• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.23-32
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• 2012

Korean traditional wedding ceremony was conducted with some regular procedure and there were used some Gyubang crafts for wedding ceremony. But perhaps there has not been systematic information about them. Nowadays there is common the western style wedding ceremony instead of traditional style in Korea. So the decrease in the use of them have being appeared. Purposes of this study are to organize the resources about them systematically data of Gyubang crafts used traditional wedding ceremony, and to investigate characteristics of them for propose some idea of application them in the life of today. The results are as follows : Gyubang crafts used traditional wedding ceremony can be separated roughly into four types in use : wrapping clothes, cloth bags, ornaments and items related to sewing. They were apt to be traditionality, symbolic meaning and shamanism, and were superior in aesthetic sense, the effect of decoration and technical skill than other Gyubang crafts. There'll be some follow-up studies on ideas for preserving and appling in modern life.

• Journal of the Korean Society of Costume
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• v.36
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• pp.167-181
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• 1998

This paper is the result of research about what imply the symbolic significance of the shamna's costume in Siberia and Central Asia by using plates, medias and exhibitions in JNME. The reselts of the present study are summarized as follows; 1) The researcher define the shamanism as incantation, religious phenomenon centering arround shaman who communicate with the existence of preternatualness by possession or trance. 2) Siberia and Central Asia's shamans are comunicated with the existence of preter naturalness by trance. 3) In Siberia and Central Asia, the shaman's costumes is presented in a shaman ritual are caps, jakets, ornaments, stick and shoes. They symbolize spiritual world, stupendous shaman and powerful animal. 4) A significant symbolic meaning of shaman's costumes is that they change shaman to the existence of preternatualness.

• Journal of the Korean Society of Costume
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• v.21
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• pp.129-142
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• 1993

We priority given to Jowoo-Kwan this study examined the ideologic backgrounds which had influences on Jowwo-Kwan throughout the Birds Worship Thought and the Yin-Yang and Five-Elements Thought. Jowoo-Kwan with bird-feathers to Jeol-Poong namely the orgin of the Korean Kwan-Mo existed as a northern cultural elements until the Three States. The customs of Joo-Kwan were greatly related to the hunting life of a horse-riding people and they were dominated the Birds Worship Ideology originated from the primitive religion of a northern people namely Shamanism. In the early days Jowoo-Kwan with natural bird-feathers was decorated with golden bird-feathers with the development of a so-ciety and it changed realistic and crative in the form. The results that Jowoo-Kwan is applied to the Yin-Yang and Five-Elements Thought as follows. The Higher front part represents Yang and on the other hand the lower back part does Yin. Thus Jo-woo-kwan consists of a ideologic Yin-Yang. By means of principles of the Five Elements Birds are included in four animals with the mean of God and especially we can confirm it from a red bird. Expresions of Jowoo-Kwan shows the influences of the Five Elements thought.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.5-12
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• 2000

Jaesuk-koli an important part of the 12 shamanistic rituals, is an accepted buddhist monk's costume. In this paper, the Jaesuk-kori costume and its meaning are studied. The ornaments of shaman's costume differe somewhat from region among individual shamans, but the symbolic meansing are fairly similar. The significance of Jaesuk-kori shaman's costume ar as followed ; First , a Buddhist monk's costume is accpted in the Jaesuk-kori ritual costume. Second, a shaman wears Jangsam (long-sleeved buddhist robe) and Kasa (surplice) in the Jaesuk-kori rituals. Third, the ornament of Sipjangsang objects search for earthly happiness while the rotus flower embroidered on the costume , depicts purity in the heaven world. Fourth, five colors in the Jaesuk-kori costume represented, Yin and Yang of universal harmony. Jesuk-kori ritual costumes signify that traditioal shamanism was accepted and absorbed into Buddhist rituals system.

• Journal of the Korean Society of Food Culture
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• v.4 no.1
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• pp.1-19
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• 1989

How did the Korean religious culture which was consisted of three different religions- Shamanism, Buddhism, Confucianism- be combined and transformed? The author focused the mixture and transformation of the procedure of sacrificial rite and the arrangement of sacrificial food in each religion. In this thesis, the author studied first, the conception in sacrificial rite, second, the procedure of sacrificial rite, third, the items of sacrificial rite food according to each period. In consequence of the research each religion had lost its uniqueness and became mixed to each other and settled down in Korean culture.

