• 호스피스학술지
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• 제5권1호
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• pp.42-49
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• 2005

To determine which are the culturally specific factors of Korean bereavement, this chapter focuses on the view of death and the traditional mourning process which reflect Korean values and norms. The formation of the Korean view and understanding of death has been strongly influenced by three of its major traditional religions: Shamanism, Buddhism, and Confucianism (Park:1994: Hao:1999) and Christianity more recently. Each religion has a different view of death and the appropriate expression of mourning. Korea accommodates funeral customs and rules strictly as a cultural system and has retained these traditions over a long period; hence, some of the traditional funeral rituals still remain in modern Korean life, although some of the rites have been simplified. We have looked at the various ways in which grief and mourning is displayed and shared in a collective manner over a long period of time. This fits in well within the other Eastern cultures that are collectively organized, and contrary to the Eurocentric models do not hastily seek to detach the living from the dead and recognize that grief is a long process, and different individuals may take different amounts of time to recover from the grief. The view of death and bereavement in Korea has sprung from the roots of three Korean religions, together with the recent addition of Christianity, although they mainly result from the three earlier religions. The beliefs of these religions are still closely linked together in the rituals of Korean bereavement on both conscious and unconscious levels. The influence of these religions is evident in practice through the bereaved family's mourning reactions, funeral rites and customs and its views about death. Korea used to have a period of mourning for three years, following traditional mourning rites; then the chief mourner and the bereaved families could return to their normal life. In spite of this long mourning process for the bereaved family, once the funeral ceremony is finished, people expect the bereaved family not to express their grief in public; even the bereaved family does not like to talk about death. The process for bereaved people is related to mourning processes in terms of detachment from the deceased in order to start a new life. Relatives and the community recommend the performance of the kut ceremony for relieving the grief of the bereaved. When one family member dies in an unlucky way, the bereaved family may have some fear or other psychological reactions of grief such as pain, depression, insomnia and nightmares, hallucinations or other physical reactions. Unlucky deaths give the bereaved a very painful time and these types of reactions are often more serious than reactions to natural death. But through the kut ceremony, the bereaved family can start to make a new relationship with the deceased. The taboo of this type of death and death generally remains a crucial aspect of the isolation that bereaved people might face and the collective nature of mourning(even where it is still present) is unable to address this aspect of the privatization of grief.

• 한국의류산업학회지
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• 제6권2호
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• pp.144-152
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• 2004

In this study, the settlement of this etiquette book and the five-class mourning-costume system throughout two dynasties is examined and analyzed.; According to the Chosun dynasty's efforts to practice Chu-Ja-Ga-Rye(朱子家禮, Chu Hsi's Book of Family Rituals) through legal intensification and enlightenment policies, the book's teachings had a general effect on society at large. As a result, the family system and funeral rites turned Confucian from a Shaman-Buddhist mixture. As the Confucian order was strengthened to highlight the authority of the male family head, the funeral rituals were based on Chu Hsi's Book of Family Rituals. So, the 100-day funeral of Koryo turned into the 3-year funeral in the Chosun dynasty. Also, the main and father's lines were valued, while the mother's and wife's lines were neglected. Even though there was no great difference of status or place between males and females in the Koryo dynasty, the settlement of Chu-Ja-Ga-Rye brought about the drop of women's status as they gradually began to be dependent on men.

• 한국식생활문화학회지
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• 제25권6호
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• pp.719-724
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• 2010

