• International Journal of Costume and Fashion
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• v.15 no.1
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• pp.39-49
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• 2015

Heavenly Kingdom was known for their strict discipline and law as well as their anti-corruption practices and for putting up unconventional ideas to rule its kingdom. They became weak as their leadership was split along with the power struggles that occurred within their kingdom. Heavenly Kingdom's style of dress also ended during this period, but their philosophy continues to influence the style of dress. Taiping rebellion was modern China's biggest internal disturbance which prior studies included political ideals, gender equality and the peasant movement. My research is to associate Heavenly Kingdom's ideas and their dress style by analyzing its relations. Their form of clothing was similar to the Qing Dynasty but the same. They wanted to restore their identity of the Han(漢) while their ideology was oriented in creating a large enough military power to go against the corrupt Qing Dynasty as seen in their military uniform. This research is to analyze about Heavenly Kingdom's ideology with regard to their style of dress but because of their short existence, there are only small remains of artifacts and clothing available which limits this research. This research has to developing further research as I gather more additional data.

• Journal of the Korean Professional Engineers Association
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• v.18 no.2
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• pp.54-65
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• 1985

Korean Landscape Garden may be described according to its stage of development. In the primitive agricultural era, the garden was preceded by vegetable yards and at this time rock arranging (Soo-Sok garden) was initiated together with the megalithis culture of dolmens, heavenly altars and tumuli. In the early Three Kingdom period palace gardens were built on a grand scale and toward the end of fourth century temple garden were introduced along with Buddhism. These gardens evolved to the flourishment of "HWAGE"(terraced gardens) rock arrangements of ZEN, early KOR-YO period. Especially since the middle of KOR-Yo period the "IM-CHUN"(forest and pond) garden became popular, while during Cho-Son period "HWAGE" in the back yard, pond and pool garden and "IM-CHUN" style country villa became fashionable. The Korea traditional Landscape garde may be characterized that first it is a nature Landscape style, which makes the maximum accomodation with the surrounding nature. Secondly, the Korean garden is built creatively by utilizing the elements of its climate and topography, Kogu-Ryo, Paik-Je great-Kaya and Sil-Ra had developed original a castle town plans and beautiful gardens rock arrangements which precede the equivalent style of China and set the prototype for Japan. The Landscape art of waterfalls and rock arrangements at An-Ap-Chi garden of 7th century has no equals in China and set the origin of pond style of Japanese garden.

• Journal of architectural history
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• v.10 no.3 s.27
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• pp.7-23
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• 2001

We Koreans are very proud of this nation's cultural history over some five millenniums. But most of the relics found in the nation date back up to two thousand years. Under this circumstance, we are wondering the gap and missing of three thousand years. In our traditional literature of history, [Chiwoo] was a military god of supreme dignity and virtue. He was a symbol of brave and strong warriors and since the antiquity, he has been kept alive deeply in the mind of the Korean race. Considering findings through this study, the researcher could provide a conclusion as described below. 1) The name of Paekje's designed tiles was initially made by a Japanese scholar who had first found the antique relic. According to studies by a few of Korean researchers, the name is usually called despite its relation with a historical background of the excavated objects has not been fully studied. 2) After the patterned objects of the Korean antique Kingdom, Japanese researchers reported that [Chiwoo] was a military god as exorcist and probably represented something in the form of a ghost, although there were arguments that the military god was the very being to influence the image of the ghost. This report suggests that the Japanese community didn't downgrade the military god onto the level of a ghost. 3) One of our antique nations, Paekje at that time sought to determine the origin and culture of the Koreans by making multiple exchange relations with China, and probably accepting cultures of the Chinese Han nation and those of the Chinese South and North Dynasty period. Based on findings from a relevant literature, [Sulyigi], people of Paekje attempted to show express the image of Chiwoo in their own unique ways and then deliver the strong bravery of [Chiwoo] to us, or their descendents. This can explain that those findings as above mentioned are consistent with the designed tiles of Paekje, and that the tiles should not be named as the design of ghost. 4) The designed tiles involved elements of Taoism and Buddhism and substantially considered the spirit of four gods which was mobilized for the tomb construction and selection at that time. But this should never be a reason why all of the horned figures seen in tomb wall paintings are collectively treated as ghosts. 5) From the view of historic literature, we can no doubt say that the Heavenly Emperor [Chiwoo] was our ancestor. It is not better to say that the relic stuffs as excavated should be referred to the design of ghost image only in that they have yet to be associated historically with other relics. This claim would be newly changed as it becomes clear with historical remains that our antique ancestors kept doing positive activities along the coast of the antique kingdom, Balhae.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.182-208
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• 2000

