• The Korean Journal of Ecology
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• v.3 no.1_2
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• pp.17-20
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• 1980

This paper contains the results obtained by ecological investigation of ilora in Muie Island of Incheon Harbor in the xestern coast in Korea. 14 varieties, 1-27 species, 57 families and 142 genera of Tracheophyta were recorded by field investigations conducted over three times in May and July, 1976 and August, 1980. The flora of this island showed a plant community predominated by Pinus densiflol-a grown in miggle with Carpinus laxiflora, Quel-cus serrata and Rhododendron muucronulatum. Generally, the number of plant species was scarce, but it was an unexpected result that such remote mountainous plants as Lysinzachia clethrozdes, Sy7zeilesis palnzata and Lilzunz disttcum etc. were encountered in a wood surrounding Seohwang-dang, the shrine of a tutelary deity, on 126-Meter Hill at the northern end of the island. There also countered in Hoyong mountain valley were deciduous broad-leaved forests without pine tree which mainly consisted of Prunus leveillea7za, Fraxinus rhynchophylla, Platycarya strofilada, Quercus serrata. Quercus acutissznza and Acer mono. In addition, herbaceous plants, such as Syneilesis palmata, Codonopsis lanceolata and Lysi\ulcornerna barystnchy were grown as the undergrowth of these forests. Drosera rotundifolio, an unlooked-for plant, . appeared in the middle of the eastern coast of the island. Camellia japo7tica was grown spontaneously in Deogjeog Island 261cm southwest from the island, while no evergreen broa-leaved tree could be located except 2 species of Vztex rotztndifolia and Euo~zymus japonrca. It may be considered that such simple flora of this island compared with that of land is attributed to the fact that the formation of the former took place in the period far latter than that of the latter.

• Journal of architectural history
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• v.28 no.2
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• pp.65-76
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• 2019

Modern Joseon Architecture is North Korea's unique building style that interprets Korean traditional architecture in a modern way, and its most distinctive design feature is the Paljak roof that decorates the upper part of the buildings. This paper argues that continuous attempts at characterizing the nature of traditional Korean architecture in the late 1950s and early 1960s developed the theoretical rationale for the exclusive use of the Paljak roof in Modern Joseon Architecture. It also argues that the construction of the Pyongyang Grand Theater and the Okryu Restaurant during this period became a decisive moment for the formalization of the Paljak roof. The double roof rafters and gables and the "cheerful yet solemn" roofline were considered as main characteristic features of the Korean roof and the Paljak roof perfectly fits this description. Particularly, in North Korean society where Kim Il Sung became idolized as an impersonalized deity, an anecdote in which Kim Il Sung fixed a prominent gabled roof in the Pyongyang Grand Theater into a Paljak roof has allowed for the roof to gain an exclusive status. Hence, almost all Modern Joseon Architecture since the 1960s accepted the Paljak roof's monopoly position, rather than experimenting with other traditional roof types.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.1 no.2
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• pp.61-87
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• 2022

This article compares the concepts of divine incarnation as expounded in Daesoon Thought and in Christianity and questions the essence of the divinity in both traditions. In Daesoon Thought, The Supreme God, Sangje, saw major disorganization leading to extreme violence and doom and decided to incarnate on earth under the human form of Kang Jeungsan (1871-1909). Then the living God taught the solution to human suffering through the revelations he sent in 1917 to Jo Cheol-Je, or Jo Jeongsan (1895-1958) and the revelations were passed on to Dojeon Park Wudang who in 1969 founded Daesoon Thought. In Christianity, God incarnated in his son, Jesus Christ, who allowed for the radical transformation of the condition of man through his physical sacrifice. Daesoon differs in that Sangje did not offer himself as sacrifice when he came on earth but reorganized the world and taught how to apply benevolence to establish the Earthly Paradise. The affirmation that Daesoon Jinrihoe is both monotheistic and polytheistic is then analyzed. If the concept of monotheism seems to differ vastly between the two traditions, it appears that biblical monotheism is itself relatively young in the history of world religions so that Christianity has ancient roots germane to those of Daesoon Jinrihoe. The article concludes on the originality of this religion: though it is built on Daoism, Buddhism and Confucianism, it has transformed their vision of the deity and of its message in a most convincing manner.