The purpose of this study was to survey public preferences for dining space image styles depending on the types of passage rites in Korea and to determine potential differences in public preferences for dining space image styles depending on the types of passage rites in terms of various general characteristics such as gender, age, family type, and preference for the image and color styles of the dining space. As a result, this study determined the following: According to a public preference survey of dining space image styles depending on the type of passage rites, our respondents showed the highest preference for casual images (27.1%) at a party for a 100-day-old baby. Additionally, our respondents showed the highest preference for casual images (27.4%) when celebrating a baby's first birthday but showed the highest preference for romantic images (35.8%) when celebrating a baby girl's first birthday. Our respondents showed the highest preference for casual images (21.4%) for graduation ceremonies. Our respondents showed the highest preference for classic images (21.7%) at coming-of-age ceremonies for new adult men, but also showed highest preference for elegant images (26.2%) at coming-of-age ceremonies for new adult women. Moreover, the respondents showed highest preference for classic images (41.0%) at traditional wedding ceremonies but elegant images (24.1%) at modern wedding ceremonies. In contrast, the respondents showed highest preference for classic images (31.3%) for a 60th birthday party. The highest preference for classic images (28.9%) was found for a diamond wedding ceremony. Respondents showed highest preference for classic images (30.4%) for a funeral ceremony Finally, our respondents showed highest preference for classic images (32.5%) at memorial services (religious ceremonies).

• 동양고전연구
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• 제59호
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• pp.359-386
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• 2015

2006년 고마자와대학에서 발견된 간경도감본 "오삼난야신학비용"의 출현은 답보상태에 있던 다비법 연구에 새로운 전기를 마련하는 계기가 되었다. 3권으로 구성되어 있는 "오삼난야신학비용"은 상권은 일부 낙질이 있고 하권은 가의 일반의례를 담고 있다. 중권은 동아시아 불교상장례의 시원을 담은 내용으로 편집되어 있어 중요한 의미를 지닌다. 본 논고에서 중권의 내용을 분석하였다. 속례를 따르던 불교의 상례를 수방비니(隨方毗尼)에 따라 새로이 만들었으며, 오복(五服)은 법의(法衣)의 뜻을 따라 오삼(五衫)이라고 한다. 감구효당(龕柩孝堂)은 자체불(自體佛)을 밝히는 일향일등(一香一燈)을 시설하고, 사리(śarīra)인 골신(骨身)의 전신 사리를 모시는 곳이다. 조위문(吊慰文)은 슬픈 마음과 비통한 용모를 지켜야하고 그 마음을 하얀 종이 위에 글로서 나타내야한다. 제문(祭文)은 죽은 이를 위한 글로서 반드시 고제(告祭)를 따라야 한다는 것이다. 이와 같은 구성과 내용은 "석문상의초" 상하권에 반영되었다. 특히 "오삼난야신학비용"의 저술 의도는 "석문상의초" 서문에 반영되고, 이후에 조선시대의 다비법 성립에 영향을 끼친다. 불교상장례의 의미와 절차는 "오삼난야신학비용"의 상례에 "석씨요람"의 장례법을 통합하여 "석문상의초"라는 다비의례서로 완성하게 된다. 다비를 한 후에 탑을 세우는 것은 원적(圓寂)을 이룬 상징이며 깨달음의 한 종류이다. "석문상의초"에서 상례와 장례를 하나로 묶는 편집은 한국불교다비법의 원형을 만들었다는데 큰 의의가 있다. 그리고 다비 후에 사리를 탑에 안치하는 것은 불교적 삶의 완성을 보이는 것이다. 특히 불서를 만들던 간경도감에서 다비법의 원형인 "오삼난야신학비용"을 판각하여 제작?보급하였다는데 또 다른 의의를 두어야 할 것이다.

• 헤리티지:역사와 과학
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• 제45권4호
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• pp.74-91
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• 2012

