• The Journal of Natural Sciences
• /
• v.16 no.1
• /
• pp.111-128
• /
• 2005

This study was conducted under the theory of hermitage ever built from buddhist belief. Directing to hermitages within temples of Korea Jogye Order, we focused on the layout correspondence relationship among them. and 161 hermitages were the first object of the investigation. For the accomplishment of the research purpose, the general epitome and spatial specification through various literature studies, on-the-spot survey and personal communications with a lot of priests were made. As one of the basic surveys, the foundation year were thoroughly investigated, followed by the form of building, main buddha and hermitage name. The results obtained were summarized as follows : Forty five hermitages which are equivalent to twenty eight percent of total hermitages within the parish-level temples of Korea Jogye Order, were built in shilla Dynasty and twenty hermitages that are 12.4 percent of the total were constructed in Koryo Dynasty and thirty seven percent of the total were founded during both of dynasties. This fact makes us to consider that many of hermitages in those days were constructed with the simultaneity of principal temple foundation which means hermitage had responded the spirit of the times. Every hermitage has its main Buddha and this thing happened that each hermitage enshrines its main Buddha according to the thought which was developed with the Buddhism expansion and sutra that is in accordance with their own intention. .Basically a capital temple has differed in its central sanctum in accordance with resourceful sutra, and, at the same time, twenty seven in avatamsk sectenshrine for Sakyamuni as their sanction and eight for the Merciful Goddess and 42.7 percent for Chajang's hermitages. The name of hermitage not only represents its symbol but comprises the characteristic meaning of ascetic practice. 31.7 percent of the hermitages studies was found to have the names of relating to 'ascetic practice' or 'thought' followed by the 'nature' or 'environment' to 21.7 percent.

• Journal of Digital Convergence
• /
• v.12 no.12
• /
• pp.601-609
• /
• 2014

This kind of goal orientation in Art Nouveau has provided nature-friendly designs to modern people living in a post-industrial society. For these people who want to have their own style in a natural and comfortable space and take a break from daily hectic daily routines for a moment, hair-by-night styles were created by adding the images of Greek goddesses to the nature-friendly features of Art Nouveau patterns known as 'flower pattern', 'wave pattern', and 'vine pattern'. In terms of the scope of this paper, four designs (Eos, Hestia, Artemis and Demeter) were created by using Art Nouveau patterns which are connected with flowers in an organic manner based on Rene Lalique and Emile Galle patterns.

• Journal of the Korean Society of Costume
• /
• v.63 no.2
• /
• pp.14-28
• /
• 2013

This study attempts to systematically analyze a red carpet style. I have researched the Academy Awards called representative film awards which symbolizes international fame and the Grammy Awards which is the most prestigious award in the music industry by subdividing into formative elements such as silhouette, color, fabric, pattern, detail, accessory, fashion image, and so on from 2000 to 2012. Firstly, when it comes to silhouette, mermaid silhouette accounts for the highest proportion in the Academy Awards. Compared to this, fit silhouette is shown almost the same percentage as the mermaid silhouette in the Grammy Awards. Secondly, with regard to color, black color has not only the highest percentage but also examples of different unit forms such as various color, showy gradation and single colors. Various colors in the Grammy Awards have similar percentage in comparison with the Academy Awards. Thirdly, in terms of fabric, silky material is often used most, which looks like putting more weight on dresses for the formative elements of clothes. Fourthly, in pattern, patternless dresses are represented by high percentage at both the Academy Awards and Grammy Awards. Dresses with patterns have mild, stylistic elements and geometric designs. The Grammy Awards shows many different unique patterns, color and size, compared to the Academy Awards. Fifthly, in detail, frill and ruffle ornaments are shown most at the Academy Awards and Grammy Awards. Especially in the Grammy Awards, beads ornaments are used most. Sixthly, in accessory, there are many accessories of graceful, elegance styles in the Academy Awards. On the contrary to this, there are many accessories to effect on many performances of large, fancy, unique styles. Seventhly, elegance images of a goddess style among fashion images emerge as fashion of the Academy Awards. In spite of romantic styles in the Grammy Awards, many various images are the same rate as there, which means different appearance of experiment and sensational styles.

