy as 'Binan(飛鸞).' Binan is also called as revelation and means to be revealed from heaven in the state united with God. Seoneumjeulgyo pursued the state united with God through a recitation of a spell and made scriptures written in the state united with God as its central doctrine. Musangdan published and spread Nanseo(鸞書,Book written by the revelation from God) and Seonso(善書) while worshipping Sam Sung Je Kun(三聖帝君). The scriptures of Folk Taoismin the late of $Chos{\breve{o}}n$ Dynasty can be roughly divided into Nanseo(鸞書) and Seonso(善書). Nanseo is a book written by the revelation from God and Seonso is a book to the standards of good deeds and encourage a person to do them such as Taishangganyingbian(太上感應篇) and Gonghwagyuk(功過格). The characteristics of Folk Taoism in the late of $Chos{\breve{o}}n$ Dynasty are as follows. First, a shrine of Guan Yu built for political reasons played a central role of Folk Taoism in the late of $Chos{\breve{o}}n$ Dynasty. Second, specific private Taoist groups such as Temple $Myory{\breve{o}}nsa$ and Musangdan appeared in the late of $Chos{\breve{o}}n$ Dynasty. These are Nandan Taoism(鸞壇道敎) that pursued the unity of God through 'sympathy' with God. Third, private Taoism of $Chos{\breve{o}}n$ was influenced by the unity of Confucianism, Buddhism, Taoism with private Taoism in the Qing Dynasty of China and religious organization form etc. Fourth, the Folk Taoism scriptures of $Chos{\breve{o}}n$ are divided into Nanseo and Seonso and Nanseo directly made in $Chos{\breve{o}}n$ is expected to be the key to reveal the characteristics of Folk Taoism.

• (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.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.53-54
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• 2019

과거부터 사람들은 달을 인지해왔으며, 인류는 지속적으로 달을 관찰하고 탐구를 멈추지 않았다. 지역문화와 민족문화가 다르기 때문에 달의 이미지에 관한 다른 이해를 바탕으로 미술, 건축, 종교 등에 반영되어 왔다. 영화기술의 발전과 더불어 다양한 영상콘텐츠에도 달이 등장해왔다. 하지만 달에 대한 상징성 연구가 미흡하여 영상콘텐츠에서의 달 이미지 활용에 어려움이 있어왔다. 때문에 본 연구를 통해 영상콘텐츠에서 표현된 달 이미지를 연구하여 달의 의미를 분석하고 표현 방법에 대한 전문성을 높이고자 한다. 연구방법은 첫째, 지역 및 문화별 달의 의미를 제시한다. 둘째, 달과 여성의 이미지 사이의 관계를 이론적 배경으로 제시한다. 셋째, 달의 여성상징적 의미에 관한 영상콘텐츠 작품 사례를 분석하였다. 연구결과 동서양 신화에 등장하는 달의 여성상징은 영상콘텐츠에서 등장인물의 이름과 디자인의 활용 등이 주를 이루었다. 본 연구를 통해 달에 대한 상징에 대한 동서양의 특징을 도출하고, 향후 영상콘텐츠 작품 창작에 활용되기를 기대한다.

• Cross-Cultural Studies
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• v.40
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• pp.91-110
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• 2015

Both Plato and More imagined alternative ways of organizing society. What is common to both authors, then, is the fact that they resorted to fiction to discuss other options. They differed, however, in the way they presented that fiction. The concept of utopia is no doubt an attribute of modern thought, and one of its most visible consequences. But one of the main features of utopia as a literary genre is its relationship with reality. Utopists depart from the observation of the society they live in, note down the aspects that need to be changed and imagine a place where those problems have been solved. After the two World Wars, the twentieth century was predominantly characterized by man's disappointment at the perception of his own nature. In this context, utopian ideals seemed absurd and the floor was inevitably left to dystopian discourse. Both The Road by Cormac MacCarthy and The Childhood of Jesus by J. M. Coetzee can be called critical dystopia and critical utopia as they represent the imaginary place and time that author intended a contemporaneous reader to view as better or worse than contemporary society but with difficult problems that the described society may or may not be able to solve. As a changed adventure narrative, they have something in common like open ending, father and son relationship and religious allegory. But the most important thing is that they express the utopian impulse that is still energetic and transforming in the post-modern society.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.37-68
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• 2017

This paper critically examines the role and function of religion prior to the full-out advent of the 4th industrial revolution. We can understand 'The vision of Daesoon Jinrihoe (大巡眞理會)' as a mission to foresee and create a prospective figure for a future society in the person of the Lord on High, Jeungsan (甑山) as a religious dimension. However, the existence ground of religion relies on giving positive meaning to the present time after reinterpreting religious doctrine to reflect changing realities. Jeungsan (甑山) said that the age to come is 'the age of the human majesty (人尊)'. This means that humans will take the lead and control the revolution of scientific technology to progress and benefit humanity. Problems such as 'human alienatio', 'increased polarization', and 'destruction of the environment' still arise and deepen because the motive of 'the Industrial Revolution' was built upon 'knowledge' within the context of a Knowledge-Based Society. Therefore, we can say that the role of religion will newly rise to the forefront in the era of the 4th industrial revolution. Consequently, religion should face matters squarely and suggest viable alternatives. This paper deals with reinterpreting the concept of 'the resolution of grievances for mutual beneficence (解冤相生)', one of the four teachings of Daesoon Jinrihoe, within the context of the coming era of the 4th industrial revolution. My research is divided into the following three parts: First, I determined the teachings of Daesoon Jinrihoe and the original meaning of 'the resolution of grievances for mutual beneficence', and then I disclosed the way we can reinterpret the general meaning of this concept for application in the ear of the 4th industrial revolution. Second, from the perspective of the religious dimension, I inquired into factors regarding alienation and conflict in the era of the 4th industrial revolution. I focused on human alienation from labor, identity confusion, potential conflicts between humans and post-humans, and the characteristics of the 4th industrial revolution. Third, I examined potential cures for alienation and conflict through the principle of the resolution of grievances for mutual beneficence. I tried to enlarge the interpretive prospects of Daesoon's main teaching in light of the era of the 4th industrial revolution through a new interpretation and application that employs the concept of 'the resolution of grievances for mutual beneficence (解冤相生)' in order to cure the alienation and conflict.