본 논문은 빈전(殯殿), 진전(眞殿), 산릉(山陵) 등 다른 상장례 공간에 비해 비교적 적은 연구가 이루어지고 있는 혼전공간(魂殿空間)을 대상으로, 혼전공간을 구성함에 있어서 어떤 요소들이 영향을 주었고, 내부의 구성이 어떤 식으로 이루어져 왔는지에 관한 분석을 통해 혼전공간의 위치관계 및 궁궐별 구성을 분석하는데 그 목적이 있다. 조선시대 의례 중 흉례에 있어서 혼전(魂殿)은 사상적, 종교적인 면뿐만 아니라 기능적이고 건축적인 특성도 함께 지니고 있다. "국조오례의", "혼전도감의궤", "조선왕조실록" 등을 분석하여, 국상 시 사용되는 혼전를 중심으로 혼전과 주변 공간에 관한 기본적인 사항들을 정리하면서, 각각의 궁궐에서 혼전의 위치가 어떠한 상징성을 갖는지에 관한 의문점을 풀고 궁궐별 혼전공간이 규칙화된 특징이 존재하는지 비교하였다. 본 연구를 통하여 조선 초기에는 경복궁 자선당을 중심으로, 조선 후기로 갈수록 창덕궁 선정전은 주로 왕이 이용하고, 창경궁 문정전은 주로 왕후가 사용하였음을 알 수 있었다. 또한, 혼전을 선정함에 있어 정치적 공간이 필요해 편전의 사용을 꺼린 기록들과 조선후기로 가면서 조선 초기 편전공간으로 사용되었고 혼전으로도 사용되었던 공간들이 용도의 변화가 생기며 다른 곳으로 편전(便殿)을 이동한 분석들을 통해 편전이 아닌 다른 곳을 혼전으로 사용하려고 했음을 분석하였다. 조선시대 각 궁궐에는 "국조오례의"에 따라 혼전의 주요 공간이 구성되었고, 혼전의 주변전각들은 궁궐의 특성에 맞게 배치되어 일정한 패턴의 공간이 존재함을 알 수 있었다.

• 복식문화연구
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• 제5권1호
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• pp.29-42
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• 1997

Our ancestors had done their best for the moral training and home management, further more for the governing a country through observing the decorums. The 4 main decorums, i. e. the Coming-of-Age Ceremony, Wedding Ceremony, Funeral Rites and the Ancestor worship Ceremony during the Chosun Dynasty had guided well our ancestors'life harmoiously. The Wedding Ceremonies of them was one of the most happy events in their lives meaningful of the filial piety and the union of two families. The Wedding ceremonies consist of the 6 etiquetes, i. e., Eui-Hon (matchmaking), N뮤-Chae (present), Nab-Pye(bride's presents to her parents-in-law), Chung-Gi(ask the other part about an auspicious day), Moon-Myung(choice of an auspicious day), Chin-Young(take and meet a bride) in order of sequence. Chin-Young consists of Cho-Hon, Sa-Dang-Go-Woo, Sung-Bok, Cho-Rye, Boo-Myung-Ji & Mo-Song, Jun-An-Rye, Hab-Geun-Rye, Sin-Bang-Chi-Reu-Gi, Hyun-Goo-Rye, Myo-Hyun and Jae-Haeng ete, considerably complicated programs in order.

• 대순사상논총
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• 제16권
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• pp.265-304
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• 2003

장례의식은 불교에서 가장 중요한 정기적인 의식들 중에 하나이다. 이러한 의식은 수도자나 죽은 사람들을 위해서 행해지고 있다. 그렇다고 장례의식의 목적이 죽은 사람들만을 위한 것이 아니라 근원적으로는 'saṃsāra'의 윤회로부터 완전한 해방을 구하는 모습을 의미한다. 티벳불교에서의 죽음은 두 가지를 의미를 인식한다. 하나는 열반으로 입적하는 것으로 다섯 가지에 완전히 융해되는 것을 뜻한다. 이러한 죽음은 더 이상의 '태어남'이 없다. 열반의 경지는 카르마 안에서 융해 되거나 평화를 얻은 경지인 것이다. 또 하나의 죽음은 카르마의 법칙에 의해서 통제 되거나 하나의 영혼이 열반 안으로 들어가기 전까지 순환적인 주기 안에서 지속적으로 반복되는 것이다. 카르마는 불교의 관례를 통해서 카르마의 힘은 없어질 수 있다고 할지라도 근본적으로 외부적인 간섭을 수행하지는 않는다. 즉 불교의 이념들은 각자의 노력을 통해 해방을 얻는 것을 가르치고 있다. 하지만 카르마의 경로가 식별하기 어려워 제의식의 효과나 수행의식을 통해 알아 볼 수밖에 없다. 여기서는 티벳불교에서 죽은 후의 몸을 적절히 배치하는 방법을 얻는 제의식이나 축제에 관심을 갖는 것이 아니라 이를 통한 실질적이고 복합적인 힘, 그리고 카르마적 흐름을 바꾸거나 심지어 없애버릴 수 있는 의식에 관심을 갖고자 한다.