• Acta Via Serica
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• v.5 no.1
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• pp.87-120
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• 2020

This article introduces the texts of Manchu shamanistic prayers recorded in a manuscript by Sergei A. Polevoi, a Russian and an American Sinologist from the first part of the twentieth century. The Manchu original text of these prayers (but not the Polevoi's variant) was recently published by Ye (2018), which, however lacks detailed linguistic analysis. Polevoi's texts are in the slightly outdated romanization of Manchu with no linguistic analysis, translation, and commentary that are provided below by the author. While this publication will be of minor interest to the specialists on Manchu shamanism, it would be important to linguists specializing in the Manchu and Tungusic languages and philology, as the text reflects in all probability the eighteenth century Manchu preserved in romanization, and, therefore priceless for the linguistic analysis.

• Journal of Science of Art and Design
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• v.8
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• pp.63-94
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• 2005

ChangSayng-Do in the late Chosun dynasty was a kind of traditional painting which sublimated the philosophy and emotion of everyday life into an aesthetic consciousness through a long history of Korean people . It would represent a human wish and desire to live a long and healthy life, which was implicated by way of Taoism. The major themes of ChangSayng-Do - mountains, the sun, cloud, water, rock, deer, tortoises, cranes, pine trees, bamboos, peaches, and herbs of eternal youth - were all symbols used. to wish for a long-life and immortality in real world. All or some of these items were represented in paintings, which resulted in the various kinds of ChangSayng-Do. The main concern of this thesis will be centered around the naturalistic subjects shown in ChangSayng-Do. This thesis consists of four chapters. The first chapter describes the purpose of and need for the research, and its method and scope. The second chapter deals with the origin and style of ChangSayng-Do, and the background of its formation. It is found out that the formative characteristic of ChangSayng-Do lies in the archetype, the unity of man and nature following the traditional view of nature. It is also found out that ChangSayng-Do implied the notions of Supernatural Being, Yin-Yang and Five Elements, Taoism, and Confucianism as well as Korean shamanism. Third chapter is largely about an analytic investigation into symbolic visualization of ChangSayng-Do. Firstly, the subject matters shown in ChangSayng-Do consist of items of wishful omen for long-life and good luck, and any motif in a picture implies a symbolism of eternal youth and long-life. Secondly, the view of colors shown in ChangSayng-Do is closely connected to Five Elements and Five Direction, a traditional oriental philosophy of universe, and these symbolic colors are based on shamanism and Yin/Yang-Five Elements. According to an iconological analysis, it is confirmed that these viewpoints are consistent with formative principles and expressive methods of ChangSayng-Do to some extent. The fourth chapter is one of the most important elements for visualization of ChangSayng-Do. The symbolic meaning of long life and good luck is the major source of its popularity inside the palace as well as among the people in general. The fact that ChangSayng-Do was used to ornament the palace was documented in $\lceil$UiGuey(documents about Chosun dynasty$\rfloor$. Also during the late period of Chosun dynasty, the appreciators of arts had begun to spread from high level class to lower level class, and many pictures represented in $\lceil$Hanyang-Ga$\rfloor$ were the ones produced and circulated for those increased consumers. As for the folk-artistic characteristics, the anonymity and arbitrary naturalness of ChangSayng-Do demonstrates that the folk-artistic elements were fully soaked into the life styles of people in general. ChangSayng-Do further shows that a human being is located in the center of the universe, and that all the natural phenomena and ecology are observed to happen around human beings, and that the results of those happenings are connected to man's course of life. It is discovered that the subject matters of ChangSayng-Do in the late Chosun dynasty imply another idea inside metaphors and symbols. With regard to the arrangement of time and space, the unity or oneness of oneself with the world is more highly regarded than one's individual subjectivity: there exist multiple times and spaces in a single picture This reveals a wholistic view of oneness which does not permit the division between phenomenon and substance. To conclude, this thesis inquired into ChangSayng-Do in the late Chosun dynasty focusing on the expression of archetype-symbols. And through the analysis and demonstration, this thesis re-established constructional principles and formative characteristics of ChangSayng-Do and then settled a new phase of ChangSayng-Do, with a deep under-standing of fundamental thoughts of Korean people underlying ChangSayng-Do.

