• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.168-183
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• 2014

When expressing Jesus Christ visually in the medieval Christian paintings, the most important issue was portraying Christ's divinity and humanity in a balanced manner; showing both attributes as Son of God and a human being. The purpose of the study is to examine both the formative and the symbolic characteristics of divinity and humanity on Christ's clothes in the Medieval paintings, Baptism of Christ. In the paintings, there are iconographical devices to show His divinity including God, Holy Spirit, the Trinity and the Jordan River. But Christ's body is definite evidence to show his humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the baptism of Christ were as follows: Blue, gole, purple, and white are the emblem of divinity, while the colors red and white stand for the humanity of Christ. In addition, the divinity of christ is expressed through the decoration on the clothes, while the humanity of Christ is shown through the structured drapery and transparent material.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.543-555
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• 2010

In his early poems, Wallace Stevens shows us different gestures, compared with his later poems, when he acquires reality by faculty of imagination. The former is made of ontological violence while the latter is revealed by bareness of less sensuality. However, they are the identical gestures, though from different angles, to accomplish things as they are rather than the ideas of things. In "Sunday Morning," ontological violence occurs in such epistemological couples as thought and thing, mind and world, and imagination and reality. Especially, in order to recuperate his poetic reality, Stevens undermines the traditional hierarchy between heavenly divinity and earthly divinity. In the poem, Christianity faces a critical challenge and then it is disempowered by the earthly divinity. Additionally, by disadvantaging religion, he wants to raise his poetic issue of the faculty of imagination to acquire reality. Stevens' concept of imagination is less subjective and more transcendental than Kantian one. After the ontological violence, Christian divinity and mythic gods leave ontological boundary for earthly divinity in an ambiguous way. In other words, between "Sunday" and "sunny day," the ontological conflicts haunt us throughout the poem as if the violence would happen between imagination and reality. For Stevens, both Christian divinity and mythic gods are mere obstacles to real divinity; both play a mere role of imagination before reality is revealed. Whatever reality is, imagination is always ready to draw an ontological line of reality in an ambiguous way, regardless of how long it lasts. In general, most ontological violence requires such physical remnants of conflicts as borderline, deaths, and pains which still prevail in the poem. Those ontological remnants remain to be found on earth. The sky is an abstract borderline between heaven and earth because in a sense, it belongs to both earthly landscape and heavenly sphere. Without any ontological borderline or threshold, there is no recognition of the divinity because the vitality of divinity is inflamed in continuous transgression of the other. After the final ontological conflict between heaven and earth, there remains only ambiguous borderline near the earth beside the friendlier sky.

• (The) Research of the performance art and culture
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• no.36
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• pp.365-414
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• 2018

This paper studied the type and character of the Divinity in Korean shamanism. The study of the Divinity means the hierarchy of shamanism, the relationship between shamanism and divinity, and the comparison between shamanism and divinity. The study of the shamanistic divinity based on Kim Tae - Gon's collection of anthology by Shaman(1971). The Jaesugut was composed of the contents of the gods blessing human beings. The JaesuGut of Seoul vary from 10 to 18 depending on the author. The JaesuGut of Goseong consists of 8 Gut. The essence of the ritual gut is to pray for the peace of the individual by using the world which is not explained by reason and science. It is a reincarnation that reflects the world of experience that is stored in the memory of human being that both reason and science can not explain. And the desire to escape from fear was reflected in Jaesu Gut. Every Jaesu Gut in Seoul and Goseong has a main divinity. This main divinity is attached to the divinity in another Gut and becomes a subordination divinity. It also becomes a subordinate-subordination divinity to the another Gut. The gods of reincarnation are basically taken in the order of national security ${\rightarrow}$ local security ${\rightarrow}$ home security.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.359-369
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• 2018

When expressing Christ visually in the medieval Christian painting, the most important issue was how to express the divinity as Son of God and the humanity as attribute of human in a balanced manner. The purpose of the study is to examine both formative and symbolic characters of divinity and humanity on the Christ's body and clothes in the Medieval paintings, Transfiguration of Christ. In the paintings, Christ's body is definite evidence to show both his divinity and humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the Transfiguration of Christ were as follows: Blue, gold, purple, white and bleaching effect are the emblem of divinity, and red and color contrast effect with a high chroma stand for humanity of Christ. In addition, unstructured wrinkles of clothes reveal Christ's divinity, on the other hand, structured drapery shows his humanity through emphasizing volume of the body. Finally, divinity of Christ is shown on the gold clavus and red clavus intensify his humanity. Medieval Christian paintings are products planned out to express Christ's dual nature. There is a significance that the paintings represent the profession of painter's faith and the dogma of the era. Furthermore, they suggest the importance of the image to deliver the abstract concepts by visualizing.