• Journal of Fashion Business
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• v.26 no.4
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• pp.83-99
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• 2022

The purpose of this study was to analyze the form and meaning of shaman's costumes worn by each gutgeori in Seoul jaesugut and to derive the characteristics of Shaman's costume at gutgeori. Observational research was conducted for three years by participating in the site of two types of gut, which are divided into local jaesugut for the well-being of the region and individual jaesugut that takes place based on personal request. Seoul jaesugut consists of 12 different gutgeori according to the deity it serves and meaning: Bujeongcheongbae, Gamangcheongbae, Bulsageori, Sangeori, Josanggeori, Sangsangeori, Byulsanggeori, Sinjanggeori, Daegamgeori, Seongjugeori, Changbugeori, and Duitjeon. The shape and colour of the shaman's costume worn in each gutgeori are related to the meaning of the gutgeori. Followings are the characteristics of the shaman's costume from gutgeori. First, shaman's costume adopted traditional costumes that symbolized the characteristics of god represented in each gutgeori. Second, gutgeori consists of multiple gods, and shaman's costumes were adopt to represent the superior god among these gods. Third, sometimes the costumes were adopted according to the characteristic of the god instead of its divinity. Fourth, even if the gods were different, if the roles of the gods were the same, the same form of shaman's costume could be taken. Fifth, the process of gut showed the harmony of yin and yang using the principle of five elements through the colour of shaman's costume.

• Journal of the Daesoon Academy of Sciences
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• v.20
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• pp.193-222
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• 2009

There is no place in the scriptures of Daesoonjinrihoe(大巡眞理會) where Indian philosophy is directly discussed. The philosophies dealt with in Daesoon thought are mostly those of Christianity, Confucianism, Buddhism, and Taoism. Of course, the thoughts that are not widely known and those that are not considered to be worth comparing with the Daesoon thought must have been omitted. It seems that Indian philosophy and Daesoon thought have considerable similarity. First of all, the two philosophies are rooted in religion. True, there is no dearth of religious philosophies in the East, for instance, Confucianism and Taoism, and yet comparing Daesoon thought and Indian philosophy is significant because they both presuppose a theistic paradigm. At the core of the two perspectives, there is personal God, i.e., Isvara or Gucheon Sangje (九天上帝), upon whom human beings and the world absolutely depend as his creation. Unlike traditional Christian theology, the two philosophies are alike in being indifferent to proving the existence of the deity and focusing on his form and role. In this article, the author try to examine the meaning of the four tenets of Daesoonjinrihoe(Eumyanghapdeok 陰陽合德, Shininjohwa 神人調化, Haewonsangsaeng 解冤相生, Dotongjingyeong 道通眞境) from the perspective of Indian philosophy in general, Purusa-sukta of Rig-veda, theistic Upanisads, and Ramanuja's Visistadvaita(限定不二論) in particular. Before making up the main subject, the author inquires into the characteristics of Ultimate Reality in Daesoon thought and Indian philosophy.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.57-70
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• 2016

Gutnori(ritual A Comparative Study on Shaman's Costume of south coast Byeolsingut in Korea and the Guizhou Nahui in China play) refers to a play in the form of showing actual appearance of god and actual comedic gag with gutguri rhythm. In order to carry out a comparison between the shaman's costume in Korea and China, this study will delve into the types of shaman costumes that are worn in the gutnoris(mask plays) performed in Korean guts and those of China performed in Nahui. As research method, literature reviews and field surveys have been conducted concurrently. In terms of literature reviews, previous research have been studied centrally. For field surveys, Korean gut, Byeolsingut performance was observed for 2 days 1 night between 1st Feb. 2014-2nd Feb. 2014 in the south coast and Chinese Nahui in Guizhou was observed for 2 days 1 night between 25th Nov. 2014-26th Nov. 2014. By comparing Shaman's costume that is worn in Korean shamanism with that of Chinese shamanism as a partial means of understanding the uniqueness of Korean shaman's costume, the following conclusion was derived upon focusing on the common types of gutnori costumes and organizing them. As a universal trait for shaman's costumes in gutnori and nahui in Korea and China, traditional clothing were worn. A unique trait for shaman's costume in gutnori and nahui in Korea and China, deity expressions were shown in both cases using colors.

• The Journal of the Korea Contents Association
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• v.9 no.7
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• pp.171-183
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• 2009

The spiritual world of the ancient times has precious values which forms the origin of human thought. This study aims to reevaluate ancient people's particular views on man in their spiritual world reflected through gods' ornaments by studying the human race's fundamental spiritual world gradually disappearing due to science development from Egyptian gods' ornaments expressed symbolically in Ancient mythical components. Although evidently ornaments in Egypt served for decoration, the basic purpose was exorcism as amulets, a shamanistic purpose to be protected from mystical and hostile powers by carrying them on the vulnerable spots of the body. As this aspect indicates, the human race tried to solve their self-insoluble transcendental issues through the help of supernatural power, pursuing to lead their lives there within. As a result, Egyptian ornaments; First, the deity raised their value by deifying human-beings. Second, the nobility enhanced their dignity by having goddesses wear the same skirts as theirs. Thirds, all deities maintained their class society by wearing fpassiums, bracelets, and anklets. Fourth, the resurrection was symbolized through gods and goddesses in charge of the afterlife.

