• 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.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.3 no.1
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• pp.57-85
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• 2023

The politico-economic waives of Western imperialism and colonialism, along with Christianity, affected East Asia's geopolitical landscape in the nineteenth and twentieth centuries. While the Korean people (of the Joseon Dynasty) witnessed the incompetence of Buddhism, Confucianism, and folk religions in maintaining social cohesion with a sense of frustration, the new religious movements (NRMs) emerged to provide altrnative teachings of hope through historical figures like Choe Je-u, Kang Il-sun (or Kang Jeungsan), Na Cheol, and Pak Chungbin. In terms of popularity, colonial Korea (1910-1940) was impressed by the native groups of Cheondogyo (=Donghak), Bocheongyo, and Mugeukdo. Son Byong-hee (1861-1922) was the third leader of the first Korean NRM, but both Cha Gyeong-seok (1880-1936) and Jo Cheol-Je (= Jo Jeongsan) (1895-1958) participated in the post-Jeungsan grassroots movements. How, then, did both of these new religions originate? How did they conceptualise their deities and interpret their teachings differently? What was their policy for national independence? The article explores the socio-religious leaders, historical origin, organizational structure, deities, teaching and doctrines, patriotism, and conflicts of both NRMs in a comparative context. As such, this article argues that they both maintained patriotic characteristics, but that Cha's Bocheongyo community with its ' 60-executives' system (60 bang) failed to manage their internal conflicts effectively. Meanwhile, Jo Cheol-Je of Mugeukdo had the charismatic leadership needed to maintain Mugeukdo, despite being seen as a pseudoreligion under the colonial pressure of Shintoism.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.30-51
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• 2011

During the process of modernization, many rural villages in Korea have experienced degeneration and breakdown, losing sustainability. However, Oeam village in Asan City, South Chungcheong Province (State-designated cultural heritage, Important Folk Material No. 236) has established itself as a unique folk village, which evolves with sustainability, pursuing the revival of Neo-traditionalism. Oeam village is a tribal village of the Yis from the Yean region and has maintained environmental, economic, and social sustainability and soundness for over five centuries. Thus, the village has sustained itself well enough to be a cultural asset with 'Outstanding Universal Value', in terms of its value as world cultural heritage. The village maintains its own identity, filled with a variety of traditional and scenic cultural assets that symbolize a gentry village. Those assets include Confucian sceneries (head family houses, ancestral shrines, tombs, gravestones, commemorative monuments, and pavilions), various assets of folk religion (totem poles, protective trees at the entrance of a village, shrines for mountain spirits, village forests), tangible and intangible cultural assets related to daily lives (vigorous family activities, rigorous ancestral rituals, family rituals, collective agriculture and protection of ecosystem), which have all been well preserved and inherited. In particular, this village is an example of a well-being community with a well-preserved folksy atmosphere, which is based on environmentally sound settlements (nature + economy + environment + community) in a village established according to geomancy, East Asia's unique principle of environmental design. In addition, the village has kept the sustainability and authenticity for more than 500 years, combining restraint towards the environment and the view of the environment which respects the natural order and cultural values (capacity + healthy + sustainability). Therefore, the Oeam folk village can be a representative example of a folksy and scenic Korean community which falls into the category of IV (to exemplify an outstanding type of building, architectural or technological ensemble, or landscape which illustrates significant stages in human history) and V (to exemplify an outstanding traditional human settlement, land-use, or sea-use which is representative of cultures, or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change) of Unesco's World Cultural Heritage.