• (The) Research of the performance art and culture
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• no.36
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• pp.505-530
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• 2018

The purpose of this study is to examine the meaning of learning methods for education to transmit the items designated as intangible cultural heritages focusing on Seoul-gut. Recently, as the Act on the Preservation and Promotion of Intangible Cultural Heritages was promulgated, 'the archetype' instead of 'the prototype' has become highlighted as a crucial axis for transmission. Although there are some controversies over the definition of the archetype among scholars, it is now possible for transmitters to make use of transformations rather freely being freed from strict orientation to the prototype to follow some fixed frame. Examining learning methods used in education to transmit mudang-gut, one of the items designated as intangible cultural heritages, however, this author has found that the prototype is still emphasized or in the center of learning instead. Presenting learning methods employed for Hwanghaedopyeongsansonoreum-gut of a national intangible cultural heritage, Namijanggunsadang-gut of Seoul Special City's intangible cultural heritage, and Bonghwasandodang-gut as examples, this researcher intends to reveal the reality. In the recent situation that education centering around academies is being widely spread to transmit mudang-gut, setting forth the designation of some of the items as intangible cultural heritages, they are publishing articles on newspaper as an advertisement to encourage learning about mudang-gut. Responding to the advertisement, there are more and more shamans intending to learn mudang-gut coming to the society for preserving items designated as intangible cultural heritages. They can, of course, perform mudang-gut on their own but come to learn it as there is no fixed or definite system for it. Even though the concept of the archetype was introduced, as now it is possible to learn the fixed frame through learning about the prototype regarding the item of mudang-gut as an intangible cultural heritage, those involved in shamanism are coming to it more and more. As transmitting the prototype rather deteriorated the liveliness of gut, those involved in shamanism are coming to it to learn about gut thinking that it is where they can learn the basic frame and also acquire more detailed knowledge about shamanism. Therefore, it is needed for the item of mudang-gut designated as an intangible cultural heritage to accept the aspects of change and develop new methods of education to transmit intangible cultural heritages.

• Archives of design research
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• v.17 no.3
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• pp.199-208
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• 2004

From the aspect that design should respond to the necessity of various cultural bases, design is important to be grafted to Korean traditional culture. This circumstance leads this study to clarify the plan of multimedia contents development of 'paintings and original forms of shaman spirit' in Korean shamanism as one of realistic re-illumination works for Korean cultural original forms. The main study results are conduded as followings through literature reviews, internet searches and case studies. First, 'the planning process' necessary for the development of scenarios, characters and multimedia contents are suggested based on the establishment of hierarchy structure among shaman spirits which are classified into necromancer, human being, nature and life after death. Second, relating to execution of process above, it is suggested that 'the strategic. plan by business items and its genres' such as blessing fancy goods, characters for mobile or game, scenarios for game or animation, online digital exorcisms, e-cards, e-talismans and so on. Finally, as future industrialization concerns, 'the industrial development plan' is suggested which can be extended to scenario-based original businesses such as game scenarios for online or mobile and heroism fictions. The study results highlight the fact that multimedia design approach are considered for expanding the target and scope of creative material for Korean cultural original forms. Future researches, based on the results of the study, are expected to be expanded to the various designerly-thinking approaches into 'Shaman' themes and rather to be re-illuminated to the development of Korean cultural original forms as a nation's strategic standpoint.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.175-191
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• 2012

It is said that the mainstream of the oriental culture is Confucian culture, but not be the unique culture of Korea. The religious object in Taoist ideology of immortality reflecting the awareness of cultural community and Korean identity was three spirits. Three spirits are one spirit in terms of main subject. Three spirits were named because they rule the heaven, the earth and human beings each in the reality. The custom performing the religious service to the heaven and the earth is not based on the Taoist ideology of immortality but only the superstition which we can't understand. However, we can clearly understand the reason why the ideology has been transmitted up to now in our awareness and culture when we understand the basis of that ideology. The theory on the origin based on the birthplace of Taoist ideology would be based on the shamanism of Eastern barbarianism and their cultural features. Accordingly, this paper aimed to identify the formative features of phoenix pattern and background of the formation of phoenix pattern based on the unique culture of Korea. Furthermore, the traditional craft works of Korea with the phoenix pattern which secured its position as the representative pattern of Korea will be investigated.