Kwan-gyongdo is a pictorial presentation of a $s{\bar{u}}tra$ that teaches the Buddhist way for a person to be reincarnated in the paradise of $Amit{\bar{a}}bha$ Buddha. It consists of a preface (Kwan-gyong sobun pyonsangdo) and 16 scenes of $S{\bar{a}}kyamuni$ preaching. The preface, a painting illustrating the motivation behind the production of tile kwan-gyongdo, illustrates the "Legend of King $Aj{\bar{a}}tasatru$", a tragic story in which the prince of India's Magadha kingdom murders his father, the king, to usurp the throne. The 16 subsequent scenes show $S{\bar{a}}kyamuni$ teaching the distressed queen how a person can be reborn in paradise through meditation and praying. In the kwan-gyongdo in the Mogao Cave No. 17 in Dunhuang, China, painted during the Tang dynasty (618-907), the preface and the 16 scenes are presented in one painting, whereas they are presented in two paintings in those painted in Korea during the Koryo period (918-1392). The difference is attributed to the stylistic disparity of the two periods. Despite the temporal gap between the Koryo paintings and the Mogao Cave paintings, a comparison of the two can show the characteristic development of kwan-gyongdo. Kwan-gyongdo of the Koryo period do not have the "enmity created in the previous life" scene featuring a heavenly figure and a hare, a result that shows the influence of the Tang school that deleted the scene. The scene of $S{\bar{a}}kyamuni$ preaching on the Mountain of Spirit is included in kwan-gyongdo of both the Koryo period and the Mogao Cave, but the scene of $S{\bar{a}}kyamuni$ emerging from the earth to the Magadha palace is not included in Koryo kwan-gyongdo. Kwan-gyongdo of Koryo are generally a simpler but more faithful rendering of the $s{\bar{u}}tra$.

• Journal of Korean Philosophical Society
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• no.96
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• pp.39-70
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• 2012

In order to locate Kant's concept of the highest good within ethics and the theory of moral religion, it needs to be approached with some qualifications: there are two rough ways to be suggested. The first way is to focus on the concept of the highest good that is explained in terms of the happiness in proportion to a rational being's virtue or to his/her worthiness to be happy. But the happiness determined in the sense outlined above would be (increasingly or decreasingly) changeable according to each one's individual morality-this is what is meant by each one's 'worthiness' here-, and would not be seen as the perfect one. It might even be said that this kind of happiness is possible in a sensible world generally taken, if the existence of God thought of as harmonizing natural phenomena and the moral order is successfully presupposed. The other way is to understand the concept of the highest good literally: in this view, the highest good shows that a rational being's character is completely appropriate to the moral law and for him/her, its corresponding idea, i.e., the perfect happiness, is considered with full justification. But the highest good in the sense sketched above-along with the existence of God and the immortality of the soul-is expected to be realized only in an intelligible world generally taken. This means that it should be appraised as an ideal of the highest good that includes the so-called 'physical happiness' specified in terms of the first way as its element. In this regard, it is seen to be somewhat restricted. Between the two concepts of the highest good already touched upon, the highest good of the possible world would be the one established in terms of the first way. In other words, it is not the highest good in an intelligible world, but the highest good in this world. Of course, it is true that we cannot help but assume the existence of God-a being as higher, as moral, as most holy, and as omnipotent-in order to explain the highest good in this world (namely, in order to establish the possibility of the combination of the happiness and the worthiness). For as long as both morally good acts and the happiness are considered to happen in a natural world, the cause of the nature (i.e., the existence of its creator), that is, God, must be able to be presupposed. In this vein, Kant interprets that most people view that the key of the Bible is to show that the best world which is characterized by an intelligible or heavenly kingdom is also actually feasible in this world. The wish of the people who have the morally good character is that God's kingdom comes and his will is properly achieved in this world. But we cannot know what God really does in order to realize his world in this world. Nonetheless, we are fully aware of what we should do in order to make ourselves a member of his world. It is specified like this: we should do our ethical duties and further proceed to establish an ethical community. Viewed this manner, it is concluded that an ethical community is not a merely ideal thing like the kingdom of the ends, but a human apparatus or institution that exists in this world.