• Journal of Conservation Science
• /
• v.30 no.1
• /
• pp.55-65
• /
• 2014

On this studyed, the Wibongsa BoGwangMyungJun BaekEuiKwanEum wall-painting was conservation of Scientific research ahead. This study carried out Grain size analysis, SEM-EDS, XRD, P-XRF, FT-IR and ultrasonic exploration for wall-painting. As a result, walls layer used to mineral particles size was mixing the medium-texture and fine texture. painting layers pigments used to base paintings was ocher, white pigments was hobun, red pigments was suckganju, green pigments was suckruk. Also BackuiKannon wall-painting walls damage reason of that was long-term physical shocks. painting layers damage was include detachment or powders. it is affected by temperature and humidity. Therefore in the future conservation of wall-paintings through scientific analysis based on such data, conservation processing is performed through the preservation and enhance the stability of the paintings as a basis for the conservation of management can be utilized.

• The Journal of the Korea Contents Association
• /
• v.13 no.10
• /
• pp.140-150
• /
• 2013

The Greek sculptor, Pygmalion, created a sculpture which was perfect in shape and fell in love with it. He prayed the goddess of love, Venus to transform it into a real woman. She answered his asking, and he finally got married to her. In Bernard Shaw's movie, , the linguist, Dr. Higgins, brought a street girl, Eliza Doolittle to his home and educated her standard London dialect and upper-class manners. Unlike the Greek sculptor, Higgins changed not only her appearance but also her inner identity, then she became 'a new woman' of the age. Abby in seems to live a successful life of thorough planning and pursuing knowledge, but there is no place for her to express natural instinct and human emotion. On the other hand, Mike is a totally different type of a person from her. Like a Greek sculptor, he changes her into a woman who can truly understand other people from her heart and listen to what her inner-self says to her. The Greek myth metaphorically suggests the way to build true relationships between people of all times.

• Journal of Fashion Business
• /
• v.15 no.4
• /
• pp.1-15
• /
• 2011

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.

• The Research Journal of the Costume Culture
• /
• v.7 no.1
• /
• pp.177-195
• /
• 1999

In this study, I tried to find out the diffusion and the receptive process of new culture with examining the costume of Ksitigrbha Bodhisattva Buddist drawings, which were drawn by our people in the Koryo dynasty. I classified each part of the costume of Ksitigarbha Bodhisattvas and found out overall characteristics and analyzed their meaning. The results are as follows ; First, because there were several ‘du-gun’ of peculiar types, Ksitigarbha Bodhisattvas were supposed to have ‘du-gun’ before Buddhism was diffused throughout China through the West. The type of ‘du-gun’ was deveoloed more and more through the West and appeared as the type of ‘du-gun’ of Ksitigarbha Bodhisattvas in ‘Ji-Jang Do’ in the Koryo dynasty. And the pecuilar type of du-gun was supposed to have been under the influence of the costume of Taoism in those days. Second, I think that the Buddhist defication of the costume in Ksitigarbha Bodhisattvas was a phenomenon in the process that belief in Ksitigarbha was united with popular belief and widely diffused and became to have its important meaning of its own. Third, the feminine tendency of the costume in Ksitigarbha meaning of the early goddess remained partly in the costume even though Ksitigarbha Bodhisattva was god in India. Fourth, Several found shape designs are supposed to be affected by the diplomatic relationship with the West. As mentioned above the costume ‘Ji-Jang Do’ in the Koryo dynasty was affected by china\`s, world-wide in that ga-sa was Gandira style based on Hellenistic art. Therefore, the reception if new culture was selective on the basis of the country\`s need and this new culture was changed into something peculiar to affect other countries simultaneously with reception.