• Journal of the Daesoon Academy of Sciences
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• v.24_2
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• pp.165-196
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• 2015

This research starts based on the purpose to investigate the evolution and nature of 48 divinity depends on Gu-Cheon-EungWon-Nweh-Seong-Bo-Hwa-Cheon-Jon(九天應元雷聲普化天尊, Highest ruling Entity and Majesty of Heaven by lightning and thunder raising and ruling all the universe which response to the Supreme) as well as to look at the iconography of that. Ogchugyeong(玉樞經) still exercise enormous influence on Korean folk belief neither in the late Joseon Dynasty and the Japanese colonial period nor till now. The reason for authority of Ogchugyeong(玉樞經) is because Ogchugyeong(玉樞經) was the sutras of being used in the original royal families 48 divinity depends on Gu-Cheon-Eung-Won-Nweh-Seong-Bo-Hwa-Cheon-Jon which appears in Ogchugyeong(玉樞經) is created in Korea. 48 divinity is finally approved at 1888, after it started from 41 at the beginning of the deity general theory(神將論) through developing 47. The figure of 48 seems the result of the syncretism with 48 wishes of Buddhism. Okuchugyong was originally China Taoist scripture, but Okuchugyong entered Korea and reproduced a different look. In China Okuchugyong has two volumes and 44 stature of the deity general(神將) but in Korea Okuchugyong changed to have three volumes and 48 stature.

• Journal of Korean Historical Folklife
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• no.34
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• pp.253-281
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• 2010

This study has its purpose on figuring it out to the religious notion in Vietnam with the material of the divinity construction of Den Hang Pho in Sapa where is the northern region of Vietnam. To make this, the study divides the type of Vietnamese temples into four parts; Chua, Den, Dinh, and Mieu. Among them, the study pays attention to 'Den' because Vietnamese historical heroes are seated as divinity. This reason makes a reasonable case to this study to figure out a typically and generally religious faith. First of all, the study analyzes immaculate divinity, which generally consists of three and four layered system. The study confirms that the immaculate divinity started from the goddess and then extended to the concept to dominate the sky, the ground, the sea(river), and the mountain(forest). General Tran Hung Dao is the best historical hero in Vietnam and has been placed in temples called Den. The study exams the context that the divinity extended to the religious beliefs, for examples, the belief related in a childbirth by lots of narrations and ceremonies and the belief to treat a sickness, and also exams the context that the divinity placed in a divinity to make a symmetrical relation with immaculate faith. The study exams the divinity construction of Den Hang Pho as its authentic case. In this case, the study could verify a case emphasized by mountain Holy Mother among immaculate faiths. Especially, the study can confirm that General Tran Hung Dao was apotheosized as a concept to be symmetrized with immaculate divinity, and futhermore, a couple of snakes was emphasized by their positioning to every room. Tri-system lays stress on the aboriginality(locality) centered on minority races in the northern Vietnam, the national identity of Vietnam, and the ecological condition of rivers flowing the valley of high and steep peak. The confirmed facts could be said to a construction what the religious notion of tri-system makes. The study makes a conclusion that this kind of conversion-oriented religious notion naturally corresponded with region, nation, and ecologically environmental condition, and extended to the Vietnamese faith with polytheistic divinity.

• Journal of the Daesoon Academy of Sciences
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• v.26
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• pp.45-75
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• 2016

The aim of this study is to explain characteristics of Maitreya and Maitreya belief from a point of view that 'Jeungsan is the very Maitreya(甑山卽彌勒)'. In 『Jeon-gyeong』, Maitreya is mentioned several times. Thus, new religions of Jeungsan of Daesoonjinrihoe take 'Jeungsan is the very Maitreya' belief for truth. Due to the fact that characteristics of Maitreya are so multi-layered and complicated, it is necessary to explain clearly what kind of feature Maitreya has in 『Jeon-gyeong』. If believing and following 'Jeungsan is the very Maitreya' without clarifying it, they will be faced with a problem that they regard Jeungsan of Supreme being of the Ninth Heaven as one of Maitreya and take its belief for truth. Furthermore, with respect to the characteristics of 'Jeungsan is the very Maitreya' belief, while believing in Mireukasaeng, longed-for Millenarian movement by people through Messianism and Mireukasaeng belief is found in Daesoon Thought, whereas there is a need how to understand the point that we cannot finped Messianism and Millenarian movement in Daesoon Thought. To solve this problem, I draw a conclusion that 'Jeungsan is the very Maitreya' in 『Jeon-gyeong』 has to be understood with two meanings by four demonstrations. First of all, the people perceived late Joseon dynasty as the age of decadence but Maitreya's divinity which is desired by the people is not divinity of Maitreya Sutra(Mileuggyeong). Maitreya's divinity is reflected in the people's cherished desire and it is newly created as the Messiah. Thus, the idea of Jeungsan being the very Maitreya was developed in a way that the people desired the Messiah, encompassing this inclination. That is the Messiah of the people and the divinity of Jeungsan. Although Jeungsan as Supreme being of the Ninth Heaven satisfied the people's desire, it shows a different way to salvation from the way in Maitreya Sutra(Mileuggyeong). It is 'the Great Reordering of the Universe' and 'the Great Reordering of the Three Realms'. Reordering in Jeungsan shows that divinity of Jeungsan is not limited to the people's Messiah. In other words, divinity of Jeungsan is established as The Messiah, surpassing divinity of Maitreya Sutra(Mileuggyeong). And following statements prove this divinity of Jeungsan. Jeungsan's emphasis is not only the people's desire and the Gods' appeal. Jeungsan's emphasis is that only does Supreme being of the Ninth Heaven correct heaven and earth, which is the Gods' appeal. Therefore, 'Jeungsan is the very Maitreya' belief embraces the people's Messianism and at the same time it runs with he Gods' appeal. Thus, Reordering through the Great Reordering of the Universe and the Great Reordering of the Three Realms builds up a new ideal world.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.364-371
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• 2015

