• Journal of Daesoon Thought and the Religions of East Asia
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• v.1 no.2
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• pp.165-170
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• 2022

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.1
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• pp.133-155
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• 2022

Throughout the Chinese sphere, that is, in the People's Republic of China and Taiwan, tea houses, tea stores, and tea meditation groups often without a particular religious orientation have appeared in the past decades. Tea lovers groups with various philosophical discussions appear throughout cyberspace, where people show their appreciation for tea as a drinkable delicious product and a spiritual tool. The question to be asked here is whether it should be recognized as a religious or spiritual practice agent in and of itself? Should we then talk about the present-day movement of teaism? If we do recognize this as a spiritual phenomenon, should it then be labeled as a New Religious Movement? The trajectory of tea in China is intrinsically connected to religious traditions. This connection is historical, yet it plays a part in the contemporary religious and spiritual sphere. The article explores the continuation and developments of tea culture in the context of the religious sphere of China, looking at practices connected to tea of communities, religious organizations, and individuals. The author explores how tea drinking, commercializing and tea related practices intersect with politics, materiality, and spirituality in contemporary society. In this context it is then argued that tea is a cultural element, religious self-refinement tool, and an active material agent with social-political capacities. The study includes historical narratives, ethnographic data, and literary sources about tea, making up a genealogy of tea which encompasses ritualistic aspects, economic aspects, and power relations related to tea in Chinese society.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.124-137
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• 2005

Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Religion is the essence of human life and the source of ideas about life, the universe and existence, so they become hidden inside of the structure of culture. Dancing costumes present the process of cultural modification and acceptance more vividly than general costumes. This research shows that, among foreign cultures, it is Buddhism that most influenced Chinese dancing costume. Taoism was the Chinese native religion that played an oppositional role against Buddhism. Taoism was hidden in Chinese dancing costume in every age. Chinese dancing costume changed many times due to the import of exotic styles such as Buddhism that partially replaced the Taoistic tradition. Therefore, it is confirmed that the process of cultural importation of exotic style was different according to the social, historical, and cultural backgrounds of China during the period from the Han to the Sui and Tang dynasties.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.48-56
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• 2005

Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Religion is the essence of human life and the source of ideas about life, the universe and existence, so they become hidden inside of the structure of culture. Dancing costumes present the process of cultural modification and acceptance more vividly than general costumes. This research shows that, among foreign cultures, it is Buddhism that most influenced Chinese dancing costume. Taoism was the Chinese native religion that played an oppositional role against Buddhism. Taoism was hidden in Chinese dancing costume in every age. Chinese dancing costume changed many times due to the import of exotic styles such as Buddhism that partially replaced the Taoistic tradition. Therefore, it is confirmed that the process of cultural importation of exotic style was different according to the social, historical, and cultural backgrounds of China during the period from the Han to the Sui and Tang dynasties.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.82-96
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• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.1
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• pp.85-109
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• 2022

Yiguandao missions arrived in Korea no later than 1947. Despite many obstacles, including war and internal dissension, the movement has flourished in South Korea. Today there are three active major lineages and another seven smaller networks. This article relates the movement's overall development in Korea. We begin by discussing key missions dispatched to Korea by Yiguandao's founder Zhang Tianran. The northern port city of Tianjin was key to this effort, in particular a single temple, the Hall of Morality. In Korea the leaders found an unfamiliar cultural landscape that was soon engulfed in war. The Yiguandao missions tended to develop independently, without coordination. In an effort to unify the movement, the Morality Foundation was established in Busan in 1952. The article shows how Yiguandao's subsequent success in Korea is connected to the development of indigenous leadership. Local Korean leadership ousted Chinese members from the Morality Foundation in 1954, and this branch has continued under Korean leadership to this day. The ousted Chinese leaders continued to develop their own lineages. Two major leaders, Zhang Ruiquan and Kim Bokdang, were able to establish enduring legacies. A final section looks at organizational traits that will determine the movement's future prospects in modern Korean society.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• The Research Journal of the Costume Culture
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• v.20 no.5
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• pp.775-781
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• 2012

There are various kinds of patterns on Li brocade textile of Hainan province in China. Those patterns are rich and colorful. Li (黎族) traditional brocade is an ancient exquisite craftsmanship and a world cultural heritage. This study analyzed and categorized Li brocade pattern of traditional Chinese textiles. Li (黎族) traditional brocade is an ancient exquisite craftsmanship. Based on the research of classifications of Li brocade patterns, expound the application of women's costume. The patterns of Li brocade textile of Hainan province analyzed through three levels: design transforming, meaning prolongation, and refining spirit. The patterns were explored the feasibility way to inherit the patterns of Li brocade for the modern fashion product design. The results showed that Li brocade textile pattern of Hainan province were images sourced from local environment and geographical terrain. They contained the nation's history memory, religion, hope for life of the Li nationality. Those patterns can be categorized as human figure pattern, animal pattern, geometric pattern, appliance or architecture pattern, and Chinese character pattern.