• Journal of Physiology & Pathology in Korean Medicine
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• v.21 no.6
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• pp.1590-1596
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• 2007

Complementary and alternative medicine (CAM) has gained in popularity among cancer patients in recent years. The use of CAM in cancer patients is common with about one third of patients using some form of CAM in Western countries. The purpose of this study was to analyze the use of CAM and determine what factors affect to use CAM among cancer patients to provide CAM therapy information and assist therapy selection among various CAM therapies to cancer patients. The design of the study was descriptive cross-sectional, and data were collected using a 16-item questionnaire. This study was conducted in subjects with confirmed diagnosis of stomach, colon, liver, or pancreas cancer, in both out-patients clinics and inpatients setting in a tertiary hospital in Seoul Korea. As a result, among the participants, past or current CAM use was reported by 75%, which shows a statistically significant difference in income groups(P<0.05), but no difference in age and religion groups. The most common therapies use by cancer patients included traditional Korean medicine (32.1%), folk remedies (26.6%), exercise (14%), dietary supplements (11.6%), physical therapy (9.9%), diet therapy (5%), and meditation (4%). 77.8% of patients show satisfaction and 64.4% shows perceived effectiveness of CAM. Male patients with higher income, and previous treatment were more likely to use CAM. The main benefits from CAM reported by cancer patients were psychological improvement and symptom improvement. Of the cancer patients used CAM, 30.9% were dissatisfied, 25.8% did not have benefits from the use, and 7.6% experience side effects. Cancer patients who prefer CAM (more than 3 kinds) used it to cure cancer, on the contrary, the one who do not prefer CAM used to improve symptoms and psychological stability. The main sources of information about CAM were family and friends(54.4%), and media(24.5%), doctor and nurse(18.3%), and religion group(2.6%). Findings suggest that due to the relatively high use of CAM among cancer patients in Korea, this topic should be taken into account in the development of a holistic approach to cancer patients and efficient cancer patients management system and proactive and consistent management of CAM is necessary in the health care system in Korea.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.61-72
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• 2001

Chunghahk-dong is located in a retired spot, Jiri Mountain and has been built up its won religion and culture without any exchange outside world. People in Chunghahk-dong believe in a religion called Genjungyutaosim. Forming a trinity on which mind is Taoism, body is Buddhism, and behavior is confucianism. These are the principle elements to form a village. They made their own unique cultural factor such as longhaired boys and girls, wearing traditional cloths and hat, a monastic life, folk mores and family rituals, and private school system. This shows a great deal of affection on their life style and organization and is closely connected with community and culture. Grasping a culture and behavior on clothing, it has propose to understand Chunghahk-dong properly according to this study. A method of study has a purpose to understand culture and clothing behavior precisely in Chunghahk-dong. I inquire ito clothing behavior with investigation and study of picture script. The results are as followed; People in Chunghahk-dong show unique clothing and hair style behavior based on Genjungyutao. First, men and women wear a white cloth called HanBok(Korean costume) and footwear made of rubber. Only men wear a blue vest. A grown up men wear a long coat when they go out. They are dressed in tractional cloth for a ceremonial occasion. The reason why they put on the HanBok(Korean costume) is a belief on our traditional cloth becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea become a leading country in the world. This clothing behavior is symbol of Genjungyutao and has a role of delivery system for expressing their split. Second, In sign of being a Genjungyutao men, they let their grow hair. Cutting hair is not to be a Genjungyutao men any more. There is few reason that people in Chunghahk-dong let grow their hair : First, because of importance in TanGun's ideology, they believe Korea is a first nation in the world and can't cut their hair which has grown from TanGun (The founding father of the Koran nation) Chosun traditionally. Second, Cutting their hair runs counter to the principle of nature. Third, They value their body for confucianism. They don't want to damage their body because of body from their parents. Boys and girls braid and tie up their hair and adult tie a topknot and a chignon. Wearing a YouGun(A horsehair skullcap) at home and Kat(A Korean top hat) when going out, they express as a Genjungyutao. Hemp cloth and synthetic fibers are main clothes. Also, they wear an improved HanBok(Korean costume) these days on influence outside.

