• Journal of the Korean Home Economics Association
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• v.41 no.8
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• pp.33-53
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• 2003

A Study on the color comparison of Korean Saek-dong and Italian futurist fashion It is generally recognized that the color scheme and its characteristics as a product of living culture are strongly reflected in clothing. This study concentrates on the color comparison of Korean Saek-dong which has been used in traditional Korean clothing and Italian futurist fashion which showed dynamic characteristics and brilliant colors. The purpose of this study is to investigate the external format, emotions, functions and meanings of the colors in Korean Saek-dong and Futurist fashion, and to find similarities and differences between them. The results of the study are as follows. The similarities between them are harmony of vivid colors like a rainbow, no-use of black color and expression of rhythm through repeated geometrical shapes. They have been used as festive costumes and have implied meaning of happiness and pleasure. The differences, in the external formats, are as follows. Korean Saek-dong has striped patterns including the color white, and has regular distances among the stripes. But, Futurist fashion includes luminous or fluorescent colors and metallic colors. In addition, it has repeated motifs of geometrical shapes and geometrically divided areas. While Saek-dong expresses Sangsaeng through the conceptual use of color, Futurist fashion shows simultaneity, speed and dynamics through spiritual functions of crossing and inter-penetration. In emotional aspect, Saek-dong expresses pleasure of children's mind and Futurist fashion expresses pleasure of city. In functional aspect, Saek-dons expresses a concept of ceremonial beauty, which is spiritual and symbolizes good auspices, holiness and sorcery. So it is used for ceremonial costume. But, Futurist fashion reflects the harmony of colors created from modem and urban images and shows the willingness and emotion of solving futuristic avant-garde, modernity, dynamics, transformation and bellicosity. So it is used for daywear. While Saek-dong represents succession of tradition, Futurist fashion represents resistance of tradition in cultural aspects.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.4
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• pp.65-72
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• 1999

This paper tried to find out the various symbolic meanings and functions of landscape elements which Capital City of Shilla Dynasty contains, and what is the symbolism and identity of the city. Basically, this research took the thought of the place and the theory of cognition on landscape as a research tool, and undertook the process of surveying the physical surroundings of the city such as mountains, forests, tumuluses, mountain fortress walls, etc. Especially, the study referenced to a myth, thought, and a tale related to them of the surroundings. The research scope in time had been reached to the year of BC 57 which is beginning year of Shilla Dynasty form AC 467 which is year of introduction of new urban block system delivered from Dang Dynasty of ancient China. The results of research showed symbolic meanings of mountains and forests which is surrounding the Shilla capital from 4 directions of east, west, south and north. Namely, it was the places that the king of the kingdom of Shilla decent into the earth from the heaven. Also, the tumuluses which are located on the center of the capital imitated the surrounding mountains in forms, meaned the place that the dead king rised to heaven. All of these symbolized the Capital City of Dynasty as a sacred city which linked the heaven to earth, and earth to heaven. Finally, this paper suggested the Kyongju which is one of the most representative historic and tourist city in Korea should reflect this kind of symbolic meaning of ancient Capital City of Shilla Dynasty in case of arranging the urban identity plan to promote the quality of urban environment of Kyongju.

• Fashion & Textile Research Journal
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• v.12 no.1
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• pp.21-30
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• 2010

The purpose of this study is to research the symbolistic values of western beards' style in the twentieth century. Namely, it is to consider the relationship between social-cultural factors and aesthetic meanings of western beards' style. The contents are, firstly, studying the conception and the types of beard. A beard is the hair that grows on a person's chin, cheeks, neck, and the area above the upper lip. At the World Beard & Moustache Championships, there are moustache category (natural, english, hungarian, dali, fu manchu, freestyle), beard category (natural, musketeer, goatee, sideburns, freestyle), and full beard category (natural, garibaldi, verdi, van dyck, freestyle), Secondly, this paper is continued by researching the history of beard from the ancient to the present day, and thirdly, analyzing political dictatorship, social resistance and expression of personality, religious dignity, related with the change of world situation, the formation of postmodern anti-culture and pop-culture, and the coexistence of traditional culture. There are long and bushy full beards in some religions like Hinduism, Judaism and Islam. The meanings of their beards are purity, life and holiness. The beards of some politicians symbolize dictatorship. Namely, the chaplin of Hitler, the moustache of Hussein and the musketeer of Castro express strong power and charisma. In 1950s'-70s' subcultures, Hipsters' goatee, Bikers' horseshoe, Beat generations' goatee and Hippies' natural represent the lack of adaptability and social resistance. Also, the celebrities and artists like Ronald Colman, Clark Gable, Don Johnson, George Clooney, and Salvador Dali express freedom, personality, and taste with beards. For that matter, the symbolistic values of beards' style in the twentieth century are the religious dignity, the political dictatorship, the social resistance and the expression of personality. Today the beards' style is one of fashion items as well as a symbol of masculinity, customs and classes.

• Archives of design research
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• no.16
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• pp.225-234
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• 1996

The purpose of this study is to provide and suggest useful data in use of kinds of violet that is resulted from general color images of violet. The origin, history, and general images of kinds of violet were studied, and were classified vased on documcntary reviews. Findings are as follows: 1) The kinds of violet were used purple, violet, mauva, and magenta in the order of appearance of its color names and the categories of violet had been extended from dark reddish violet to affilicated colors of bright violet by development in synthetie dyestuff. 2) The kinds of violet has neutral characters due to the combination of two extreme colors, red and blue, and thereby revealing voth attreibutes in terms of symbolic, emotional, and spychological features of colors. The positive images in kinds of violet can be classified as nobleness, holiness, mysteriousness, sleep/sedation, sensuality, femininity, fragrance, and the negatibely classified images are weakness, sadness, maelancholiness, death(for example, the mourner's gard in royal families), symbols of moral corruption, and superstition.