• Cross-Cultural Studies
• /
• v.39
• /
• pp.127-152
• /
• 2015

This thesis comparatively looks into folklore faiths, expecially child-birth gods related to child-birth customs and aims to find out both nations' faith in child-birth gods and their features. It looks into birth gods protecting delivering mothers and babies by appearing at the delivery sites at time of delivery and child-rearing gods intervening in growth of babies after they are born. In both nations, many gods are believed in for selection of babies, safe delivery and their healthy growth but those appearing at delivery sites are only birth goddesses called Samsinhalmony and Obugami. What make this phenomenon appear in both nations' folklore faiths? Seeing the reason in the fact that common negative concept regarding childbirth exists in both nations' established faiths, the writer comparatively analyzed various cases of delivery-related defilement in both nations' delivery customs. Its result showed that Japan is stronger in delivery-related defilement concept than Korea is. For instance, Japan regard child birth-related defilement more horrible than that related to funeral. Pursuantly, in Japan stricter regulations on childbirth rooms and stricter taboos for babies have been passed down. Besides, in the process of its comparative study on both nations' divine images and appearances, the writer paid attention to the fact that unlike Japan's mountain gods and restroom goddesses appearing at delivery sites, they don't get involved in childbirth in Korea and discussed Japan's theory of reincarnation and its mountain goddess' marginal nature working behind the curtain. I also discussed the phenomenon that both nations' childbirth gods are passed down as Three gods, which means that their faith in childbirth gods has to be seen as a result of the faith in childbirth gods interacting with the faith in Three gods or the Three-gods theory, accordingly I indicated that it is worth re-consideration to see the Three-God Theory as the core of the faith in Samsinhalmoni. Lastly, though in both nations' childbirth faith underlies their fear for divine beings, the faith in childbirth gods, strongly coupled with death heritages, is distributed throughout the nation, which is because Japan's childbirth gods intervening in birth and growth of a new life also actually involve themselves deeply in the sphere of death as well.

• Women's Health Nursing
• /
• v.7 no.4
• /
• pp.518-535
• /
• 2001

Nursing practices should be based on the understanding of human beings. In order to understand human beings, it is important to study the lifestyles and thoughts of people in their natural environment. In this sense, the cultural aspects of a society need to be studied for a culture-bound nursing service. Child care, which is an important element of nursing, is also strongly influenced by the culture of a society. Therefore, a cultural study is necessary to understand the child-rearing practices of any society. The major purpose of this dissertation is to provide basic foundations for developing a culture-based theory for nursing intervention through studying traditional cultural elements of child care in Korean society. The study examined child-rearing practices in a small village on Koje Island in the southern part of Korea. It utilized ethnographic methodologies including participatory observations and in-depth interviews. The study participants were 9 Korean mothers living on Koje Island. The average age was 52. The data were collected between July in 1998 and December in 1999. The average number of interviews per person was 7-8, and the duration of each interview was approximately 2 hours. The data were analyzed using the Spradley Analytical Method. The following 9 major child-rearing aspects of mothers on Koje Island were discovered as a result of the study: 1. Firstly, mothers on Koje Island were mostly concerned about the "Old Birth Goddess' Curse", especially during their child's early years. This concern was evidenced by their careful behavior when their child was very young and by their praying to the Old Birth Goddess not to be jealous of their babies. 2. Secondly, they wished their children to live a different and better life than themselves. It was represented by their strong motivation toward their children's education as well as their expectation for their children's success. In traditional Korean culture, Korean people think that the rise and fall of the household depend on their offsprings. Therefore, Korean mothers wish their children attain to a higher level of social status through education. 3. Third, mothers are concerned about their children's righteousness. Mothers on Koje island expect their children to live with discretion, justice, strength, respect, harmony, and to do their best in life. 4. Next was an 'anticipation of their children's happy marriage'. The attributes of this category were an 'anxiety about their children's married life', and 'an expectation of a good spouse for their children'. Because Korean people believe that only a son can continue the bloodline of a family, especially Korean mothers have a great concern of the possibility of their daughters not having a son after marriage. Also they have different expectations toward their daughter-in-laws than son-in-laws. 5. Korean mothers also derived their satisfaction from their son. It was characterized by 'excessive affection toward their son', 'dependency on their son', and 'being afraid of their married daughter having a girl like themselves'. Korean society has been a patriarchy. Therefore, a son is beloved as someone who will take care of his old parents, be in charge of ancestral rites, and provide a daughter-in-law who can conceive a son. 6. The sixth category concerned 'the differences in their expectations for their children'. The attributes in this category were 'different expectations depending on their children's gender', 'different expectations depending on their children's ability', and a 'great sympathy toward children with low abilities'. Korean mothers expect their son to become better than their daughter. 7. The seventh category was related to their 'roles in child-caring practices'. Traditionally a child was raised in an extended family system in Korea So it was not the sole duty of a mother to bring up the child. Korean mothers used to receive much help rasing children from their in-laws, and family members. On the other hand, many children grew up by themselves, because their mothers were very busy taking care of housework. Furthermore, many children also grew up in poverty. 8. Mothers also had issues related to 'conflicts in child rearing'. They were characterized by 'lack of understanding', 'rudeness of children', and 'giving vent to one's anger'. 9. Finally, mothers regretted not doing their best in child-rearing practices. It was characterized by a 'bitter feeling of repentance', 'feeling irritated', and 'feeling of unsatisfaction'.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.4
• /
• pp.36-48
• /
• 2010

