• Journal of the Korean Society of Costume
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• v.16
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• pp.221-229
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• 1991

This thesis aims at reviewing the wearing aspect and formation of Chosun ceremonial dresses for meal and finding out the thought reflected by them from the standpoint that dresses themselves should be taken as one of the phenomena in culture. That is men's ceremonial costumes and confucian costumes of the royal family and the gentry family in Chosun is reviewed focused on the formation and the wearing aspect of Po, Which is a kind of them. And in the context of the phase of the times. I also considered the thoughts reflected on the clothes such as confucianism, Ying & Yang Theory, and the symbol and the thoughts of patterns in relation to the clothes. Confucian influence was the main force for the Chosun prohibitions for clothes. The major reasons for the prohibitions for clothes were as follows. First, they reflected confucian Chung myoung chooui(the principle that everything should be where it belongs). That is the prohibitions for clothes were used in the means to maintain feudalistic social order. influenced by social rank system. Second, they reflected confucian ethics in the means to recover social disciplines with the maintenance of traditional customs. This shows well in the restriction of luxurious items in dressing included the prohibitions for clothes. Third, they reflected Chosun's toadysm toward China. With the influx of Chinese style of dressing then government even changed the style of uniforms for public officials into that of Chinese resulting in dual styles of dressing. Ying & Yan Theory greatly affected the colors of Korean clothes and reflected toadysm toward China. too. The theory was embodied by prohibition of such colors for clothes as white, gray, and jade green. I reviewed the twelve patterns on Myunpok, Ten-Longivity patterns and Four-Gracious plants patterns in order to analyze the symbolism and thoughts of patterns for clothes. Nansam, Dopo, and Shimui worn by confucian scholars ensures that those clothes bears confucianism and philosopical factors. As shimui was worn by many people it appears in Chosun scholars' studies and a Chinese book called "Yeki". I reviewed the origin, procession, and ornaments of four ceremonial clothes and tried to find out the confucianism in them. First, In Kwanrei (the coming-of-age ceremony) remained ancestor worship and respect for manners. The clothes for this ceremony granted the rights and responsibilities of and adult to the wearer. The royal Kwanreipok had different dresses for each rank. As Samgapok, the crown prince wore Iksunkwan and Konryongpo for the first ritual, Wonryukwan and Kangsapo for the second, and Myunrukwan and Konpok for the third. The rank of the King's grandson was lower than the crown prince's. This example shows that Chosun people respected manners and thought the basic confucianism "God and people are equal." at the Royal court. Second, as Honreipok(wedding gown), the crown prince wore Myunrukwan and Konpok for Daereipok, Wonyukwan and Kangsapo for Napjing and Tongwoo, and Iksunkwan and Konryongpo for Chekbinui. But common people were allowed to wear an official outfit only for wedding in the means of congratulation on the most important day of their life. Wedding gowns which reflected Ying and Yang Theory emphasized the thought that union of a man and a wife is the most important event in life. Third, Sangrei(funeral) was the last ritual of a human being to send off the deceased. The mourning dresses expressed lamentation of the people left behind. Five-Dress-System for each the relative degree of familarity showed the solemnity and formality, which represented the formality of confucianism and ancestor worship. I reviewed the mourning dresses by dividing them into royal, Yangban's, and commons. They were featured by the fact that there was only one style for every walk of life. It is construed that anyone in mourning can wear the same clothes since he feels the same way regardless of his social rank. Fourth, Chereipok(sacrificial rite dresses) had different styles for each social rank. The King wore Myunpok(Kuryumyun and Kujangpok) were recorded to be worn first in the fourth year of King Taecho's ruling. The crown prince wore Palryumyun and Chiljangpok for sacrificial rite dress which was finally settled when King Sejong was in power. Common people wore Dopo, Shimui for the rite dress in the beginning of the Chosun Era and wore Dopo after Japanese invasion of Korea in 1592. In conclusion, confucianism played the main role in ceremonial dress system of Chosun and that was because it emphasized the ethics of action in life, which was different from other religions. It is true that cause-oriented thoughts and Chung myoung chooui in confucianism drove all ceremonies to extreme manners, discriminating the people who belonged to the lower social rank, and resulting in extremly luxurious life style. However, they also created a unique trend and clothes culture in the Chosun Era. I wish that this thesis provieds important information and direction for furthur studies in the future.

