• Title/Summary/Keyword: Gods

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A Study on the Costume of the Gods in the Ancient Roman Myths (고대 로마 신화에 등장한 신들의 복식 연구)

  • 임상임;추미경
    • Journal of the Korean Society of Clothing and Textiles
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    • v.25 no.5
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    • pp.945-956
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    • 2001
  • The costume for gods in the Ancient Roman myth was studied by examining in the embossed-carving, sculptures, mural-painting and various documents of the period. The clothes item, hairstyle, symbol & ornaments and shoes of the gods in the Roman myths were analyzed to understand the formative process in the religious costumes, and results are as follows. First, the costumes for male gods are the same as those for ordinary men lived in ages, including toga, paludamentum, tebenna, tunica. The costumes for female gods are also the same as those for ordinary women lived in ages, including stola, palla, tunica. Second, the hairstyle of male gods is short curled-hair, twisty roll-up hair and braid long-hair due to the influence of Etrurian in the early days. Another hairstyle is appeared in form of the laurelled-crown. The hairstyle of female gods is curled long-hair, chignon style and braid roll-up hair decorated with hairband. Third, the symbol & ornaments which represent the responsible possession of male gods, are appeared in beard, a stick of the message, arrow-case, offering-dish, antlered-glass, shield, spear-handle, as the superhuman forms, such as the lightning shape. For female gods they are is appeared plastron, a stick of the message, flower. some female gods wear necklace, foot-ring, bracelet. Fourth, male gods wear shoes in forms of sandal, buskin, boots, but all female gods are in barefoot. It could be explained by the fact that a man-centered society in the ancient roman is reflected in the world of gods. As mentioned, Gods costume in Roman myths was very similar to or nothing different from the ordinary peoples in Rome. However, they used corps, sacrifices or sepcific symbols depending on the fields that they were responsible for in order to be distinguished from the ordinary people. This is the result from the peoples expression that they should keep a close relationship with Gods hoping to be protected, and rely on them under whatever circumstances.

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A Comparative Study of Child-birth Gods in Korea and Japan (한일(韓日) 산육신(産育神) 비교 연구)

  • Kim, Nan-Ju
    • Cross-Cultural Studies
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    • v.39
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    • pp.127-152
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    • 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.

A Study of the Clothing and Ornaments of God through Egyptian Mythology (이집트 신화를 통하여 본 신의 복식연구)

  • 조진애;손희정
    • Journal of the Korean Society of Clothing and Textiles
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    • v.24 no.5
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    • pp.640-651
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    • 2000
  • In this Paper we examined the clothing & ornaments of Egyptian gods greatly related to religion in a mode of every living through illustrated data of relics and investigated their differences and similarities by comparing the clothing & ornaments of gods with one of royal families. First of all, the crown of gods shows various forms in accordance with is roles and symbols. Second, the clothing & ornaments of male gods is significantly different from one of king in that for the most part they wore loin-cloth and girdle on sheath-skirt. Third, goddess was wearing the same sheath-skirt as queen. Fourth, kalasiris which king and queen wore is not almost founded in costume of gods. Fifth, the typical accessories in Egypt, that is, passiums, bracelets and rings are founded in the clothing and ornaments of all gods. Sixth, gods seems not to be dressed in sandals. Seventh, a mustache of king is appeared in a form of large and straight line, but one of god is appeared in a form of small and bended line. Eighth, lion tale ornament and fail are founded in the clothing & ornaments of male god mainly and a stick is founded in one of goddess. Finally, ankh which is representative of eternal life is an ornament only gods are wearing.

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A Study on the Religious Costume in Ancient Mesopotamia (고대 메소포타미아 종교 복식에 관한 연구)

  • 임상임;류보영
    • Journal of the Korean Society of Costume
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    • v.50 no.8
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    • pp.113-128
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    • 2000
  • This essay examines the costumes for gods and priests in ancient Mesopotamia as they are depicted in various documents and artifacts of the period, and it is part of an ongoing project that studies the process in which the religious costumes, the means of religious communication, of ancient Mesopotamia had evolved. The study shows that the religious costunmes in ancient Mesopotamia have following characteristics. 1. The costumes for gods are the same as those for men, including warp-around skirts, tierd skirts, shawls, and tunics. However, there are some differences : costumes for gods include such distinguishing features as aprons and long tassels. 2. Both wear stylized headpieces that indicate their divinity and have long hair and long beard. 3. As for shoes, the Sumerian and Babilonian gods go barefoot, but the militant Assyrian gods wear sandals. 4. Sumerian and Babilonian figures do not have much, but the Assyrian gods wear various ornaments including earrings and bracelets that emphasize their muscular physique. 5. Priests wear weird skirts or wrap-around skirts but no top. They have shaved hair to indicate their role as purifiers, but some of them have long beards.

