• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.43-54
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• 2019

This study analyzed the casula wearing by Catholic priests. By understanding various applications of the priests' wearing of casula, we can understand the meaning of wearing casula, situational judgment, and the role and status of priests. Ultimately, the Catholic symbol and meaning of the casula can be found. The purpose of this study is to examine the basic setting of the casula, the setting according to the status of the priest, and the origin of the casula. Second, this study to understand the design of the pattern shown in the casula. The patterns containing the symbol and the liturgical period were examined, and the method of making the pattern design was considered. Third, various symbols appearing in examples of priests' rituals were considered and analyzed. The method of this study was to utilize various pictures acquired during interviews with priests and nuns and to perform content verification. As a result of this study, the aspects of form, color, and pattern were shown through the wearing of casula during various situations. First, the morphological symbols appearing in the rituals are the simplified casula that hangs on the stola on the top of the alb and the symbols of the form according to the priest's status. In the liturgy, the casula is put on the outermost side as for basic wearing, but in the case of celebration or the attendance at celebrations other than the liturgy, it is the same as simplified wearing. Second, in terms of the symbol and color, the basic colored casulas were worn to match the time and character of the liturgy, and in addition, on the priests' ordination ceremony and celebration day the priests wore white casulas. Third, the symbol of the pattern used in the casula was a Cathoric pattern according to the period in the basic casula wearing of the liturgy. In addition, the patterns were produced by combining the patterns and meaning of the priests that were used in the casulas of the priests' ordination ceremony. The design of the pattern used in the beatification mass casula and the Mass of Peace casula during the Pope's visit to Korea in 2014 used the same motif as the Pope's design, but the simplified pattern was produced for the casula of the Cardinal and bishops. Through this, it is possible to understand the situation where a morphological symbol appears due to a distinction according to the role and status of the priest. This shows that the symbols that appear are the cross and should also consider the complexly, shape, color, and pattern.

• Journal of Christian Education in Korea
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• v.68
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• pp.279-306
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• 2021

This paper intends to say that children's worship as a liturgy for children living in modern society is an important place to support children's personal development and experience of coziness necessary for their personal development. To this end, this thesis first regards modern society as an unstable society, analyzes fluid society and individualism as the causes, and deals with changes in educational style accordingly. In a fluid society, children are not provided with a solid form and lasting environment that supports personality development, and the education style changed under the influence of individualism and pluralism requires a heavy task of determining the direction of one's life and constantly making choices and decisions. Therefore, children need rules and forms that help them live together, and they need a space that can give them comfort that helps them develop their personality. As an argument for this, second, this paper deals with the concept and function of the liturgy in order to understand the worship of children as the liturgy. The third deals with the elements necessary for the development of children's personality that can be experienced in children's worship. First, it deals with the meaning of religious, aesthetic, and communal driving forces that children can experience in children's worship, focusing on Eberhard's research. In addition, it deals with the meaning of language and expression methods provided in children's worship, and finally, it says that children's worship can be a space where you can experience stability and coziness. Through this, it is emphasized that children's worship can play an important role in supporting the personal development of children living in modern times.

• Journal of Christian Education in Korea
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• v.76
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• pp.27-49
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• 2023

Purpose of study: The purpose of this paper is to gain insight into the alternative possibility of Christian children's education overcoming the current church school paradigm namely schooling system by examining the characteristics and the direction of children's spiritual education. Research content and method: This paper is a review of the characteristics of children's spiritual education and ways to embody those characteristics. Therefore, it consists of two parts: the characteristics of children's spiritual education and the search for ways to embody those characteristics. First, children's spiritual education is a "formative" model that aims to form children's spirituality based on children's spirituality research that views children as 'spiritual beings.' This model specifically has three core orientations: 'experience', 'meeting God', and 'immersion'. In other words, children's spiritual education pursues 'experience rather than knowledge', pursues the experience of meeting God in the second person rather than teaching third-person knowledge about God, and values the spiritual moment of immersion more than anything else. Second, it searches for specific ways and methods through which those three core goals could be implemented, and found that they were 'sense,' 'liturgy,' and 'story.' The sense becomes a path that evokes experience, the liturgy becomes a place for 'meeting God,' and 'story' becomes a key path to 'immersion.' And when the three are organically combined with each other, the goals pursued by children's spiritual education can be holistically converged. Conclusions and Suggestions: Through these considerations, it found that the core values and direction of education are consistently maintained in children's spiritual education, from children's understanding to education methods. It also figured out that the direction should be shared not only by children's spiritual education but also by all who pursue holistic faith education: 'what to experience' rather than 'what to teach', 'liturgy' rather than 'teaching', 'story' rather than 'explanation', and 'sensory' experiences rather than 'abstract' knowledge.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.521-536
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• 2016

In Catholic Cathedrals, the Liturgy space is central to the worship of the church and the player. The composition of the liturgical space affects the sensitivity of the worshiper. Because this sensitivity is connected with the faith, it is a very important consideration for planning elements. In this study, the light sensitivity of the elements that identify the most important factors in changing the devotion and in liturgical space was planned to emphasize the role of light. Understanding the meaning and importance of the liturgical space determine the spatial phase and role. Therefore, to analyze the functional and emotional properties of the light, the properties, roles and conditions of the light were organized. The data was analyzed as the target of sensitivity to light. Through the case studies of light, the effectiveness and adequacy as well as the application conditions could be understood. The results obtained in this study suggest a plan for light elements applied in the liturgical space.

• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.21-31
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• 2015

Liturgical space of Catholic churches should be equal conditions for everyone who wants to participate in the liturgy. However liturgical space is standardized for healthy adults without considering the elderly and the disabled. This study intended to suggest the guidelines required for the construction of Catholic churches from the perspective of universal design for all believers to equally participate in liturgy. The results of the study are as follows. First, as a result of the analysis of the liturgical spaces in six Catholic churches from the perspective of universal design, although the principle of universal design was not appropriately applied to all liturgical spaces of a Catholic church, there were cases where it was appropriately applied in part to each of the Catholic churches. Therefore, this study suggested the examples of exemplary installation by space, which is considered to be the materials that can be referenced and utilized when planning the liturgical spaces in the Catholic churches from the perspective of universal design. Second, the obligations required by the building regulations were installed in six cases, but the application of the universal design was insufficient in other spaces. Therefore, more careful consideration for users is considered necessary during space planning. Third, the construction of Catholic churches should be planned, taking into account the liturgical law; for this purpose, the provision of the guidelines for Catholic architectural planning further than the guidelines for architecture by each diocese is necessary. At this time, the collaboration between the Catholic officials and the architects and designers with knowledge of Catholic doctrine is required.

• Journal of Christian Education in Korea
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• v.70
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• pp.239-265
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• 2022

The purpose of this paper is to examine the Christian educational understanding of habit formation through the practical field of Christianity called worship. In the Cultural Liturgy series, James Smith criticized the intellectualistic Christian education so far and opened up a completely different level of possibility for Christian education through a unique study on habit formation. He focuses on education through actions, not education through the mind, and deals in depth with the relationship between habits and the body, between habits and knowledge, between habits and meaning systems, and between habits and human formation. Among them, it is emphasized that worship is a major liturgy that forms the identity of the participants through habits. Accepting Smith's position positively, this thesis first deals with the concept and understanding of major thinkers about habit. Second, we will look at habitual knowledge through the body. And lastly, it deals with Christian educational understanding of worship as a place of habit formation. Worship is not a one-time event, but an inseparable relationship with habit in terms of regular body practice. In particular, when we look at worship from the point of view of habits, it can be seen that the accumulation of experiences through bodily activities plays an important role in forming the horizon and background for understanding the world of the worshiper. Therefore, this thesis is meaningful in seeking and reconfirming the Christian educational possibility of worship as a habit formation.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.242-252
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• 2007

성당은 인간의 세계와 신의 세계를 연결해주는 영역적 전환의 성격을 갖는 건축물이다. 그리고 이곳에서 벌어지는 찬송과 주문 등의 일련의 예배의식과정은 신의 영역으로의 전환을 위함이라고 할 수 있다. 전통적으로 성당에서의 예배는 성직자들의 의식 진행과정이 신도들에게 잘 드러나지 않도록 배치되어왔다. 성직자와 일반신도는 철저히 구별되고 그 거리를 최대로 하는 건축계획이 이루어져왔는데 이것은 예배의 의식과정이 보다 신비스럽고 경외의 대상이 됨으로서 신권을 보다 확고히 하기 위한 의도로 풀이될 수 있다. 그러나 모더니즘의 탄생과 더불어 시작된 자유화는 사회의 각 분야를 변화시키고 성당에서도 예전의 신권 중심의 예배의식에서 벗어나, 보다 인간적인 의식으로의 전환이 정착되기에 이르렀다. 신도는 보다 적극적으로 예배의식에 참여할 수 있게 되고 예배의식 이후에는 신도들의 인간적 교류를 증진하는 다양한 활동이 제공되었다. 이러한 상황 하에서 전통적 형태의 영국성당은 매우 성스럽고 예배를 위한 좋은 환경을 제공하고 있는데 비하여 모더니즘 이후의 성당은 현대 성당이 요구하는 예배 후의 다양한 활동을 수용한다는 생각이 지배적이었다. 본 연구는 이러한 일반적 견해에 대한 보다 과학적 분석 및 해석을 위하여 스페이스 신택스 기법을 사용하여 정량적 접근을 시도하였고 다양한 문헌고찰을 통하여 이에 대한 보다 면밀한 정성적 분석을 시도하였는데 그 결과 이에 대한 일반적 견해와는 반대로 전통적 형태의 성당이 예배후의 다양한 활동에 적합한데 비하여 현대적 형태의 성당은 예배의식에 보다 적합하다는 것으로 판명되었다.

