• Journal of Christian Education in Korea
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• 제78권
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• pp.57-85
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• 2024

Purpose of the study: In order to utilize artificial intelligence-generated AI in educational ministry, this study analyzes the concept of artificial intelligence and generative AI and the educational theological aspects of educational ministry to find ways to efficiently utilize artificial intelligence ChatGPT in educational ministry. Contents and methods of the study: The contents of this study are. First, the contents of this study were analyzed by dividing the concepts of artificial intelligence and generative AI into the concept of artificial intelligence, types of artificial intelligence, and generative language model AI ChatGPT. Second, the educational theological analysis of educational ministry was divided into the concept of educational ministry, the goals of educational ministry, the content of educational ministry, and the direction of educational ministry in the era of artificial intelligence. Third, the plan to use artificial intelligence ChatGPT in educational ministry is to provide tools for writing sermon manuscripts, preparation tools for worship and prayer, and church education, focusing on the five functions of the early church community. It was analyzed by dividing it into tools for teaching, tools for teaching materials for believers, and tools for serving and volunteering. Conclusion and Recommendation: The conclusion of this study is that, first, when writing sermon manuscripts through artificial intelligence ChatGPT, high-quality sermon manuscripts can be written through the preacher's spirituality, faith, and insight. Second, through artificial intelligence ChatGPT, you can efficiently design and plan worship services and prepare services that serve the congregation objectively through various scenarios. Third, by using artificial intelligence ChatGPT in church education, it can be used while maintaining a complementary relationship with teachers through collaboration with human and artificial intelligence teachers. Fourth, through artificial intelligence ChatGPT, we provide a program that allows members of the church community to share spiritual fellowship, a plan to meet the needs of church members and strengthen interdependence, and an attitude of actively welcoming new people and respecting diversity. It provides useful materials that can play an important role in giving, loving, serving, and growing together in the love of Christ. Lastly, through artificial intelligence ChatGPT, we are seeking ways to provide various information about volunteer activities, learning support for children and youth in the community, mentoring-related programs, and playing a leading role in forming a village community in the local community.

• CRM연구
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• 제4권1호
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• pp.1-18
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• 2011

The consumer's expectation of companies' social responsibilities has been continuously getting higher as the consumerism has been matured. So, the company has faced the shift to move forward to the positive social activity such as charity, donation, and sponsorship. In addition, the company which does make a success needs to reach goals not only to maximize profits but also to make justices of social and cultural boundaries. Thus, success of an enterprise aims at the maximization of profits as the economic objective and the creation of competitive, powerful brands. Accordingly, as enterprises consider social responsibility as the concept of effective investment to enhance the asset value of corporation, they seek to extend their brands in order to pursue cause-related marketing, which accomplishes and complements two objectives each other the performance of social responsibility and the pursuit of powerful brand assets. In Korea, there are traditional ritual ceremonies such as ceremonies of coming-of-age, marriage, funeral, and ancestor worship and they consider those ceremony occasions as very important. Moreover, social positional grade of rank like the two upper classes of old Korea made people pretend to be noble and sensitive to other people around themselves. This old custom could influence Korean people's way of life, especially, consumer-action. This deep rooted custom also could influence consumption life considerably. Through this study, we can understand the consumer behaviors of Korean who consider ritual ceremonies and saving face as essential and are influenced by this culture. on another hand, we intend to check the effects on buying luxury brands.

• Journal of the Korean Home Economics Association
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• 제41권2호
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• pp.123-139
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• 2003

This study examines the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect through field study and various documents. The purpose of the study is to elucidate how their religious ideas are reflected in their ceremonial costumes and what characteritics and underlying meanings these costumes have, and I reached the following conclusions 1. The new religious groups in Korea modified or mixed the designs or names of existing outfits to convey their ideas or beliefs in their costumes. 2. The costumes of new religious groups turned out to have certain characteristics in common: they all reflected the times, Korean tradition, ancestor worship. 3. I looked at the symbolicity, names, and types of the outfit, and their color scheme to establish their structural characteristics, and it turned out that they an symbolized the creeds and ideas of each religion. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, for instance, had to do with Buddhism Taoism, and Confucianism. The most common type of costume consisted of traditional hanbok top, pant, robe, and some type of headpiece for men, and hanbok top and, skirt for women, and if women were to wear a robe, it usually meant the sect believed in sexual equality. There was also a tendency to simplify or minimize the dress code, which seems to indicate that the sect was trying to adapt itself to, the times. The most common type of the outer garment for men was a robe with narrow sleeves, straight lapel, and no slits, and a robe with wide sleeves, straight lapel, and slits for women. The color scheme of the costumes included blue, white, yellow, red, and black, reflecting the influence of the Yin-Yang and Five Elements idea and traditional preference for white of Koreans. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbolicity, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various element of traditional Korean outfit and those of existing religions to symbolize their religious ideas. Many religions in and fall, and each has its own dress codes, and I hope this study provides a framework and data for other researchers and leaders of new religious groups that will emerge in the future.

