• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.117-152
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• 2020

In Daesoon Thought, Matteo Ricci is regarded highly as a Jongjang, 'religious leader,' (of Christianity). This paper deals with the life and philosophical/theological thought of Matteo Ricci as homo-religiosus from the perspective of phenomenology of religion. Examining his historical background and biographical sketch, I will analyze Ricci's understanding of God, humanity, and salvation and re-evaluate his relationship with Daesoon Thought. Matteo Ricci, born in Italy, became a Jesuit missionary to China and transmitted various products of western civilization. Accepting the pro-cultural approach of Jesuit mission, he applied it to Chinese culture and language by learning the Chinese language and regarding Chinese people as his friends. This was a sympathetic way to transmit Western religion and culture while on Chinese soil. He suggested eight reasons to look towards the future of China with optimism and taught Chinese people his Christian message through his indirect means of understanding and persuasion. In China, Jesuit missionaries called the Christian God 'Tianzhu (Cheonju in Sino-Korean),' meaning Lord of Heaven. Ricci identified the Confucian notion of 'Shangdi (Sangje in Sino-Korean),' meaning Supreme Emperor (or God) with Tianzhu. While translating Confucian scriptures, he found the common ground between Confucianism and Christianity to be the monotheism of ancient Confucianism. He criticized the concepts of God in Buddhism and Daoism, and justified the Christian doctrine of God by way of a Confucian understanding of deity. Ricci's understanding of humanity was based on his Christian faith in creation, and he criticized the Buddhist concept of transmigration. He proposed Christian ethics and doctrine of salvation by using discourse on the afterlife and in particular, the concepts of heaven and hell. Concerning the relationship between Daesoon Thought and Ricci, the following aspects should be examined: 1.) Ricci's contribution to the cultural exchanges between East and West, 2.) his peaceful approach to his mission based on dialogue and persuasion, 3.) the various activities conducted by Ricci as a Christian leader, and 4.) his belief in miraculous healings. His influence on Korea will likewise be explored. Ricci's ultimate aim was to communicate with Asian people and unify East and West under a singular worldview by emphasizing the similarities between the Christian and Confucian concepts of God.

• Journal of the Korean Society of Floral Art and Design
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• no.45
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• pp.77-95
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• 2021

This study considers the problem of reality that our floral art has to overcome as a loss of the floral art spirit caused by the expansion of Western-centered formalism flower culture, and considers the discussion on the deformality of distancing and the free spirit of nomadism. The floral art, which works on the creator's aesthetic mental world through flowers, is an art of mental image that values the free mental world of the creator. It also refers to the importance of artist consciousness as an art of self-imago that makes the target world beyond the "expression of similarity" that reproduces the target world. In this context, the lack of concern about the identity of Korean floral art appears to be the creative training and work of Korean floral artists who are biased toward Western expression techniques and creative methods. It also expresses a problem with our cultural consciousness, which is dominated by the Western flower culture of flower design. Here, we are obliged to understand the reality of Korean floral art biased by Western flower design and to organize discussions to solve the problem. Therefore, this study examines the problems that our floral art has to overcome as part of seeking the identity of Korean floral art and enhancing the cultural value of Korean floral art through criticism of Western cultural acceptance. This is a historical consideration of the nature of Korean floral art to recover, while also a process of identifying the meaning of the free creative spirit that the artist should maintain as an aesthetic art. Furthermore, such criticism of the Korean floral art culture and discussion of introspection are expected to serve as an opportunity to further expand the academic discourse system for the floral art while embodying the "identity" of Korean floral art.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Analyses & Alternatives
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• v.8 no.2
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• pp.65-86
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• 2024

This study delves into the geopolitical tensions surrounding Ukraine throughout modern European history, aiming to shed light on its significance in geopolitical discourse. Since the 19th century, European powers, particularly the Anglo-Saxons and Germans, have formulated distinct geopolitical strategies concerning the Eurasian continent, with Ukraine at its focal point. The Crimean War and the German-Soviet War serve as key events to analyze these powers' geopolitical ambitions and interests. The British Empire, driven by its doctrine of thwarting land powers with sea power, intervened in the Crimean War against Russia. Its objective was to disrupt Russian dominance over Ukraine, thereby hindering Russian expansion into the Black Sea and Central Europe. On the other hand, the Third Reich of Germany, fixated on creating a European sphere exclusive from Anglo-Saxon sea powers and the Russian land power, initiated the German-Soviet War. This move aimed to secure a vast territory, including Ukraine, to facilitate expansion into the Caucasus and establish a buffer zone against the Soviet Union. Three key insights emerge from this analysis. Firstly, the absence of a dominant power rooted in Ukraine since the fall of the Principality of Kiev made geopolitical clashes inevitable. Secondly, these clashes ultimately result in a hollow victory for all involved parties, signifying the high costs and minimal gains of such confrontations. Lastly, the root cause of these clashes lies in the discord between exclusive geopolitical visions that fail to accommodate sustainable coexistence among diverse geopolitical spheres. In essence, the study underscores Ukraine's pivotal role in shaping European geopolitics and highlights the recurring clashes driven by competing visions of dominance and control over its territory. From the Crimean War to the German-Soviet War, the struggle for influence over Ukraine reflects broader geopolitical dynamics and the pursuit of strategic advantage by major powers. Ultimately, the study emphasizes the enduring significance of Ukraine in European geopolitics and the complexities inherent in managing its geopolitical tensions.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.