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.55-86
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• 2021

The initial situation in our tale shows that the earth-mother-feminine principle disappeared from the center of the collective consciousness into the collective unconscious. Therefore the heaven-father-masculine principle is dominant, which is represented by the king. And in the king's daughter, who is living without mother, the positive father complex is working. She stays in the heaven-spirit world playing with the golden ball, which can be seen as the state of inflation. She is disconnected from the earth-mother-feminine principle, which is important for a woman to find her genuine feminine identity. This demanded principle approaches her through the frog, a bewitched prince. Psychologically it means that a man is under the power of the negative mother complex. The disgusting, ugly frog is a symbol for the shadow, the earthly animal instincts of the princess. Only with his help she can find her golden ball again, which has fallen into the deep well. Their talk about the rewards to him for his help shows us very well the opposites. The frog wants the feminine value such as relation, earthly eros, but the princess offers the masculine value such as heavenly logos. After the frog brought her the lost ball, i.e. she regained her libido, she completely forgot her promise. Like this the content, which is becoming conscious, here the shadow, is easy to fall back into the unconscious and to be repressed. The frog cannot be with the princess without the help of the king, a father figure, a firm protector of the collective oder. At first unwillingly the princess obeys Logos of her father. But her authentic instinctual urge grows stronger and it causes that her ego is released from the power of her father complex. At just this moment the frog turns into a prince, i.e. he is liberated from the mother complex. The marriage of princess and frog-prince symbolize the unification of the opposites: heaven becomes earthly and earth becomes heavenly. Three iron bands, wrapped around the heart of Heinrich, a young king's servant, are snapped, while he brings the prince and princess back to his kingdom. The heart, the place of earth-mother-feminine consciousness, is now liberated. This principle, which disappeared into the unconscious, emerged into the collective consciousness and the wholeness is recovered. The Self is now leading the collective consciousness, which includes not only the principle of Logos but also Eros.

• KOMUNHWA
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• no.70
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• pp.17-34
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• 2007

Jigangkooksa's Monument at Beopchonsa is a monument representing the Goryeo Era, registered as the National Treasure No. 59. Haerin was a descent of a small regional clan, who overcame a number of challenges to become the leader of the nation at the age of 75. The tower and monument built after his death are among the finest works of the Goryeo Era. The Yongwha-world of the Jigangkooksa's Monument is the expression of a new utopia, which cannot be found in numerous Buddhist arts including Buddhist holy picture's art or other Codex. After passing through the pillar of cloud where 4 heavenly birds play, the new world of vault unfolds. Below are the 13 mountains which stand for 13th Heaven. In the center stands Tusita, the sky. On the top of Tusita is a Nagapuspa. The Nagapuspa in general has wooden pillars of treasure dragon patterns with dragonhead-shaped flowers on top. On the bottom, indrajala hang down. The Yongwha-world of the Jigangkooksa's Monument is carved with patterns related to Maitreya entering Nirvana. Jigangkooksa was active in the Moonjong Kingdom, the most prosperous times of the Goryeo Era, and led the publication of the Buddhism's Collection of Sacred Writings, the holiest work of the Goryeo people. At the time, people have offered on his tower a picture of him as the owner of Yongwha-world, with the utmost respect. This was the ideal utopia perceived by the people of Goryeo.