• Archives of design research
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• 제16권3호
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• pp.231-240
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• 2003

As all other cultures do, in the background of color of costume, view of life or spirit are contained in the nature or environment that the people lived in are applied. Marring is the ceremony to be socially recognized that both of sexes are unified, assist ancestor and bear future generation. Meaning and symbolism of color are appeared in beauty and organic composition of Lee dynasty. This paper tried to dear up five colors are dean, beautiful and philosophical colors rather than awkward composition of colors through surveying character of five colors appeared in Korean traditional wedding dress that has been succeeded in present age. This paper compared Korean traditional wedding dress and "Dan-chung" of Korea, Japan and China and surveyed theoretical background of Korean traditional color to find character of color appeared in Korean traditional wedding dress. As a result, Korean traditional color is meaningful symbolic color, its origin starts in yin-yang and the live elements of the Oriental cosmogony and it is related with Taoism of Confucianism and color of "Dan-chung." Five colors of yin-yang means everything under the sun and il is the color achieving beauty of balance due to correlation when it is linked to over one color. Further, it contains nature worship and human dignity, prays happiness and gives the significance of "Buksa", meaning of expelling an evil spirit. Formative beauty praying that all creatures are harmonized while human is happy and escapes from uncertainty is the beauty pursuing mental satisfaction as well as visual satisfaction. In future, the creational and characteristic designs that can appeal to world are required through right understanding and study of the beauty of traditional culture beauty of traditional culture

• Journal of Fashion Business
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• 제2권1호
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• pp.71-75
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• 1998

The Miaos who is the minority people mainly living in the southwestern part of China, expressed their indicator and solidarity through the costume in order to maintain their racial character while experiencing numerous adversities over thousands of years, where the costume has served as a source of cohesion as well as a primitive religious thought, and also showed their faith, desire, longing and aspiration. This study examined the Miao's traditional costume by classifying it into the following; hair style, headdress, upper and lower garments, and other costume. And the silver ornaments used for attire and their symbolic meaning were examined. The result of the study is summarized as follows. 1. The reason that types of the costume has been diversified is because there was promise of ancestors who intended to differently express the type of a kind as symbol of the racial branch that is the Miao's special type of society. Thus, the costume type could tell where a tribe live. Another reason is because only marriage between families with different surname but the same type of costume was accepted. 2. As women made and wore the costume themselves, it also served as a means of being proud of their skill or wealth, they tried to make it more beautiful and it was also used as a token of marriage or love between relatively enlightened men and women. 3. The design used on the costume was expressed as a symbolic meaning of indicator to strengthen the racial solidarity because it connoted worship to ancestors who had experienced lots of adversities. 4. The hair style was expressed in various styles by using Kache such as Chukye, Byunbal and Kokye. It is likely that ornaments used on the head of women in the form of cow's horn or silver crown were used as one of the methods to stress the valuableness of the cattle that were essential to agricultural life. In addition, various styles of turbans were used to indicate the respective regions. 5. Cock's feather ornaments or silver ornaments in the form of pheasant's feather on the edge of women's skirts, peasant's feathers that men wore on their head, or Baekjoui and men wore resulted from the Miaos' thought of adoration for birds, which implied a primitive religious meaning. 6. As the region where the Miaos live yields much silver, the silver ornaments were mostly used to be proud of wealth, which symbolized light and pureness.

• Journal of the Korean Society of Costume
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• 제55권4호
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• pp.62-78
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• 2005