• Cross-Cultural Studies
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• v.42
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• pp.475-503
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• 2016

This paper explores the extent of the Christian influence of Liang Fa's Quanshiliangyan and Isaachar J. Roberts on Hong Xiuquan and the Taiping Movement. Hong's religious background was in Confucianism, but when he encountered Liang Fa's Quanshiliangyan, he identified with Christianity. Subsequently, he studied with Roberts for two or three months. The religious experiences of Hong served as motives for the establishment of the Society of God Worshippers and the Taiping Movement. Therefore, this paper develops Liang's key ideas and Roberts' main teachings, describes Hong's beliefs and the actual practices of the Taiping Movement, as found in official documents of the Taipings, and compares their similarities and differences. Hong and his leaders received the new ideas of Christianity at the expense of their traditional culture. Furthermore, they attempted to combine Chinese culture with Christianity, as well as believe in Christianity to the limits of their understanding. Finally, this study finds that even though the Quanshiliangyan and Isaachar J. Roberts may have given the Taiping Movement its religious form and driving force, the theological vision of both Liang and Hong that also emerged from their Chinese culture energized the Taipings. The Taiping Movement resulted from a deliberate synthesis of Christian ideas and native Chinese practices in China.

• Journal of Yeungnam Medical Science
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• v.9 no.2
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• pp.275-287
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• 1992

In order to survey the reality of anxiety and depression among the Koreans residing in China, a study was conducted between January and March of 1991, on the residents of Yun-Kil city, with subjects of 472 Koreans and 479 Chinese. The evaluation was based on the questionairs, named Combined self-rating anxiety depression scale(CADS), distributed among the subjects. ANOVA and t-test were applied for data processing. The results were as follows : There was not significant difference in the mean of total scores between the two groups. The scores of Koreans were $29.70{\pm}7.03$, while those of Chinese were $29.45{\pm}9.01$. The score of the CADS above 50(clinially significant level) was seen in 12(2.54%) Koreans and 21(4.38%) Chinese. The anxiety-depression scores relating to the items of indigestion and decreased appetite, sleep disturbance, apprehension, decreased libido were relatively high among the Koreans. The items appeared low in scores among the Koreans were faintness, fear, suicidal rumination, hopelessness, paresthesias. The highs among the Chinese were facial flushing, anxiousness, dissatisfaction, suicidal rumination. The items appeared low among the Chinese were fear, faintness, paresthesias, weight loss, suicidal rumination. In the comparison of evaluation by items between the two groups, the items placing the Koreans significantly higher over the Chinese are indigestion & decreased appetite, sleep disturbance, apprehension, decreased libido. The Chinese marked significantly higher in facial flushing, anxiousness, dissatisfaction, suicidal rumination. Those in the case of female (p<0.01 respectively), less than twenty years old (p<0.01 respectively), dissatisfied with family relationship(p<0.01 respectively), with past history of psychiatric hospitalization(Koreans p<0.01, Chinese p<0.05), pessimistic toward future, present, past self image(p<0.01 respectively) had significantly higher scores in both groups. In religion, neither group showed significant difference. In religion, neither group showed significant difference. In marital status, the Koreans showed a higher degree of divorce and separation and the Chinese in singleness(p<0.01 respectively). The Korean were higher in illiteracy and the Chinese had more college education(p<0.01 respectively). In place of growth, the Koreans showed not much difference in the areas while more Chinese grew up un large cities(p<0.01). More Koreans lived in the dormitory while the Chinese were engaged more in self-cooking(p<0.01 respectively). In pocket money per mouth, more Koreans were less than 1 dollar while the Chinese were between 7 and 10 dollars(p<0.01 respectively). There were no significant difference between two groups about religion.