The objectives of this study are to research and analyze the positioning of Mt. Back Hwa(白華山) and the characteristics of its neighboring cultural scenery based on the Two Seated Buddah Temple, a small Buddhist temple of Taeul in Taean and to view both landscape geographic codes and religious attractions over Mt. Back Hwa by discussing its expression and meaning for the scenery scattered or nested over this districts. The panoramic view of west shows the character of Mt. Back Hwa as a magnanimity of Buddhist Goddess of Mercy which is viewed as a view point field no less than its location as a landscape target and its singularity as a rocky mountain. The ancient castle, signal beacon post and the small Buddhist temple of Taeul to be read importantly in the old map and SinjeungDongkukyeojiseungram(新增東國輿地勝覽) form the core of place identity, and a number of carve(engrave) letters such as Eopungdae(御風臺), Youngsadae(永思臺), etc. show the prospect of this mountain and monumentality derived from place characteristics. In addition removing of Taeiljeon, a portrait scroll of Dangun, national ancestor makes possible to guess the national status hold by Mt. Back Hwa in advance and to know that it has symbiotic relationship with indigenous religion and shares with the universal locality which have been continued for a long time through a portrait scroll of Dangun enshrined in Samsunggak. More than anything else, however the Rock-carved Buddha Triad in Taean, Giant Buddha of Baekjae era enshrined in the small Buddhist temple of Taeul is not only why Mt. Back Hwa, magnanimity of Buddhist Goddess of Mercy exists but also a signifier. In spite of such a placity, the union ideas of confucianism, buddhism and doctrinism of buddhism prevailed in the Late Joseon Dynasty allows the cultural phenomenon of taoism to be read in the same weight through Ilsogae(一笑溪) and Gammodae(感慕臺) which are mountain stream and pond area respectively centered in the carve letter, 'Taeeuldongcheon(太乙洞天)' constructed in front of the small Buddhist temple of Taeul, the Baduk board type of rock carvings engraved over them and a number of traces of carve letters made by confucian scholars since the Middle of Joseon Dynasty. The reason such various cultural sceneries are mixed in Mt. Back Hwa is in the results of inheritance of religious places and fusion of sprit of the times, and the various type of cultural scenery elements scattered in Mt. Back Hwa are deemed as unique geographic code to understand the multi-layered placity and the characteristics of scenery of Mt. Back Hwa in Taean.