• Journal of the Daesoon Academy of Sciences
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• v.23
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• pp.293-344
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• 2014

본 논문은 『전경』에서는 나타나는 숫자 부호 '삼(三)'의 의미와 나아가 '삼'과 『주역』 그리고 도교 신선신앙과의 연관성을 살펴보고자 한다. 중화의 문화에는 예부터 '삼'을 숭상하는 풍속이 있고, 도교문화도 '삼'을 숭상한다. 이는 주로 『주역』, 『도덕경』 및 도교 신선신앙과 관련이 있다. 한국문화는 전체적으로 중국문화의 영향을 깊이 받았다. 대순진리회 또한 이러한 배경 하에 있다고 볼 수 있다. 대순진리회에서는 '삼' 이라는 숫자를 반복해 사용하고 있는데, 어떤 의미에서 이것은 『주역』에 나타나는 부호 상징 사유의 확장된 표현이라 할 것이다. 또한 대순진리회의 교의(敎義)와 부도(符圖)에서도 '삼을 숭배하는(尙三)' 도교 신선신앙의 특징이 나타나고 있다. 그러므로 대순진리회에서 볼 수 있는 '삼'의 의미는 도교의 영향을 받은 것일 가능성이 매우 크다. 이렇게 말하는 것에는 두 가지 이유가 있는데 그 중 하나는 앞서 말한 바와 같이 대순진리회의 상제와 종도들이 중국의 서적을 이해하고 중시했기 때문이며 대순진리회의 구천상제께서 많은 종교를 통섭하였기 때문이다. 공사(公事) 활동, 부주(符呪) 문건, 상제와 도주의 행적 사료, 신령신앙 등의 내용 곳곳에서 '삼'이라는 특별한 숫자에 대한 각별한 관심이 구체적으로 드러난다. 이러한 '삼'은 생명과 시작을 나타내며 또한 완성과 완결을 의미한다. 대순진리회 신앙의 특징을 보면 그 배후에는 아주 깊은 중국문화의 영향이 있으며, 『주역』사상의 구체적인 표현이고, 도교신선신앙의 흔적이기도 하다. 물론 대순진리회는 자신만의 독창적이 재해석으로 이러한 문화나 사상을 계승하고 발전시켰다. 그렇기 때문에 '삼'이라는 숫자의 근원을 탐구하고, '삼'이 지니고 있는 철학적 사상을 파헤쳐 그 속의 오묘함을 발견한다면 대순사상의 깊을 뜻을 이해하는데 더 큰 도움이 될 것이다.

• Korean Journal of Comparative Education
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• v.28 no.3
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• pp.161-183
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• 2018

The purpose of this thesis is to study the Korea's Education Foundation Act and Japan's Education Foundation Act in a comparative way. The frame of comparison consists of three dimension: syntax analysis, way of legal conceptualization, and the educational climate and institutionalization. Major findings are as following: 1. Legal subjectives are clear in Korea but not clear in Japan 2. Civil relationship rules Korean education while public legal order rules Japanese education. 3. Partnership rules Korean education while administrative initiative rules Japanese education. 4. Curricular mandate is given to teachers in Korean education while to administrative hierarchy in Japanese education. 5. Public nature of schools means public credential in Korean education while public monopoly in Japanese education. 6. Professionalism is adopted for Korean teachers while missionary perspective adopted for Japanese teachers. 7. Korean education is expected to be secular while Japanese education is expected to reconcile with the traditional religious belief in Japan 8. Develop education still strongly orients the Korean education while education for sustainable development the Japanese education In summary, civil law frame is adopted in Korean education while in Japan public law frame is adopted in legalizing their Education Foundation Act. National climate influenced the education legislation in the two countries. Japan has strong missionary climate while Korea has secular perspective to education. Thess differences colored the way of literary expression in the legal text of the Education Foundation Act in the two countries.

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.175-185
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• 2010

This article aims to compare the implications of masked dance in Hahoe with Gangneung masquerade and analyze them, in terms of the transition of the rituals. The results are as followings; Byulsin exorcism of Hahoe was the worship for God who people believe protects us from the evil. However, from the making of the mask in Hahoe masquerade. The movement of the dance features the spontaneous, changeable, depending on atmosphere of the stage or the host of the performance. Hahoe masquerade has the religious suggestion in the organization; it is one of the festivals, wishing for peace, good harvest of the village, in the content of the performance. From the roles of casts, the implications of the rituals are inferred; such the characters as Yangbankwangdae, Somaekaksi, Sisittakttaki, and Jangjamari have the implication of the repelling. But, the movement of the masked dance lost the original fashion in the process of restoration and faced the change. Therefore, most of the movements are tuned to falk of Gangneung; it doesn't have essence of the rituals. Finally, Gangneung masquerade has a factor of amusement of the Dano festival, wishes for well-being, good harvest of the village and includes the ritual of a guardian deity of the town, like the tutelary masquerade.