This study investigated and analyzed Sadanggut for General Namyi, Agisee Gutdang in Haengdang-dong, Dodanggut in Bonghwa Mountainto examine the type and characteristics of official hats for shaman's costumes based on Seoul village gutas a spiritualistic shaman revealing the divinity of music for gutthrough singing, dancing, divine material and official hats. Commonly worn official hats were Goggal(conical hats), Jeonlip(soldier's felt hats), and Heuklip(black hats) for Seoul village gut as the object of thisstudy. Each official hat had a close relationship with subjects for divinity and musical meaning for gut. Julip(Red hats), Jokduri(bride's headpiece), helmets, Iksubgwan(King's official hat), and Daesu(Queen's a big wig with various hairpins) were also worn. Official hats worn for Seoul village gutwere understood to symbolize divinity and raise authority and dignity to the public through aggressive appearance, exaggeration and splendor. Concretely, official hats at Seoul village gut first had roles to materialize the divinity of each music of gut. Second, recognized as a part of performance or traditional culture in present day, aggressive official hats were favored to supply splendid attraction and maximize scenes of divined heroic epic poem in gut. Third, for Seoul village gut, colors and silhouettes of modern traditional costumes were reflected pursuing partial change and focused on exaggeration and splendor to express the mirth and festival of gutwhile maintaining traditional costumes.

• Journal of Fashion Business
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• v.7 no.6
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• pp.67-75
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• 2003

In fashion history, the color "green" has been used from ancient to modern times constantly. Especially nowadays, the worth of green in fashion is becoming bigger than ever before to express the longing for pure nature. The purpose of this study is to define green's imageries in western costume history. For the basic about green, first of all, this study researched green of origin, effect and costumes in western history, then classified green's imageries. Green's imageries expressed in western costumes can be divided mainly into a 'nature imagery' and a 'religious divinity imagery'. Nature imagery was extended again into 'youth, devil, citizen and ecology image'. Youth image came from the luxurious feature of nature and it was extended again into 'innocent love, virgin and immaturity'. Religious divinity imagery has been represented in the ancient Egypt, Islam and Christian religion. In those cultures, green was considered as a sacred color of Osiris, Mahomet and Holy spirit.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.109-145
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• 2020

Jeungsan, Kang Il-Sun (hereafter, Jeungsan)'s perspective on divine beings can be characterized by the philosophical notion of divinity, which recognizes a variety of divine entities. Jeungsan insisted that all things embrace divine entities. Furthermore, he claimed that the backgrounds of all incidents were influenced by these gods. Jeungsan thought that the universe consists of the heavenly realm, the earthly realm and the underground realm. He insisted that there were many gods in each realm. And Jeungsan defined his times as the era of divine beings, which meant that the age was a time for divine beings to actively interact with one another and take the lead in world affairs. Divine beings were briskly involved in human affairs and could either reciprocate gratitude or attain revenge. They were also divine beings that could change the acts and perception of humans as well as judge human acts. However, Jeungsan predicted that by the time the paradisiacal land of immortals was established in the Later World, divine beings would instead run errands for humans. In addition, he forecast that divine beings would be entities likely to harbor grievances just like humans, yet they would ultimately become perfected beings in the Later World. Jeungsan further suggested a multitude of various concepts such as the mutual relationship wherein the realm of divine beings and the realm of humanity interrelate with each other, the mutual responses and functions between them, mutual itineration, co-existence, and the homogeneity of divine beings and humans, which described how both have the same innate characteristics. Jeungsan proposed the concept that 'Divinity is an existential state experienced after one's death." In this regard, he is the one who formulated a new perspective of divinity. Moreover, Jeunsan stressed the immortality of humans (continuity or eternality) and the co-existence of divine beings and humans. He emphasized that divinity is intrinsically immanent and the realm of divine beings has a hierarchical system that maintains order and is akin to that of the human realm. Jeungsan recognized a revolutionary change and perspective based on humanity by suggesting a unique view of humanity. In other words, he was a religious figure who introduced an ingenious view of divinity and dramatically transformed this pattern of reasoning. In conclusion, Jeungsan re-interpreted traditional views of divinity in Korea and systemized them into a new concept of divinity in an ingenious way.