• Journal of Hospice and Palliative Care
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• v.16 no.3
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• pp.155-165
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• 2013

Koreans' traditional view on death has been much influenced by Confucianism, Taoism, Buddhism, and shamanism since ancient times. Confucianism emphasizes the importance of the real life in this world and highly praises doing good deeds for the family and the community. It also praises people who are enlightened by education and self-discipline. Confucian scholars admit that death cannot be understood by rational thinking although it is unavoidable as a cosmic order. Taoism sees life as the same entity as death; Both are two different aspects of the same cosmos or the wholeness. However, the disciples of Taoism became much interested in a long life and well being that may be achieved by harmonizing with the cosmic order. Buddhism thinks that death and life are an "illusion". It says that people can be enlightened by recognizing the fact that "Nothing is born and nothing is dying in this world. Everything is the product of your mind occupied with false belief." However, secular Buddhists believe in the afterlife and metempsychosis of the soul. This belief is sometimes connected with the view of the traditional shamanism. Shamanism dichotomizes the world between "this world" and "that world". After death, the person's soul travels to "that world", where it may influence life of people who reside in "this world". And shamans who are spiritual beings living in "this world" mediate souls and living people. In conclusion, there are various views and beliefs regarding death, which are influenced by a number of religions and philosophies. They should be seriously considered when making a medical decision regarding the end of patients' life.

• Journal of Preventive Medicine and Public Health
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• v.7 no.1
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• pp.203-209
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• 1974

This study is intended to comparison of the recent ideal number of children and atrial approach for analyzing value system for children that form attitude affecting birth control with earlier study conducted 10 years ago. In general the traditional fertility pattern of Korea may be considered as 'early marriage and high fertility' backed by the confucian value system of a farming-oriented country. A selective attitude favoring sons contributes substantially to fertility. But Korea is now moving toward a late marriage and fertility pattern. This has been due to the repid introduction of western culture and a partial acceptance of western value systems, a relative weakening of traditional value systems, a gradual increase in infant and child servival rates thresh medicines, and a desire to avoid having too many children because of economic poverty. This study showed following results: Ideal number of sons and daughters in urban area was decreased by 0.2 respectively compared to earlier study. In rural area, the number of decrease of sons and daughters was 0.5 and 0.2 respectively. The conception concerning Happiness has changed to wealth from health in previous opinion. Regarding attitude toward having sons, 98 percent of them wanted to have sons positively, moreover 10 percent of them wanted two or more sons. Regarding reasons for the wanting sons, we see that economic and traditional considerations, such as dependance in old age, and inheritance of the family line, are a principle concern of about 56 percent in both areas. The rate of dependence in old age was decreased conspicuously compare to previous study while the rate of helding rituals was increased remarkably in rural area. Among reasons for limiting family size. 'for better living and for better education for their children were main rasons reted 46 percent in urban, 51 percent in rural areas. The rates were not changed compare to previous study. Regarding attitude of those who have no son or children, the rate of re-marriage with second wife was decreased remarkably in rural area and the rate of living without special behaivor for having son was increased compare to previous study.

• Journal of Environmental Science International
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• v.12 no.4
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• pp.383-391
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• 2003

The purpose of this research explain the meaning of the environmental design principles and cultural landscape pattern(dualistic space organization) of the Hahoe(河回:winding river village) the Yangdong(良洞) traditional village. Village's space organizations based on Shamanism, fin-yang and Five elements principle, Feng-shui idea, social system and Confucian ideas. And it were accomplish curat landscape pattern(village:form+object=pattern) through the frame of settlement space. As a central persons of villages(the Hahoe $.$ the Yangdong) construction, Suhae(西厓) experienced tough Chunghyodang - Wonjichongsa - Ogyonchongsa - Pyongsansowon channel(忠孝堂 -遠志精舍 -玉端精含 -脣山書院) and Kyomam(謙 ) experienced tough Yangjindang - Binyeonchongsa - Kyomamchongsa - Hwachonsodang(養眞堂 - 賓淵精舍 - 謙庵f精舍 - 花川書堂) channel. Also Woojae(愚齋) experienced tough Suhbackdang - Khankachung - Dongkangsowon(書百堂 - 觀稼停 - 東江書院) and Hoejae(晦齋) experienced tough Moochumdang - Hyangdan - Oaksansowon(無添堂 - 香壇 - 玉山書院). It is space organization of themselves interact contrast and sequence principles with competition in good faith. And ecological art-space, that is, environmental spare organizations of traditional village has been reflected harmony between nature and artificiality, spatial rhythm and sequence, spatial hierarchy between upper classes and humble class, permeability space, asymmetrical balance, aesthetic space perception. The humble classes hold a ceremony Hahoe's Pyolsingut-Talnori(maskdance drama), Dangjae(堂祭:religious service) at the Dang(堂:shamanism spot) and Yangdong's Sohraesulnori, Hohminori. And the upper class hold a ceremony Hahoe's Julbulnori and Yangdong's Chungjanori connected with culture of confucianism. Specially, the cultural structure cf the village is evidence of a contrast between the upper class and the humble classes, time, method and location of ceremony(performance).

• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.130-144
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• 2017

The purpose of this study is to apply iconology to discover the symbolic system of imaginary animals focused on four representative auspicious animals in Korean folk paintings. Study methods included literature review of folk paintings, iconological analytics books, and articles. A total of 16 folk paintings of four auspicious animals in the Joseon Dynasty were analyzed using Panofsky's iconology. The four auspicious animals were Yong(dragon), Bonghwang(the eastern version of the phoenix), Shingoo (divine turtle), and Kirin(one-horned combination of a dragon and horse). According to iconological analysis, Yong is a typical symbol of royal authority, a deity of water as an object of respect with a remarkable talent of transformation, and in iconographical interpretation, represents reverence for transcendent power. Bonhwang is the symbol of a king, sun worship, the emblem of nobility and integrity, and in iconographical interpretation, the psychic bing in the sky. Shingoo is fortune prophecy, longevity and immortality, an envoy of deity, and according to iconographical interpretation, the organic view of the world. Kirin is a divine benign creature, a symbol of talent and honor, mediator between sky and earth, and in iconographical interpretation, an expression of Confucian ideology. This study produced three results. First, the four auspicious animals projected the human hope to overcome human limitations through divine creatures with mythical abilities. Second, they reflected everyday common hopes and values of pursuing fortunes and happiness. Third, the four auspicious animals' iconology was not independent of each other; it seemed to be common to and combined with each other.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.14-27
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• 2010

This study is aimed at understanding the wisdom of our ancestors in Korean traditional villages and finding out cues to designate and utilize community space in planning residential area in villages by examining community space in Korean traditional villages from cultural landscape point of view. This study designated 18 Korean traditional villages which have been preserving Korean traditional culture up to now, so deserve conservation from historical, cultural and artistic viewpoint. This study divided community spaces in each village into social area and ritual area depending on their uses and functions based on the results of pilot study and main study. In addition, ritual areas were also divided into Confucian ritual area and ethnic ritual area. Specifically, this study examined characteristics of space location and users by understanding the location of community space factors in the 18 villages. As for the factor analysis of community spaces, community factors established after the modern age were examined from modern viewpoint, and factors which had been destroyed or lost their original functions were examined from retrospective viewpoint. In conclusion, this study found out that cultural landscape in Korean traditional villages were affected by social relationship among villagers. The community spaces of villagers were multiple-function space rather than a space which was exclusively used by a specific class. Though the occupation of these spaces was separated and differentiated depending on sexes and ages, villagers tried to understand and respect each other through tacit communication.

• Architectural research
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• v.3 no.1
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• pp.21-27
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• 2001

This study addressing the underlying strategies for Andong municipal museum complex development is in timely view that Andong has obtained a worldwide reputation as a treasury of traditional Korean Confucian culture. Thus far, there has been a tendency that various local museums are proposed to meet architectural aspirations architects and users commonly hold. Overall, though, the major role they play in making overall city image has not been considered in a systematic manner. Based on Lee's (2001) two previous studies, this study summarized the utility of cognitive distance and cognitive map concepts, which are proposed by Kevin Lunch (1976) to evaluate city image, in planning Andong municipal museum complex (AMMC). Sample is stratified into city residents and outsiders, and also into the general public and design-related professionals to see if there is any group difference in constructing their mental image. Three major findings are obtained. First, familiarity, so-called the degree of knowing, is the function of the length of stay in a designated area. That is, the longer people stay in Andong, the more likely they are familiar with its overall environmental aspects. Second, mental proximity of Andong municipal museum complex relative to existing cultural landmarks is closely related to the degree of how people value those landmarks in terms of their significance. Dosan Seowon and Hahoe folk village are most highly valued, which means higher proximity. Third, functional diversity turned out to be the most important design dimension, while display mechanism are least valued. Cognitive simulations of this sort are meaningful in that projected composite image might be a rough first approximation of true public image.