• Journal of architectural history
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• v.20 no.3
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• pp.59-82
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• 2011

Based on travel literatures written by the Joseon literati, the different picture of seventeenth- and eighteenth-century Buseok monastery from the one today emerges. Not only do the buildings removed from the monastery today reappear, but the quite different way of the monastic operation comes to light. This observation leads to a speculation that the monastery was functionally and spatially divided into two territories; that of the Immeasurable life hall and of the Dharma hall. The Immeasurable life hall's precinct was built at the site open to the west providing a grand vista of mountainous area. This siting, originally having a close relation with the visualization such as the Sixteen contemplation, not simply gave such a special attraction that the first built architectural composition has lasted through the centuries to the late Joseon, but also granted to the Chwiweon pavilion located at the western side of the precinct a special meditative quality. As the monastery has suffered from a number of heavy duties in the Joseon period, the architectural attraction of the precinct was mobilized to promote the monastic identity as the legitimate monastery first built by Uisang, the founder of Hwaeom Buddhsim. Especially, the Chwiweon pavilion offered a mental space so that the literati might form an affirmative attitude toward the monastery and the monks. The Dharma hall's precinct was built based on the direct replication of the architectural layout presented in liturgy books for the Water and Land rite as well as the Vulture Peak rite. This layout is generally called the Court-type enclosed by four buildings, which has been widely fashioned in the late Joseon period. This characteristic gave to the Dharma hall precinct an arbitrary and anonymous quality, which helped not only avoid the tourism of the literati, but also secure the sacrality and ritual efficacy at occasions of Buddhist rites. This division of territories of the monastery can be understood as the strategic reaction from the monks in order to survive in the age of oppression against Buddhism. In result, the identity of Buseok monastery in the late Joseon was established as the Nine-rank sanctuary where Bodhisattvas permanently resided.

• (The)Study of the Eastern Classic
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• no.68
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• pp.319-344
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• 2017

Saam Park Sun(1523-1589) holds a very important position in history of 16th century $d{\grave{a}}oxu{\acute{e}}$ politics. Starting from King Seonjo's accession in 1567, he took a lead in changing the former Politics by Hoonchuck(勳戚政治) to $d{\grave{a}}oxu{\acute{e}}$ politics. He served a prime minister alone for 14 years. Following philosophy of $d{\grave{a}}oxu{\acute{e}}$ politics that Jo Gwang-jo(趙光祖, 1482-1519) had advocated a generation earlier, he sought reformative politics by rising elites. He pursued ideal politics of $d{\grave{a}}oxu{\acute{e}}$ in which principles and public opinion agreed with each other and to realize it, he was in the forefront of correcting 'shìdào(世道)' and improving 'qīngyì(淸議).' It is why $d{\grave{a}}oxu{\acute{e}}$ politics is called shìdào politics(世道政治). He emphasized 'old manners(古禮)' as standard to criticize wrong reality and to realize ideals. The 'old' in his mind was ideals, principles and traditions. The most meaningful reform was to go back to spirit of 'old.' It is why he put stress on and stuck to practice of 'old manners' in national liturgy.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.539-565
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• 2009

T. S. Eliot attempted the combining of the liturgy of Anglican Church and a drama in Murder in the Cathedral (1935) and created a modern verse drama which comes most close to the regular tragedy like Greek tragedy today. Eliot chose the drama to deliver his religious insight because of its ritualistic origin and its potentiality to deliver a dramatic world which can contain a complete order. The central theme of this play is the martyrdom. The dramatic action of killing the archbishop Thomas Beckett in this play, however, is not treated as important event enough to be a dramatic climax. He is portrayed as a witness to the reality of God's will rather than a man who wills to give up his own life for any religious belief or cause. In Eliot, a martyr is nothing but "a witness" in its ancient sense. This paper purposes to review the language of this play. The various and new meters and rhythms of the language of this play function enough to bring its playwright to encounter 'the real audience' in 'a living theatre'. The interactions between different verbal models also play a big role to make this play a living theatre. Eliot found the poetry which crosses the various classes and levels of the tastes of audience is the most useful poetry. And the poetry of this play proves as the very thing which intensifies the theme of the play and gives the most powerful force to the play. Especially Eliot's poetry succeeds smost in the various and free meters of chorus, which makes Eliot the first playwright since Aeschylus, who could bring the chorus to undertake the function of extending the dramatic action of the play into the universal meaning. In the theatre the real audience identifies themselves with chorus. And the chorus leads the audience to respond to peace which passeth understanding beyond words and sounds of this play, which is the desired response in Eliot's conception of drama.