• Journal of Naturopathy
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• v.11 no.1
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• pp.62-67
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• 2022

Background: 'Here and now' in the 21st century, what should we be thinking about in this situation where infectious diseases like COVID-19 are penetrating deeply into our lives? At this point, this study aims to present the concept of 'Healing Humanities.' Purposes: If the Humanities as a liberal arts education have emphasized the value of 'communication and convergence,' putting it up as the slogan until now, the Humanities now should seek practical ways to realize their potentials. Methods: The research method was discussed centering on the literature. Results: This discussion centers around the medieval jewelry therapy by Hildegard von Bingen. That is, this study discusses how Hildegard presented gem therapy treatment as a pioneer in the jewelry therapy. Conclusions: It is meaningful that human health and diseases, which are focused on medical technology today, can now serve as a way of humanities practice, and that Hildegart's jewelry treatment can be triggered by a breakthrough. In that sense, this study aims to reveal the legitimacy of Hildegard's treatment to be secured as the Healing Humanities.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.3 no.1
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• pp.13-32
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• 2023

Both the late 15th-century Unicorn Tapestries now at the Cloisters Museum in New York and Daesoon Jinrihoe's Simudo Paintings present a religious narrative through the symbol of the search for an animal that is then subdued. This is now the prevailing scholarly interpretation of the New York Unicorn Tapestries, with the unicorn representing Jesus Christ, although a concurrent reading alluding to human love cannot be excluded. The article examines the New York Unicorn Tapestries according to their Christological interpretation, rooted in traditions about the unicorn popularized by the German medieval mystic Hildegard of Bingen, although in fact much older. It then discusses the Buddhist iconographic tradition of ox-herding paintings that represents an antecedent for the Simudo Paintings and notes the latter's differences and similarities with the New York Unicorn Tapestries.

• Sim-seong Yeon-gu
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• v.39 no.1
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• pp.1-60
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• 2024

This thesis originated from a dream of a young man clad in green, suspended like Christ on the stair landing. This dream reminded me of Jung's vision of the Christ on the Cross, bathed in a greenish gold aurum viriditas. Jung associated the analogy of Christ and aurum non vulgi, aurum viriditas of alchemy from this vision. I was fascinated by Jung's words that originally there were four alchemical stages, but by the 15th-16th century they were reduced to three (nigredo-albedo-rubedo); and that viriditas used to exist after nigredo had vanished. This thesis is about the process of unraveling these mysteries through amplification. In the realm of alchemy, viriditas (verdigris) was an old and humble substance, yet it would eventually metamorphose into pure gold under the supervision of alchemists. It was the prima materia of alchemical work and the ultimate product, mercurius itself. It was the celestial spirit, concealed beneath the earth, and the embodiment of transformation, enriching the earth, sprouting a myriad of buds and flowers, turning the land green. I examined the dreams, visions, and pictures of Hildegard of Bingen, C.G. Jung, my analysands, and my own to figure out whether viriditas was the fourth that leads to wholeness that engaged in the whole process of individuation. While working on this thesis, I learned that for our personalities to mature, we must include the lower, the secular, the feminine, the chtonic, and even the evil. To achieve this, we cannot avoid our opposite, the fourth, but to wait and persevere until we can walk together. Then, our lives will be fresh and blossoming.