• The Journal of the Korea Contents Association
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• v.10 no.12
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• pp.223-235
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• 2010

As the funeral service is on ritual of addressing death that is the final phase of life, it can be said to be the final stage of welfare service. It is developing into the stage of make-up, which reproduces the image of reality or expresses with the better appearance from the level of recovery technique, which restores the final form of the dead. This is caused by a request of the bereaved family with the aim of remembering the dead's final image with good looks. Methods, which are being changed by period, can be found in a record. As this funeral make-up is one field of special make-up, it is systematically made into proper application method along with the development in special materials. Thus, it will become one of the most important courses henceforth in our funeral culture available for beautifully decorating the dead's final image. In order to satisfy the request of the bereaved family, it is necessary to made floral decoration, casket cloth, and acoustic effect including the casket stage of worshipping the dead inside the funeral hall.

• Journal of the Korean Society of Floral Art and Design
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• no.40
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• pp.25-43
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• 2019

The purpose of flower decoration at the funeral altar is to create various flower decorations at altar according to the social status of the deceased, to console psychological shock and pains of mourners and the bereaved families, and to make them remember the life of the deceased beautifully. In this study, five top funeral service companies in Korea selected by the Fair Trade Commission in 2017 and five repr And this researcher identified problems in flower decorations at the funeral altar in Korea, by comparing and analyzing the styles of flower decorations at funeral altars in Korea and Japan. In addition, this researcher surveyed consumers' preferences by age group. According to the results of the survey, most of the entire age group responded positively to the flower decorations at the funeral altar which focused on the job of the deceased. This means that consumers are demanding changes to the flower decorations at the funeral altar which are made up of the products of funeral service companies. In addition, the results of the survey, it can be seen that most consumers prefer to decorate the altar flowers according to the occupation, hobby, and taste of the deceased and present the altar in three dimensions like a landscape of nature. esentative funeral service companies in Japan were surveyed on the status of flower decorations at the funeral altar.

• The Research Journal of the Costume Culture
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• v.8 no.2
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• pp.237-260
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• 2000

According to the study of Jik-Ryoung(直領) consulting chronicles of the Chosun Era, Jik-Ryoung had been worn for various uses as official outfit, ordinary attire or clothes for the celebration of their coming of age, wedding ceremonies, funeral rites, and religious ceremonies, etc. from the beginning to the end of the Chosun Era. The conclusions are shown briefly as follows. 1. There are several terms of Po(袍) related to Jik-Ryoung in the chronicles under the name of Jik-Ryoung Ui(直領衣), Ui-Sal Jik-Ryoung(衣撒直領), and Jik-shin(直身). Jik-Ryoung Ui is the other name of Jik-Ryoung that they called it when it was used for funeral rites and religious ceremonies. The chinese Ye-Sal(曳撒) was called the Ui-Sal Jik-Ryoung in Korea, but this is different with Jik-Ryoung regarding its divided up and bottom style. Jik-Shin is almost same as Jik-Ryoung. 2. During the latter period of the Chosun Era, we can find diferent frequency in use of the Jik-Ryoung. Jik-Ryoung was shown constantly in the cases of that ding, Chinese Prince and lower-level constantly in the cases of that king, Crown Prince and lower-level officials wore it for funeral rites and lower-level officials, artisans, merchants, humbles and slaves wore it for official outfit. Uses of the Jik-Ryoung increased for military officers'outfits, in contrast to decreasing of uses for ordinary attires of king, Crown Prince, and the commons, and official outfits of civil officials. 3. These different aspects mean the change of estate and role. For the basic four ceremonial occasions the ceremonies of coming of age, marriage, funeral, and ancestor memorial-, it appeared constantly. Therefore the social role had been maintained also by then. As an official garb, the role for official uniform of petty official maintained by the end of the Dynasty. But from the latter 1600's to the former 1700's, the roles for official garbs of civil officials and military officers decreased and increased respectively. Before the Hideyoshi's Invasion of Korea in 1592, ordinary social clothes had orders by people's social status who wore them ; those were Dan Ryoung(團領), Hong Jik Ryoung(紅直領), Jik Ryoung(直領), Cho'l Rick(철릭) in the order named. After the war, various Po(袍), Shim Ui(深衣), Jung Chi Mak(中致莫), Chang Ui(　衣), Jang Ui(長衣), Ju Ui(周衣) and so on had been worn until the King Young Jo(英祖)·Jung Jo(正祖) period. In result, the social role of Jik-Ryoung was reduced as the uses decreased more and more. For a mourning dress, it had a same aspect as the case of ordinary social wear. 4. Considering the color, they used blue for the clothes for doing-up-the-hair ceremony, white for mourning clothes, and white, black for ancestor memorial ceremony clothes. On the official outfits of officials, dark blue and black were used mostly. And lower-level officials'clothes had white, red, and green on them. They used red and green for the plain dresses. 5. Examining the materials, clothes for the celebration of one's coming of age were made of high quality silks, Kwang Hwa Dan(廣禾緞). Also, they made clothes for funeral rites of rough and thick linen, and made clothes for religious ceremonies of linen and hemp. The official outfits were made of practical materials like cotton, hemp and ramie. Cotton, pongee and satin were used to make ordinary attire.