• The Journal of Korean Medical History
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• v.22 no.1
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• pp.15-24
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• 2009

The objective of this article is to analysis of Acupuncture & Moxibustion Fix-a-day Method (AMFDM;鍼灸擇日) shown in the Seunjeongwon-Ilgi(承政院日記). Through such inquisition, The practical application of AMFDM could be found. The authors used web database of Seunjeongwon-Ilgi(承政院日記) serviced by National Institution of Korea History. We searched the database twice. First, We check up the database using key words - '忌日', '吉日', '拘忌', '鍼', '針' and '灸'. Search words is "(忌日|吉 日|拘忌)&(鍼|針|灸)". Second, We check up the database using other key words - '瘟㾮', '爲吉', '爲受鍼吉'. 1. AMFDM was used whenever Royal Family was cared. Futhermore, Its application method was as same as medical documents said. 2. AMFDM in the Seunjeongwon-Ilgi consists of Taboo-day(忌日) and Favor-day(吉日). Taboo-day is classified into following 5 type. Weather, Moon phases, The 24 solar terms(節氣), Spirit-location(人神), KunJie-12-deity(建除十二神) and OnHuang-day(瘟㾮日). 3. Sometime contradiction was occurred when AMFDM was used. So AMFDM had the priority order. According to these's order, doctor picked up a date. 4. Doctor used AMFDM to control Interval of treatment. They thought that acupuncture treatment exhaust one's Qi(氣). Using AMFDM, they could give recovery period to patient.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.111-124
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• 2015

This study inferred the symbolism of shaman's costume in China from shamanism and types of shaman's costume in Naje, Deokgang-hyun, Guiju-seong, China through field survey. Shamanism in China has complicated aspects due to negotiations with other culture for a long time while maintaining its own consistency based on ethnicity. Symbolism of shaman's costume in Naje, Guiju-seong, China is observed as follows. First, the shaman's costume in China appears differently from every Jangcha in relation to the position of god appearing in Jangcha when Tolosa takes the position of god as a symbol of sex and god. In Naje of China, the most important shaman's costume indicating the position of god has a unique mask for every deity. It communicates that Tolosa wearing a costume appropriate for the god of wine shall become the god in that Jangcha. Second, the shaman's costume in China has something to do with Yin-Yang and the five elements theory of Taoism as a symbol of shamanism visio of the universe and system of reason. Most of Tolosas hosting Naje are men but dress up as women by wearing Nagun looking like a skirt. Nagun is usually red, the color of Yang, which symbolizes that by wearing such costume that takes color of Yang, Tolosa expels an ominous thing by balancing yin and yang and taking god's strong power. Third, Tolosa takes an eight-breadth Nagun, as a symbol of people. An eight-breadth worn by Tolosa in Naje strengthens the spirit of union and fight of the Tujia nationality who live in Deokgang-hyun, Guiju-seong through folk legends. In this course, a symbolic meaning of the national spirit has been provided on an eight-breadth Nagun, a shaman's costume.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.111-120
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• 2012

Indonesia has a wealth of traditional textiles that are spread in every corner of its region, each of them has its own characteristics and uniquennes. Among the diversity of decorative and techniques used, there are also peculiarities arising from the coloring techniques, that is staining with natural dyes. The existence and the authenticity of the coloring techniques are still retained in some places in Indonesia until today. Generally, these societies make the fabric-making process as part of the ritual beliefs. One of which are the societies in Tenganan, Bali, an area in Bali which always use fabric as an important part in every traditional ceremony. The fabrics is known by the name Geringsing. The typically color which shown and also the sacred values that accompany make Geringsing a very special woven fabric and cannot be found in other areas. This is one of the local geniuses that need to be preserved. In addition to its unique techniques and special materials, Geringsing woven also keeps its myth and its philosophy. The emersion of Geringsing woven closely related to the community trust in God Indra as the main protector deity. The necessary initial process of making Geringsing is holding special ceremony attended by various circles of Tenganan village society. People in Tenganan believe that Geringsing is a precious heritage avoiding all diseases and disorders of evil spirits.