• 복식문화연구
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• 제8권5호
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• 가정과삶의질연구
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• 제8권1호
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• pp.115-127
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• 1990

The Korean have admired and lived with decorums through Jeol, a representative practical formality which expresses the decorums intensively. Jeol is the way of greeting native to Korea and an intangible culture close to Korean life style. To be remained as a culture, the traditional propriety Jeol should reconcile to the present life feflecting our history. On this viewpoint, the purpose of this research is to furnish the authority of the creative inheritance on the settlement of Jeol and other decorums suitable to the present. This research is consisted of 1) the study of the meaning of Jeol and 2) the hidtorical research through records. 'Jurye' is regarded as the oldest literature on the systematic explanation about Jeol and has been very often used down the ages. Jindong in 'Jurye' and Kodu in 'Karyejipram' are the same Jeol which expresses the grief in funeral rites. In 'Seonghosaseol', Abae which stands one knee is explained and investigated as the case of offense by the literature. And it is also interpreated as a Jeol with respect, while many other Jeol is to fall an both of kness, Abae is not performed generally. 'Yeki' has brief explanation about Kongsu Manner (to hold hands), Jeol between the king and minister, host and guest, Buinbae, Jeol in custom, wedding ceremony and funeral ceremony and Jeol in drinking manner. In 'Chunchukongyangjeon'. there is the explanation about Jeol of the minister who comes back after his duty to the king. 'Sunjajiphae' interprets Bae and Kyesang and informs that Kuesu is the most respectful Jeol only to the king, 'Seojeon' proves the Jeol habitually used in all kinds of ceremonies and etiquettes. 'Jeongbomunheonbigo' introduces the custom of Jeol in Shilla, Koguryo, Buyeo, Koryo eras by using literature and shows the commoness of both kneeling down generally. The result of this research has the meaning for the creation of life culture in the basis of the spirit 'Onkojisin'(reviewing the old and learning the new) by establishing the present Jeol with tradition.

• 비교문화연구
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• 제41권
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• pp.177-197
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• 2015

연구를 통해 로살리아 데 카스트로의 "바다의 딸"은 스페인 갈리시아의 소도시 묵시아와 피니스티에레 곶의 자연의 구성 요소들인 바다의 움직임, 해변의 풍경, 폭풍우, 생명력 넘치는 식물들 등을 배경으로 하는 갈리시아인들의 생활상의 세밀한 묘사라는 사실을 알 수 있었다. 작품에 묘사되는 갈리시아의 자연은 그곳 사람들에게 한편으로는 공포의 대상이기도 하지만, 다른 한편으로는 온갖 종류의 나무들과 꽃들의 향기로 가득한 어부들과 농부들의 아름다운 삶의 터전이기도 하다는 사실을 확인할 수 있다. 한편 자연 환경묘사와 더불어 갈리시아인들이 보존하고 있는 전통적 유산의 일부인 망자의 장례과정을 통해 가톨릭의 종교의식과 미신적 제의식이 혼합된 갈리시아만의 독특한 문화가 융합된 지역임도 확인시켜준다. 또한 작가는 갈리시아 어부들의 과도한 음주문화와 주신제나 살주식에 대한 언급을 통해서도 갈리시아가 오래되고 심오한 풍속의 땅이고, 특별한 문화를 간직하고 있는 땅임을 확인시켜준다. 이렇듯 로살리아는 갈리시아 사람들의 일상 속에 언제나 존재하면서도 깊이 있게 조명되지 않았던 자연환경과 인간들의 삶의 모습을 문학작품을 통해 그림으로써 갈리시아의 외적 현실과 갈리시아 정체성의 일부를 우리들에게 확인할 수 있는 공간을 제공한다.