• Journal of the Korean Home Economics Association
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• v.44 no.2 s.216
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• pp.49-59
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• 2006

Mourning culture has tended to be reduced to mere empty formalities with more simplified regulations. Changes in modern life style make it difficult to perform extended mourning ceremonies and the venues for mourning ceremony have shifted from private homes to chapels of rest in hospitals or Funeral Homes. Mourning clothing, the symbol of filial duty, has gradually been changed in shape. The study purposes were to research in the shapes of modern mourning clothing through field study on mourning clothing manufacturers and to compare traditional mourning clothing with the modern varieties through the actual making of traditional male mourning clothing based on old regulations. The study of mourning clothing through actual making prevents transformation and provides practical research data. The study methods were inquiry into old documents, field study, and actual clothing making. The study results are as follows. First, in terms of shape, traditional and modern mourning clothing are different in Garyeong, Lim and Daehacheok of Choiui. In case of Choisang, traditional clothing has one central plait in its front and rear sides while modern clothing one has 3 single plaits in each side. Second, in terms of sewing, traditional mourning clothing leaves an exterior margin to sew up in Choiui and an internal one in Choisang. However, modern mourning clothing has various types of sewing and plaits depending on the manufacturers and all sewing is done by machine. Third, in terms of material, traditional mourning clothing is made of Korean hemp and features narrow width, while modern clothing is made of Chinese hemp and features broad width.

• (The) Research of the performance art and culture
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• no.25
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• pp.253-289
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• 2012

Dasiraegi is a traditional funeral rite performance of Jindo located in the South Jeolla Province of South Korea. With its unique stylistic structure including various dances, songs and witty dialogues, and a storyline depicting the birth of a new life in the wake of death, embodying the Buddhism belief that life and death is interconnected; it attracted great interest from performance organizers and performers who were desperately seeking new contents that can be put on stage as a performance. It is needless to say previous research on Dasiraegi had been most valuable in its recreation as it analyzed the performance from a wide range of perspectives. Despite its contributions, the previous researches were mainly academic focusing on: the symbolic meanings of the performance, basic introduction to the components of the performance such as script, lyrics, witty dialogue, appearance (costume and make-up), stage properties, rhythm, dance and etc., lacking accurate representation of the most crucial element of the performance which is sori (song). For this reason, the study analyzes the music of Dasiraegi and presents its musical characteristics along with its scores to provide practical support for performers who are active in the field. Out of all the numbers in Dasiraegi, this study analyzed all of Geosa-nori and Sadang-nori, the funeral dirge (mourning chant) sung as the performers come on stage and Gasangjae-nori, because among the five proceedings of the funeral rite they were the most commonly performed. There are a plethora of performance recordings to choose from, however, this study chose Jindo Dasiraegi, an album released by E&E Media. The album offers high quality recordings of performances, but more importantly, it is easy to obtain and utilize for performers who want to learn the Dasiraegi based on the script provided in this study. The musical analysis discovered a number of interesting findings. Firstly, most of the songs in Dasiraegi use a typical Yukjabaegi-tori which applies the Mi scale frequently containing cut-off (breaking) sounds. Although, Southern Kyoung-tori which applies the Sol scale was used, it was only in limited parts and was musically incomplete. Secondly, there was no musical affinity between Ssitgim-gut and Dasiraegi albeit both are for funeral rites. The fundamental difference in character and function of Ssitgim-gut and Dasiraegi may be the reason behind this lack of affinity, as Ssitgim-gut is sung to guide the deceased to heaven by comforting him/her, whereas, Dasiaregi is sung to reinvigorate the lives of the living. Lastly, traces of musical grammar found in Pansori are present in the earlier part of Dasiraegi. This may be attributed to the master artist (Designee of Important Intangible Cultural Heritage), who was instrumental in the restoration and hand-down of Dasiaregi, and his experience in a Changgeuk company. The performer's experience with Changgeuk may have induced the alterations in Dasiraegi, causing it to deviate from its original form. On the other hand, it expanded the performative bais by enhancing the performance aspect of Dasiraegi allowing it to be utilized as contents for Performing Arts. It would be meaningful to see this study utilized to benefit future performance artists, taking Dasiraegi as their inspiration, which overcomes the loss of death and invigorates the vibrancy of life.

