• 대순사상과 동아시아종교
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• 제1권2호
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• pp.165-170
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• 2022

• 대순사상과 동아시아종교
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• 제2권1호
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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.

• 복식
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• 제55권4호
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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.

• 복식
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• 제55권8호
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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.

• 복식
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• 제59권8호
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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.

• 대순사상과 동아시아종교
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• 제2권1호
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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.

• 한국의류산업학회지
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• 제21권5호
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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.

• 복식문화연구
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• 제20권5호
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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.

• 비교문화연구
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• 제42권
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• pp.475-503
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• 2016

태평천국운동은 현대중국의 성립과 관련하여 차지하는 특별한 위상으로 인하여 세계 여러 곳에서 많은 연구가 진행되어 왔다. 그러나 이러한 상당한 연구 성과에도 불구하고 기독교적 측면의 연구는 그리 많지 않다. 따라서 이 글은 이 점을 중시하여 태평천국운동과 기독교와의 관계 중 19세기 중국 개신교가 홍수전과 태평천국운동에 끼친 영향을 먼저 파악한다. 홍수전은 양발과 이사카 로버츠로부터 유일하신 존재 하나님께만 예배드려야 함을, 예수님을 구세주로 고백해야 함을, 그리고 성경을 배우고 익혀야 함을 깨달았다. 심오한 여러 기독교 사상을 배웠고 영생을 소망하며 천국과 지옥이 존재함을 믿었다. 그러나 이런 믿음을 이 땅에서, 특히 19세기 중국에서의 삶 속에 적용함은 이와는 다른 별개의 이야기였다. 우리가 잘 아는 것처럼 홍수전은 19세기 중국이라는 시공간적인 토대 위에 생성된 중국문화의 영향 아래 살아가고 있었다. 따라서 그의 서양 기독교적 믿음은 중국화 되고 또 그들 중국인들이 이해할 수 있는 문화와 세계관으로 재해석되어 실행되었던 것이다.

• Journal of Yeungnam Medical Science
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• 제9권2호
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• pp.275-287
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• 1992

중국연변자치구에 있는 연길시에 거주하는 주민중, 조선족472명과 한족479명을 대상으로 1991년 1월에서 1991년 3월까지 통합불안우울척도를 사용하여 평가한 결과는 다음과 같다. 불안, 우울성적의 총평균점은 조선족이 $29.70{\pm}7.03$이었고 한족은 $29.45{\pm}9.01$로 유의한 차이가 없었고, 항목별성적에서 조선족이 높게 평가한 불안-우울척도의 상위 항목들은 피로, 소화불량 및 식욕감소, 수명장애, 악몽, 건강염려등이며 조선족이 낮게 평가한 하위수준의 항목은 졸도감, 두려움, 자살의도, 절망감, 이상감각 등이며 한족이 높게 평가한 상위 항목은 피로, 악몽, 불안감, 불만족, 정신붕괴, 건강염려등이었으며 한족이 평가한 하위수준의 항목은 두려움, 졸도감, 이상감각, 체중저하, 자살의도 등이었고, 두그룹비교에서 조선족이 한족에 비해 높게 평가한 항목은 소화불량 및 식욕감소(p<0.01), 수면장애(p<0.01), 건강염려, 감소된 성욕(각각p<0.05) 등의 항목이며 한족이 높게 평가한 항목은 안면 홍조p<0.01), 불안감, 불만족, 자살의도(각각p<0.05) 등의 항목이었다. 통합 불안, 우울척도의 총점이 50점이상인 고득점자는 조선족이 12명(2.54%) 한족이 21명(4.38%)였다. 사회정신의학적 요인 평가에서 양궁 모두 여성 20세미만의 경우(각각p<0.01),와 가정분위기에 불만인 경우(각각p<0.01), 정신과적 입원 경험이 있는 경우(조선족p<0.01, 한족p<0.05)와 과거, 현재, 미래에 대한 자아관의 태도가 비관적인 경우(각각p<0.01) 유의하게 높은 성적을 보였으며 종교의 요소에 대해서는 유의한 차이가 없었다. 결혼 여부에 대해서는 조선족에서는 이혼 및 별거의 경우 높았고, 한족에서는 미혼인 경우 높았으며(각각p<0.01), 교육에 대해서 조선족은 무학의 경우 높았고, 한족은 대졸의 경우 높았으며(각각p<0.01), 성장지에 대해서는 조선족의 경우 성장지별간에 유의한 차이점은 없었으나, 한족의 경우 대도시에서(p<0.01) 유의하게 높은 성적을 보였다. 현재 거주지에 대해서 조선족은 기숙사의경우 높았고, 한족은 자취의 경우 높았으며(각각p<0.01), 잡비에 대해서 조선족은 $1미만에서 높았고, 한족은 $7-10의 경우 높았다(각각p<0.01).