• The Research Journal of the Costume Culture
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• v.28 no.2
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• pp.199-214
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• 2020

The study investigates Atlas fabrics, the Ikat weaving method used by the Uygur People in Xinjiang, China. Based on domestic and foreign papers and other literature, different cultural characteristics of Ikat fabrics from various regions are compared. Following a theoretical investigation, characteristics of fabrics from the Indian Patola, Indonesian Ikat, Japanese Kasuri, and Uzbekistan Adras are summarized and compared with the characteristics of pattern, color, and manufacturing process of Atlas silk from Xinjiang China (also an Ikat fabric). The results are as follows. First, although the weaving process used for Ikat fabrics differs from country to country according to different national cultures, lifestyles, colors, patterns, and usage methods, they are all Ikat dyed fabrics. Therefore, they are all regarded as precious objects symbolizing a certain social status, and are used as a gift for special occasions, such as weddings. Second, the form of the pattern varies. Indian Patola has clear outlines and regular patterns, while the patterns of Japanese Kasuri are mainly inspired by folk life ideas. Indonesian Ikat contains influences from indigenous tribes, and Uzbekistan's and China's Atlas textiles are influenced by geography, religion, and national culture, including bright colors and pattern designs inspired by plants, musical instruments, and geometric figures. Finally, the patterns and colors of Xinjiang Atlas fabrics present strong ethnic characteristics. Unlike the Uzbekistan fabric which is mostly influenced by Islam, human and animal patterns would not feature in Xinjiang Atlas patterns, which mostly consist of long strips, repeated in a neat and orderly form.

• The Korean Nurse
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• v.33 no.4
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• pp.86-98
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• 1994

We have examined the development and conceptual definition of shamanism and divination through significant characteristics of various illnesses. However, the terrminology has been inconsistent and its real conceptual meaning is not well defined. Divination is a historically dominant religious practice which represents the core of Korean folk culture. Despite prevalent prejudice toward its primitive nature, we cannot deny its profound relationship to our unconscious, especially our reliance on its religious role whenever we face crisis or conflict. It is therefore appropriate to use the term divination in this context. Shamanism originated as humanity's oldest mode of communication with divine - a religion, The shaman is not a sorceress but a priestess, a healer, a spritual guide, a leader, a mystic, traditionally having a different significance from that of the contemporary diviner or "shaman". The traditional concept of illness has been profoundly altered to serve new functions: while the shamanistic view is based upon spiritual abduction, divination on the other hand invokes concepts of spiritual invasion phenomena such as spirit intrusion, taboo violations, soul loss, object instrusion, deviations from the appropriate spiritual path besiegement, and curess or predestination (the idea that the sufferer is born with his fate), We should therefore try to understand divination from a more holistic point of view, rather than attempting to fit it into the standrd medical illness. We must recognize divination as a phenomenon within our culture, since most people have a mixed conception of illness arising from a combination of divinational and modem concepts, Since divination's humanistic approach is ingrained in our people, to irresponsibly ignore the spiritual aspects of treatment would exert a negative influence on our culture, Especially now, while attraction is focused on Korean culture and its influence on every aspect of our livies, it is important for nurses to expand our horizons in order to create a way of nursing more suitable to Korean culture. Increased importance is now being given to the opinions of patients themselves about their own illness and health, so nurses should seek to understand how patients accept their illness and what particular kinds of help they expect to receive. Consequently, an understanding of traditional divinations will enable us to utilize these characteristics on the job in order to enhance nursing care.

• Cartoon and Animation Studies
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• s.31
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• pp.1-27
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• 2013

The study looks a shape of hybrid character in animation and suggests extended discussion to develop the Korean creative characters and to repeat traditional culture that can reproduce in mass media. First, this study considers Jangseung and Dokkaebi that appear frequently in the Korean traditional culture, and prepares a way to try to develop the Korean hybrid characters. To do this, I analyze examples of hybrid characters direction in as-found animation characters, and grasp the meaning of it. Hybrid character is classified as a character produced by mix and combination of shape and a character produced by shape exaggeration. And I shed new light on characters and meanings of Jangseung and Dokkaebi remaining as cultural assets. Through this, the study wants to help handling measure about a problem of character that the Korean animation has. Therefore, this study looks characters of description about imaginary creatures expressed in existing animations, and wants to shed new light on the Korean Jangseung and Dokkaebi regarded as from an object of folk religion and custom, to an object that is possible to use in the Korean traditional character development.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• Journal of the Korean Society of Costume
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• v.14
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.