• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.494-504
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• 2014

This is a study of Hick's self-described Christological 'Copernican revolution.' Since Hick as a former Christian theologian did not want to reject one of the core Christian doctrines(incarnation), he presented his copernican revolution in terms of Agape Christology, an inspiration Christology and myth Christology through his Christological reinterpretation. Thus Hick's Christologies that are developed gradually are discussed and evaluated chronologically. First, agape Christology understands that the incarnation is taking place all the time in different degrees everywhere. As a result agape Christology makes Jesus as a mere human being. Second, an paradox of grace or inspiration Christology views the incarnation as the Spirit of God enabling people to fulfill the will of God by their free responses. This Christology assumes that divine incarnation can occur anywhere and anytime in any person. Thus, according to this, Jesus is not literally God incarnate as Christian claims. Third, myth Christology views that the incarnation is not literal but mythological. Though he prefers to use metaphor in his later writings because it has a more positive connotation than myth, myth and metaphor have one thing in common: they are neither literal nor historical. Hick's mythological Christology implies the denial of Jesus Christ as God incarnate. Accordingly, the researcher must conclude that Hick's Christology as copernican revolution cannot said to be a perfect solution for today's religious situation, even though it was a sincere try to communicate with pluralistic world.

• Journal for History of Mathematics
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• v.25 no.2
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• pp.11-21
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• 2012

The interdisciplinary study explores the Euler's theology through his mathematical landmarks. From the mathematico-theological perspective, we first address Euler's theological backgrounds, and then show the implications of Euler's identity as his mathematical Christology.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.359-369
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• 2018

When expressing Christ visually in the medieval Christian painting, the most important issue was how to express the divinity as Son of God and the humanity as attribute of human in a balanced manner. The purpose of the study is to examine both formative and symbolic characters of divinity and humanity on the Christ's body and clothes in the Medieval paintings, Transfiguration of Christ. In the paintings, Christ's body is definite evidence to show both his divinity and humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the Transfiguration of Christ were as follows: Blue, gold, purple, white and bleaching effect are the emblem of divinity, and red and color contrast effect with a high chroma stand for humanity of Christ. In addition, unstructured wrinkles of clothes reveal Christ's divinity, on the other hand, structured drapery shows his humanity through emphasizing volume of the body. Finally, divinity of Christ is shown on the gold clavus and red clavus intensify his humanity. Medieval Christian paintings are products planned out to express Christ's dual nature. There is a significance that the paintings represent the profession of painter's faith and the dogma of the era. Furthermore, they suggest the importance of the image to deliver the abstract concepts by visualizing.