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The perception of gods in Daesoonjinrihoe (대순진리회 신관념(神觀念)의 특성)

  • Yoon, Yong-bok
    • Journal of the Daesoon Academy of Sciences
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    • v.21
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    • pp.1-28
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    • 2013
  • The intention of this article is to check for the believers in Daesoonjinrihoe how to perceive the gods who they believe in. For that intention, I explained how the perception of gods in Daesoonjinrihoe is different from the perception of gods in other religions. To make a long story short, because of its polytheism the idea of god in Daesoonjinrihoe is different from monotheism such as Christianity, Islam. In addition, in spite of its polytheism it is different from other polytheism such as the religion in ancient India, especially rig-vedicreligion. In this article it is said that the believers in Daesoonjinrihoe have understood the distinction between Shin(神) and Shinmyung(神明). Nowadays Shin that has been used in Korea, China, Japan, is the word that was translated from English god. Therefore we need to reappraise the meaning of the word Shin. Anyway Shin that is being used in general means Shinmyung in Daesoonjinrihoe. Instead when they say the name of functional gods and the name to which the meaning of its origin affixed, the word Shin is used. Meanwhile, it has the advantage of classifying the ideas of god, but we can't explain all of them through the use of those classifications. I checked some classifications in this article and tried to apply the idea of gods in Daesoonjinrihoe. As a result, each classification has some critical points. There fore in this article I explained the distinguishing ideas of god in Daesoonjinrihoe from that in other religions, instead of the explaining fitted those classifications.

A Study on the Sinpa of Along With the Gods and the Korean Sinpa -Focusing on the comparison between the Sinpa of Singwahamkke Jeoseung and the Sinpa of Along With the Gods: The Two Worlds (<신과함께>의 신파성과 한국적 신파 현상 -웹툰 <신과함께-저승편>과 영화 <신과함께-죄와 벌>에 나타난 신파성 비교를 중심으로)

  • Park, Jae-Yeon
    • Journal of Popular Narrative
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    • v.26 no.4
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    • pp.77-114
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    • 2020
  • This article aims to examine the Sinpa of Along With the Gods: The Two Worlds. Along with the Gods: The Two Worlds was a box office hit with a 10 million attendance mark, but it was also criticized as a 'Korean Sinpa' at the time of its release. The original version of Along with the Gods is a Webtoon called Singwahamkke in Korean. The popularity of Singwahamkke and its adaptation, Along with the Gods was enormous, which prompted a very active research to be carried about the work. However there are only a few articles which analyze the Along with the Gods: The Two Worlds focusing on the Sinpa, even though the Sinpa of the Along with the Gods: The Two Worlds was a highly controversial issue when the movie was released. In this regard, this article tries to examine the Sinpa of the Along with the Gods: The Two Worlds closely, especially by comparing it with the original webtoon Singwahamkke Jeoseung. The body part of this article is composed of three major parts: chapters 2, 3, and 4. Chapter 2 contains an in depth explanation about the notion of Sinpa, the main conceptual research tool for this study. In chapter 3, the original webtoon Singwahamkke Jeoseung is examined closely. This chapter analyzes the 'Sinpajeok moment' in Singwahamkke Jeoseung and argues that despite the presence of Sinpa elements, the webtoon cannot be considered a 'Sinpajeok text'. On the other hand the main subject of chapter 4 is discovering what effect the adaptation from webtoon to movie had on this work, with a particular focus on the gender of Sinpa and Kim Ja-hong. Chapter 5, which corresponds to the conclusion, briefly evaluates the social significance of the controversy arisen in South Korea about the Sinpa in Along with the Gods: The Two Worlds. Sinpa is one of the most repeated code in the realm of Korean popular narrative. This is why the Sinpa of contemporary text is examined continuously even though there are already plenty of studies on the Sinpa. Everyone has called Along with the Gods: The Two Worlds Sinpa but no one has properly analyzed it. It is hoped that this article which closesly examined the Sinpa in Along with the Gods: The Two Worlds contribute to the field of Sinpa. It is also expected that this article can find appropriate contextual meaning of the series of Along with the Gods.