• Education of Primary School Mathematics
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• v.3 no.1
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• pp.79-88
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• 1999

This paper shows how the social tradition and belief of korea on education affects teachers and students and learning. 1 Interview with teacher. During surveying this teacher's class, we knowed that the teacher have accentuated algorism loaming and preparation fur external examination in math class. Teacher's beliefs about mathematics have a strong effect on the method of class and the performance of problem solving 2. Interview with students and short test. 1) Students usually had fine ability of calculation for number. But Many pupils didn't know the meaning of the operations. 2) The most of pupils are good at routine math problem solving but when the question whose the condition don't meet was given, they experienced difficulties.3.Korean sociocultural specialty on education: The korean place high emphasis on education and think of education as the means of success. This emphasis can be traced to the Confucian view. 1) tradition on examination culture. 2) the traditional convention of the learning method. Korean sociocultural specialty on education play role of strengthen role learning and algorism class. The important things to education reformation are getting a balance between practice and understanding. we should make changes not only in national dimension but also in math class.

• (The) Research of the performance art and culture
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• no.18
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• pp.347-377
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• 2009

This paper examines the tradition discourses in Korean modern drama of the late 19th and the early 20th. It focuses particularly on how key intellectuals differentiated the definition and interpreted 'Theater-Improvement' while they insisted on improving traditional performance. Tradition discourse focused on how to improve its contents of performances. There were three categories in discussion. First, Confucian intelligent insisted that traditional performance should be discarded, because it led to customs disorder among the public. Second, patriotic and progressive intellectuals led by Sin Chae-Ho(신채호) and Bak Yen-Sik(박은식), preferred the reformed content of traditional Korean performance dealing with historical heroes. in order to stimulate patriotism in the Korean. Third, Lee In-Jik(이인직) who had worked at a popular newspaper company in Japan tried to make 'New Theater' criticizing decayed officials and the stupid nation. He did not concern about the colonialism of Japan. In the late 19th and the early 20th in Korean modern drama history, tradition discourses faced different directions, dependent on their political positions, familiar foreign cultures, and their view on traditional cultures.

• (The)Study of the Eastern Classic
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• no.43
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• pp.183-207
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• 2011

This study finds aesthetic elements and examines their aesthetic sense focusing on the melody of the piri in the completed Jongmyojeryeak with various ideational backgrounds from the views different from the aesthetic sense of Jongmyojeryeak that has been conducted so far. Jongmyojeryeak is to hold a memorial service at the place where the godship of the line of kings and queens in Joseon is set. It is the crystal of Confucian memorial ritual and representative cultural heritage of ancestral ritual culture and is designated as No 1 of national chief, intangible cultural heritage in 1964. Also, on May 18th, 2001, it was registered first in Korea as 'Masterpieces of the Oral and Intangible Heritage of Humanity' designated by UNESCO and was recognized of its superiority. It is not only a representative cultural heritage of ancestral ritual culture having fate with Joseon Dynasty for a long period but also has been recognized as the essence of our music compiling the holistic beauty of artistic forms according to music, songs, and dance created by our ancestors. Also, it has as its background the traditional thoughts including the Confucian thought as well as Yeak thought, Yin-Yang School, Samjae thought (三才思想), and Palgoe thought (八卦思想). This Jongmyojeryeak internalizes landscape beauty, Yojang beauty, natural beauty, magnificent beauty, and harmonious beauty. Landscape beauty can be found in Huimun and Jeonpyehuimun. Yojang beauty is the figure that is only shown in Jeongdaeup. Natural beauty is the skilled performance technique shown in the melody of variations and is connected to natural creation. It is well shown in Huimun and Jeonpyehuimun. Magnificent beauty is well shown in the melody of Botaepyeong movement. And harmonious beauty is the harmonization of dischord in Jongmyojeryeak and is well shown in Jeongdaeup's Somu distinctively showing its aesthetic sense from the view of natural, harmonious beauty in its music.