• SUVANNABHUMI
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• v.15 no.1
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• pp.149-180
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• 2023

This article explores religious responses to significant cultural and social change in a northern Vietnamese delta village from 1996 to 2008-the second decade after de-collectivization. Drawing upon extensive fieldwork in both the village and surrounding religious networks, the article teases out the meanings of the new religious movements for northern rural people in the new era of market economy; the symbols, language, and metaphoric resources people used in response to their uncertainty and mistrust of the new social landscape; and the unintended consequences of rapid societal development such as marginalization, tensions, and social disintegration. The article argues that as in milleniarism elsewhere, new religious movements in northern rural Vietnam embody unorthodox syncretism between world religious and local traditions, thus linking past, present, and future. However, when drawing upon a common reservoir of memories and experiences to cope with risks and challenges of the new market world, local people not only drew on the power and imperial metaphor of deities in their traditional religion and belief, but became more creative to recuperate meanings, standards, and symbols from revolutionary discourse to reorient themselves, and overcome alienation and marginalization.

• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.189-208
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• 2011

The psychology of Carl G. Jung is often called an "ancilla religionis"(servant of religion, James Heisig), by which Jung's understanding of the unconsciousness of human being as the religious one is well expressed. According to Jung the dichotomy between the consciousness and the unconsciousness of men is reconciled in the various religious symbols of the world religions. He also asserted that the religious symbols must be understood and interpreted by a symbolical way. When the religious symbols are understood literally and dogmatically, they lost their dynamic power to bring salvation to men. In this paper I try to understand the essence of the symbolical and intuitional understanding of the exclusiveness of Jesus Christ. The confession of the Christianity that only Christ, once for all, could bring the salvation to the whole humankind is to be interpreted by a symbolical and intuitional way. That means, Christ is to be understood as a always new being at every time when he is confessed as a salvator. Christ as a symbol could never be a historical past. I mentioned about the understanding of Buddha by Muneyoshi Yanagi, a Japanese Shinto Buddhist, in order to show how such a symbolical and intuitional understanding of the Christ could be possible.

• Journal of the Korean Home Economics Association
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• v.48 no.8
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• pp.39-50
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• 2010

This study aimed to identify today's religious fashion motifs as elements for design development by examining the expression modes such as religious motifs in contemporary fashion. Methodologically, the study conducted literature review and empirical analysis of pictures and articles in domestic and foreign fashion collection magazines and other related data available on the internet and analyzed the collections of 1990 through 2009 with a focus on Christianity, Buddhism and Islam. As a result, this study identified two expression modes of religious motifs in the contemporary fashion. The first expression mode was to employ the forms of religious costumes and their associated images. The second one was to take on religious symbols and their associated images.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.45-59
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• 2001

The purpose of this study is to investigate the religious motive and to clarify the relation between religion and fashion and to predict the trends in the future fashion by analyzing the religious motive in the aspects of inner meanings and methods. 1. We can see ego-superiority as inner meanings of religious motive is expressed mysterious image. Mysterious feeling is reflected in modem fashion in the form of the transparency of light and mysterious color in religious painting that is reemerged as a gorgeous and luxurious sense or it is reflected in modern fashion in the form of borrowing grand ways of art and elements of clothing. And this results from longing for aristocratic gorgeousness and from desire for light that is based on love and salvation. 2. We can see religious motive in modern fashion is a will to be converted to religion because of fin de sie-cle anxiety, and this is reemerged in modem fashion as borrowing of religious symbols in the casual wear or as combination of sacred religious motive with vulgar image and they are going to get mental satisfaction by this. 3. Religious motive has the inner meanings of ethic completion and this is reemerged through covering bodies, minimizing details and using dark tone color by having an inspiration in religious clothing. And this results from antipathy to extreme gorgeousness of modern fashion and excessive exposure and from mental desire for returning to an inner nature.

• Journal of Christian Education in Korea
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• v.78
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• pp.111-136
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• 2024

The purpose of this study is to theoretically explore symbol didactic, which serves as a mediator and integrator of human experience with biblical experience. Based on a deep consideration of the functions and roles of symbols, as studied in psychology, philosophy, religious studies, and theology, this study aims to examine representative theories of Bible didactic that have introduced symbolic action into Christian education. By exploring these theories, we aim to provide a comprehensive understanding of the role of symbols in Christian education and their impact on the learning process. This study is divided into two main parts. In the first half, it examines the meanings of symbols and their functions as discussed by prominent scholars from various disciplines who have paid attention to symbols, including S. Freud and C. Jung in psychoanalysis, E. Cassirer and P. Ricoeur in philosophy, M. Eliade in religious studies, and P. Tillich in theology. In the second half, the study critically analyzes and discusses representative theories of symbol didactic, such as those proposed by H. Halbfas and P. Biehl, which have applied the symbolic action of neighboring disciplines to Christian education. Symbol didactic differs from traditional biblical didactic, which aims to transmit content, by using symbols as a medium to facilitate dialogue between the learner's experiences and those of the Bible. This approach enables learners to experience the deep relationship between the content of the Bible and the experiences of biblical figures with their own experiences, and provides an opportunity to deepen that experience.

• The Research Journal of the Costume Culture
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• v.6 no.3
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• pp.175-184
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• 1998

This study analyzes the symbolism of uniform in modern Korea, based on the symbolic interaction theory. I classify a representative symbol among many symbols in one uniform. I found the sex, age, occupation, situation, religious, group belogning,cleanlines,authority, superiority, and rank symbol in the modern Koran uniform.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.6
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• pp.935-946
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• 2008

Religion is the symbolic form and action, linking the ultimate condition of life with human beings. Religious idea grasps the world through symbols and gives birth to the action through symbols. This research put its purpose in elucidating the effect of religion on the costume and its mechanism. It's focus is centered on Buddhism, Hinduism, and Islam which are among the world high religions. Part of this research also examines the mechanism in which several composing factors are expressed with rituals and manifested with costumes, this process was diagrammatized and suggested. The composing factors of religion such as belief system, experiences, community, and rituals are closely related. Ritual especially, is the symbolic action, practice, and the way of rescue, expressing religious meaning. Religious rituals such as imitative rituals, positive or negative rituals, sacrificial ritual, and rites of passage have been expressed with religious music or figurative art such as costume, construction, and art as well as religious ritual like ancestral rites. Religion has had a great effect on the overall culture including costume as a belief system by lightening the meaning of life and suggesting the solutions to the human problems such as anxiety or conflict.

• KOMUNHWA
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• no.33
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• pp.35-51
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• 1988

This ethnographic study is aimed at clarifying the religious aspects and socio-cultural meaning which appeared in the beliefs and symbols of the Dangsanje rites. Paekam village is located in Chilbomyon of Cheongeup county in North Cheolla province. Villag

• Korean journal of communication and information
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• v.42
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• pp.7-43
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• 2008

In this paper, a new viewpoint and practical education method were presented on educational culture related to today's religions and media. For this purpose, this paper considered the theories of religious media pedagogic and the concept of symbo1ic didactics relating to religious symbols in popular culture. In this paper, a total of eight cases of applying symbolic didactics were developed using the example of "The Da Vinci Code", based on the theoretical framework of religious media education and symbolic didactics. For this, the education methods and contents of religious media education were integrated with the teaching plan model of "action and development oriented media education". In order for this education to be applied effectively, experimental studies have to be carried out verifying the learning effects regarding this education. In particular, education for teachers who will tarry out this education is needed. This is because, in media education, the efficiency of education is significantly affected by the capacity of the one who is teaching.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.