• SUVANNABHUMI
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• v.2 no.1
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• pp.55-94
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• 2010

Even Faxian(法顯)'s Gaosengfaxianchuan (『高僧法顯傳』) and Iching(義淨)'s Nanhaijiguineifachuan (『南海寄歸內法傳』) are regarded as very important and useful documents to study the southeast asian buddhist culture, it is very difficult to grasp the contemporary state of those area because their descriptions are very brief and implicit. Therefore this essay aimed an in-depth reading their documents as original texts of modern understanding of those area, and tried to make a new views to approach the southeast asian buddhist culture by some more historically and concretely. At the early 5th century when Faxian(法顯) arrived, Buddhism was flourished in Sri Lanka. Because already a long time passed since the Saṇgha was schismatized into conservative and progressive at around the dominical year, he mentioned nothing about the conflict or disharmony of two orders. And the faith of Buddha tooth relic, which had been uprisen at 50 years ago from Faxian's visiting, was concretely established as a representative religion of Sri Lanka. According to his record, the carrying ritual of this Buddha tooth was performed very magnificently as similar with recent Korean Youngsan ceremony(靈山齋). In the mean time, it looks there were many sculptures of Buddha image made of precious stone of special product from Sri Lanka. The faith of Buddha-pāda(the Buddha's foot-prints) was also generalized at that time. The most famous monk of his contemporary Sir Lanka was Buddhaghosa, the author of Visuddhi-magga, but it is not sure that Faxian had met him. It can be suspected that the funeral in which Faxian participated could be belonged to him, or the Visuddhi-magga was writing at the peak during Faxian's staying. On the way to return to China, Faxian embarked an indigenous ship around Indonesia. It means there were no chinese trade ship which he can use. So the trade between china and southeast asia was advanced by south asian ships, and the chinese ships were not yet joined at that time so activity. And at least until that time, it looks there were no any remarkable buddhist movement in the southeast asian countries by where he stopped. In contrast, the southeast asian world which be seen by Iching had already experienced a lot of changes. He was impressed by the high quality buddhist culture of those area, and insisted to accept it to china. Further, he analyzed the sects of buddhism which were prevalent around the southeast asia in his contemporary time, and tried to make a good relationship with each native monks for learning from them. It looks the center of those exchanges may be Śrīvijaya of Indonesia. He also mentioned the situation of the late 7th century's Funan(扶南) in Cambodia. At that time, the buddhist Saṇgha was oppressed by newly rising Khmer(眞臘). On the other hand, he described the points of sameness and difference in detail between Indian and southeast asian buddhist culture in the field of ritual as like the practical use of garments, buddha images, and daily recited scriptures. There must be a lot of another aspects which this essay couldn't gather up or catch from these documents. Nevertheless, I hope this essay can help the researchers of this field and will wait for any advices and comments from them.

• The Journal of Art Theory & Practice
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• no.14
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• pp.7-32
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• 2012

The exhibition was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.