A study of the gods worshiped in the Japanese homes of Utsunoya Village in Shizuoka (일본의 가정에서 모시는 신 연구 - 시즈오카현 우쓰노야 마을을 중심으로 -)

  • KIM, Dukmuk
    • Korean Journal of Heritage: History & Science
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    • v.54 no.4
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    • pp.212-231
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    • 2021
  • This study examines the types of gods worshiped in the homes of Utsunoya village, the places where they are enshrined, the rituals and food offered to the gods, the decorations during the rituals, and the people's beliefs. Also, by comparing the gods worshiped in houses in remote Utsunoya with those of downtown Shizuoka, the differences and changes in the gods worshiped in the two contemporary spaces were predicted. Today, the gods enshrined in Utsunoya's houses are amatelaseu oomikami (天照大神), ancestor, ebisu, daigoku, kojin, inari, the god of the toilet, the god of land, and the god of water. From December 31st to January 3rd and on January 15th, Obon (July 15th), October when there is a festival at the village shrine, and on Ebisu Day (October 19th and 20th), residents offer drinks and food to the gods. Japanese beliefs at home are polytheistic in nature. They maintain national identity through kamidana and maintain family identity through ancestor worship linked to the Buddhist altar. The Japanese beliefs at home are firmly established in the background of the home, the base of family life. Japanese houses have a strong character as a religious space where they coexist "with the gods," and the residents have a cultural tradition of living with the gods.

Yeongdae from the Perspective of Material Religion: Transcending the Material and Non-material Yeongdae (물질종교 관점에서 본 영대 -물질 영대와 비물질 영대 가로지르기-)

  • Cha Seon-keun
    • Journal of the Daesoon Academy of Sciences
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    • v.44
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    • pp.53-96
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    • 2023
  • This article apprehends Yeongdae (靈臺), the most sacred shrine of Daesoon Jinrihoe which has earlier historical precedents, as an example of material religion. In East Asia, the first Yeongdae was a structure that King Wen of Zhou commissioned to be built. As the time passed by, the meaning of Yeongdae was changed to signify a mental yeongdae, the object and the aim of cultivation, and the notional mindset that appears in the Daoist meditation, Cunsi (存思, visualization). This implies that Yeongdae has signified both material and non-material objects. Throughout most of history, these two concepts had never been related to each other, but shifted in form and meaning depending on context. Daesoon Jinrihoe, which emerged in the modern era of Korea, used the concept of investiture of gods and combined the two into one. Accordingly, the Yeongdae, referred to by King Wen to indicate his shrine, was expressed as a spot wherein the gods were enshrined on the earth. As an innovation, Daesoon Jinrihoe argued that gods correspond to properly eligible human beings according to the degree of their cultivation and that sacred space was instead defined a spot within the human mind, a mental yeongdae, where the gods could be enshrined into humanity (神封於人). From the perspective of Lévi-Strauss, the factors that are discovered in the tradition of East Asia, namely, the Yeongdae of King Wen and the mental yeongdae of Zhuangzi can combined with consistency and established in the doctrinal system of Daesoon Jinrihoe. Such an attempt refers to bricolage which re-creates the traditional concepts of the past. In this regard, the concept of invented tradition coined by Eric Hobsbawm could also be used to conclude that the Yeongdae (the shrine of gods) of Daesoon Jinrihoe can be expressed as an invented Yeongdae, which transcends the existing categories of material yeongdae and non-material yeongdae.

Meanings and Characteristics of Seoul Jaesugut Shaman's Costumes (서울 재수굿 무속복식의 의미 및 특징)

  • Suh, Seunghee;Park, Jeongju
    • Journal of Fashion Business
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    • v.26 no.4
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    • pp.83-99
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    • 2022
  • The purpose of this study was to analyze the form and meaning of shaman's costumes worn by each gutgeori in Seoul jaesugut and to derive the characteristics of Shaman's costume at gutgeori. Observational research was conducted for three years by participating in the site of two types of gut, which are divided into local jaesugut for the well-being of the region and individual jaesugut that takes place based on personal request. Seoul jaesugut consists of 12 different gutgeori according to the deity it serves and meaning: Bujeongcheongbae, Gamangcheongbae, Bulsageori, Sangeori, Josanggeori, Sangsangeori, Byulsanggeori, Sinjanggeori, Daegamgeori, Seongjugeori, Changbugeori, and Duitjeon. The shape and colour of the shaman's costume worn in each gutgeori are related to the meaning of the gutgeori. Followings are the characteristics of the shaman's costume from gutgeori. First, shaman's costume adopted traditional costumes that symbolized the characteristics of god represented in each gutgeori. Second, gutgeori consists of multiple gods, and shaman's costumes were adopt to represent the superior god among these gods. Third, sometimes the costumes were adopted according to the characteristic of the god instead of its divinity. Fourth, even if the gods were different, if the roles of the gods were the same, the same form of shaman's costume could be taken. Fifth, the process of gut showed the harmony of yin and yang using the principle of five elements through the colour of shaman's costume.

Study on Costumes of Greek Mythology Gods in Films (영화에 나타난 그리스 신화의 신들의 의상 연구)

  • Rhew, Soohyeon
    • Journal of the Korean Society of Costume
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    • v.63 no.6
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    • pp.69-83
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    • 2013
  • This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.