The modern period was the time that the most radical and extensive social and mental changes were occurring throughout the history, and modernism was prevailing as a general cognition system of people. Modernism, which carries principles of progress, belief in application of scientific technology, worship of reason, ideal of liberty as a col-e value of civilization, was plated as a leading ideology in the realm of society, culture and art In the early 20th century. In this study, the formative characteristics of modernism seen in architecture and fashion are analogized and analyzed in four ways ell the basis of the theory of p. Greenhalgh. First, 'Standardization for mass-production', which is analogized which P. Greenhalgh's 'Decompart-mentalisation', 'Social Morality', and' Technology'. Standardization for mass-production in architecture focuses on the development of a design prototype in order to mass produce; the development of ready-made clothes is actively done ill the fashion area for the same purpose as well. Second, 'Rational functionality' coming from P. Greenhalgh's 'The total work of art' and 'Function'. While rational functionality in architecture puts an emphasis on the rational operation of all the functions in regard to the relation between each part and the whole, rational functionality in fashion call be mainly seen in a dramatic increase in physical activity which could be hardly found before the modernism period. Namely, all the fashion design elements are developed for a certain rational and functional design on each part as well as on the whole in order to greatly increase physical activity. Third, 'the pursuit for genuineness of objects and universality of beauty' is on the analogy of P Greenhalgh's 'Truth', 'Anti-historicism', 'Abstraction', 'Internationalism/Universality'. This idea is adopted in architecture in the form of design of geometrical abstraction. In the same way, design using geometrical abstraction comes to have a significant meaning in fashion of the modernism period. So to speak, modernism architecture and fashion can be reborn to become an inter·national style by giving up the decorative and regional design prevailing before modernism and by expressing universal aesthetics in the form of simplicity and abstraction instead. Fourth, 'Expression of progress through a change in a viewpoint' stems from P. Greenhalgh's 'Progress', 'Transformation of Consciousness', 'Theology'. In architecture, this concept appears by using new construction materials and methods and by representing new aesthetical idea. As a result, it makes it possible for people to make progress for better lives. Like in architecture, new attempts for material application and processing are made in fashion. This gives rise to a general change in a viewpoint related to fashion, so that a flew fashion design which there has never been before can come out.

• Journal of the Korean Society of Costume
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• 제35권
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• pp.17-44
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• 1997

Medieval European practical art and style of costume is studied through referring to the literatures. The type of clothing that was seen on tapestries arts and crafts paintings and wall paintings and appeared in the architecture such as church. There were symbolic aspects of color motifs at this period and some restraints for clothing according to the social class, It was a period that draped garments due to the War of Crusades is appeared. Be-cause the medieval taste and decorative character is not only 'formative art' but also the taste beyoud 'mode' and atomsphere of that times it could be seen the strong reflec-tion of customs in the clothing of that times which is shown in works of art. 1) The purpose of Christian art which was found in mosaics stained glasses wall pain-tings and statues of architecture was not just the revival of natural phenomena but visuali-zation of sacred and invisible things. It was valuable to understandin of the spiritual through the sense organ It was a monumental art that was combined with decorative func-tion and role of the Bible. It revealed what was about the religious spiritual miracle, 2) In the medieval European painting characteristic and beautiful creativity was the basis of an argument. Both "Worship of East-ern" that is painted ion a parchment and "Cor-onation of Charles VI" were described decor-ation motifs on the edge of buildings geo-metric patterns and others with outstanding skill. there were precise technologic skill of architect and glassmen and lots of patience of craftsmen. " The Labour of the Months" and the scene of"A Trial at the Court" is also de-scribed elaborately. 3) Tapestry was developed in France Ger-many Swiss at the 14th century. Religionary and historical themes unicorn lady bird flowering plants and others were major motifs. It was very important as decorative wall coverings and as practical door arch and bed hangings. It was made through patient hard work with simple technique and it was con-sidered as an art for practical use. Tapestry was what everyone wish to have. It is reckoned for the item of the best gift. The royalty and nobility ordered and used custom-made tapestries. Sometimes the subject of motifs consisted of series which were deeply related to living 4) Decorative arts and crafts was the art that used materials such as precious metals jewels and others and that accorded with the luxurious and gorgeous taste of the royalty and nobility. Christian considered splendid and beautiful color of light as a symbol of glory. They used also for church appliances, There were metal crafts wood crafts textile crafts and others, As was stated above the costume appeared on the arts and crafts for living revealed the process of changes saw how the politic econ-omic and social organizations were developed.and social organizations were developed.

• Journal of Christian Education in Korea
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• 제63권
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• pp.13-37
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• 2020

The World Health Organisation(WHO), paying attention to the spread and fatality of the coronavirus(COVID-19), which first occurred in Wuhan, China, declared a global emergency. Although many countries implement strict measures to slow down the spread, WHO officially declared a pandemic. COVID-19 has sparked fears of an impending economic crisis and recession. Due to the economic crisis caused by social distancing, self-isolation and travel restrictions, the collapse of the world economic system centered on free trade and the decline of globalization are mentioned. Political leadership that has not responded properly to the pandemic is challenged, and nearly all of society is rapidly changing to a non-contact and immobile culture. COVID-19 has seriously affected all levels of the education system, from preschool to tertiary education. The so-called old concept of deschooling is realizing in the field of education through digital media paradoxically. Church education is facing a serious crisis as well. Churches are seeking now a new normal that includes theological reflection on the pandemic, online worship, education, and non-face-to-face ministry to overcome the worst unexpected crisis. In the post-corona era, church education must actively seek alternatives in response to rapidly changing surrounding conditions and reconstruct educational philosophy(theology) that focuses on Christian values. In addition, it is necessary to start operating a mobile(or online) church school that combines offline and online. It is necessary to introduce 'Blended Learning' method that combines non-face-to-face and face-to-face learning, and by combining church school and homeschooling, churches and families need to share the responsibility of education in faith.

• Journal of the Korean Society of Food Culture
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• 제3권3호
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• pp.219-243
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• 1988

The sacrificial rite has its origin in the old China's primitive folkways faith based upon animism (B.C. 25c). From the animistic faith, Confucianism made its appearance in B.C. 551. Inevitably, the procedure of Confucian sacrificial rite was developed on the basis of the preceding primitive faith. In Korean culture, the god of Chinese Confucianism introduced to Korea in A.D. 108 was mixed properly with that of Buddhism imported in A.D. 372. Traditionally, Korean primitive religion (from B.C. 10c to B.C. 2c) was the sacrificial rite practiced by 'shaman.' The 'shaman' who was able to utilize ecstasy for the good of community was gods itself, and naturally the main form of the sacrificial rite was an exorcism with a sacrificial offering (food). After Korean primitive religion had been grafted to Buddhism and Confucianism, the character of Korean culture had to become compound. The most essential conception in sacrificial rite is a discrimination of a ghost, one is the evil spirit and the other is the good spirit. According to this conception, the good spirit is a spirit which ascended to heaven, in contrast, the evil spirit is a one which did not ascend to heaven and dispersed into this world. The sacrificial rite is a method to help the evil spirit ascend to heaven or to prevent harms from it. The mode of sacrificial rite especially the dead ancestor worship was transmitted from generation to generation as a purpose of the wealth and honors of descendants. Descendants believed that the evil spirit would not harm them only after receiving sufficient food and the right sacrifice. As a result, the sacrificial rite food was the sign of filial piety and a compensation for the evil spirit. 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 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 settle down in Korean culture.

• The Journal of Art Theory & Practice
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• 제4호
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• pp.181-202
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• 2006

"When it comes to art, nationalism is a goodticket to ride with", says the title of a report in the Indian Express (Mumbai, 29 Oct 2000). The newspaper report goes on to say that since Indian art was kept "ethnic" by colonialism, national liberation meant opening up to the world on India's own terms. Advocacy, at the tail end of the 20th century, would contrast dramatically with the call by Rabindranath Tagore, the founder of the academy at Santiniketan in 1901, to guard against the fetish of nationalism. "The colourless vagueness of cosmopolitanism," Tagore pronounced, "nor thefierce self-idolatry of nation-worship, is the goal of human history" (Nationalism, 1917). This contrast is significant on two counts. First is the positive aspect of "nation" as a frame in art production or circulation, at the current point of globalization when massive expansion of cultural consumers may be realized through prevailing communication networks and technology. The organization of the information market, most vividly demonstrated through the recent FIFA World Cup when one out of every five living human beings on earth watched the finals, is predicated on nations as categories. An extension of the Indian Express argument would be that tagging of artworks along the category of nation would help ensure greatest reception, and would in turn open up the reified category of "art," so as to consider new impetus from aesthetic traditions from all parts of the world many of which hereto fore regarded as "ethnic," so as to liberate art from any hegemony of "international standards." Secondly, the critique of nationalism points to a transnational civic sphere, be it Tagore's notion of people-not-nation, or the much mo re recent "transnational constellation" of Jurgen Habermas (2001), a vision for the European Union w here civil sphere beyond confines of nation opens up new possibilities, and may serve as a model for a liberated sphere on global scale. There are other levels of collectivity which art may address, for instance the Indonesian example of local communities headed by Ketua Rukun Tetangga, the neighbourhood headmen, in which community matters of culture and the arts are organically woven into the communal fabric. Art and collectivity at the national-transnational level yield a contrasting situation of, on the idealized end, the dual inputs of local culture and tradition through "nation" as necessary frame, and the concurrent development of a transnational, culturally and aesthetically vibrant civic sphere that will ensure a cosmopolitanism that is not a "colourless vagueness." In art historical studies, this is seen, for instance, in the recent discussion on "cosmopolitan modernisms." Conversely, we may see a dual tyranny of a nationalism that is a closure (sometimes stated as "ethno-nationalism" which is disputable), and an internationalism that is evolved through restrictive understanding of historical development within privileged expressions. In art historical terms, where there is a lack of investigation into the reality of multiple modernisms, the possibility of a democratic cosmopolitanism in art is severely curtailed. The advocacy of a liberal cosmopolitanism without a democratic foundation returns art to dominance of historical privileged category. A local community with lack of transnational inputs may sometimes place emphasis on neo-traditionalism which is also a double edged sword, as re kindling with traditions is both liberating and restrictive, which in turn interplays with the push and pull of the collective matrix.