• Journal of Christian Education in Korea
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• v.71
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• pp.371-399
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• 2022

The era we are living in is an era of hyperconnectivity where boundaries and limitations of each field and domain disappear and organically converge and share with each other. Christians living in the age of hyperconnectivity are losing their direction of life due to various divisions and severances, such as holiness and secularity, church and world, soul and body, faith and life, and humans and nature. However, in a hyperconnected society, it is necessary to break free from division and conflict caused by disconnection, and realize the kingdom of God through connection and solidarity between humans, nature, and the world. In order to explore the direction of Christian education for this purpose, this study examined the characteristics of the era of hyperconnectivity and the principle of solidarity, which is the core of hyperconnectivity. The theological meaning of solidarity was examined in terms of humans, nature, and the world, and based on this understanding, the direction of Christian education in the era of hyperconnectivity was sought. It can be summarized as having a religious understanding of human beings of Homoconnectus with a pericoretic mode of existence. Third, education on the kingdom of justice and peace where we can live together in a solidarity relationship can be summarized.

• (The) Research of the performance art and culture
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• no.39
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• pp.669-700
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• 2019

Farmers' band music is a religious ritual in Korea. It is a solemn ritual to exhibit the auspicious holiness of the people to the God. Most of the ritual is accomplished by music. The music of the farmers 'band, in this sense, has its meaning as the expression of holiness by sound. In this paper, I will explore the principle to make various rhythms of farmers' band music, especially focusing on the chaegut (lit. "stroke music"). It is very symbolic because the name of the music shows the strokes of the gong, called jing, in a rhythmic phrase. In this sense, the chaegut is man-made music based on the specific principles in accordance with the strokes of the gong. Among many chaegut rhythms, samchae (lit. "three strokes") to chilchae (lit. "seven strokes") are the main rhythms. They were made after the principle of 'forward with drums, backward with gongs' in Five way procession. It the basic principle of military procession from the early Joseon Dynasty. The procession follows with the sound of the drums and gongs. There was always a principle of "five strokes" to control the procession. The "five strokes" became the basis of the making of chaegut rhythms. The rhythms of the samchae to chilchae are based on the rhythm of samchae. The samchae has three gong strokes in a cycle, which exhibits the chaotic moment with the rhythmic noise. The name of the rhythm exhibits the correspondence of the signifiant, that is the name "three strokes" and the signifié, that is the real three strokes of gongs in music. Other four rhythms has made up from the samchae with half cycles are added in accordance with the strokes of the gongs. In this way, the chaegut shows the principle of "five strokes" in the military procession. The rhythm of ochae jilgut is a mixture of ochae (lit. "five strokes") and jilgut (lit. "road music") which is usually performed on the road to a mountain shrine. The musical structure of ochae jilgut corresponds to the colotomic structure of Southeast Asian music and the 15th-century music of old musical scores. The rhythm of gilgunak chilchae is a mixture of gilgunak (lit. "road military music") and chilchae (lit. "seven strokes"). The rhythmic structure is similar to other regional music, sijo ("short song") of the literati music and norae garak (lit. "some melody") of the shaman music. In sum, the chaegut is very artistic music made from the military procession of the Joseon Dynasty. The name of the rhythm corresponds with the strokes of the gong in a cycle. In this way, the chaegut shows the principle of music-making to exhibit the ritual characteristics of the Korean people.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.5
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• pp.68-75
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• 2000

The purpose of this paper is to define the spatial scope and landscape structure of the capital city of Shilla Dynasty. We have tried to analyze the locational characteristics, the location and landscape form of the Yonggang-Dong pond site which was assumed a part of a king's place, and had the important implicitness in delineating the spatial scope of capital city of Shilla Dynasty. The research took the theory of landscape cognition as a tool, and processed with the book review related simultaneously. The results of study are as follows; 1) It has been almost conformed that the Yonggang-Dong Pond Site was a part of the North Palace of Shilla Dynasty, and it took the form of fully enclosed by the forest, such as the names of Imjungsu and Gosungsu, and so on. This fact has leaded to the special landscape form of 'Forest with Palace' that is an similar pattern of Forest with Tumulus, Forest having Well, Forest having Well, Forest having Mountain. Each of them is symbolizing the place of holiness in the Shilla Dynasty. 2) The Yonggang-Dong Pond site and its surrounding forests made them together be the north border of the Capital City of Shilla Dynasty. This fact made it possible to consider the form of landscape of the Najung Forest with Posugjung Pavilion as the same on which was on the southern border of the city. 3) The above mentioned facts lead to clues that the border of the capital city of Shilla Dynasty does mean that it was not the mere functional one, but symbolic one. Thus, this paper suggests that the spatial scope of the capital city of Shilla Dynasty should include not only the area of block system, but also the surrounding natural area of mountains, forests, and so on, including the artificial elements of palace and pavilion. 4) This type of borders with the natural elements show basically the different type and function. We could find out some examples from China's and Japan under the same block systems and in the same era. It should be more identifiable in the form and the meaning of landscape of the capital city of Silla Dynasty in ancient Korea.

• Cross-Cultural Studies
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• v.47
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• pp.77-100
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• 2017

Memoirs of Hadrian is a representative historical novel of Yourcenar which focuses on the personal history of the Emperor Hadrian of Rome and on his inner side. This study focuses on the love story of Hadrian and Antinous, and examines the specificity of their love in relation to the homosexual culture of ancient Greece, especially pedophilia. Through this topic, we have analyzed the causes of the tragic death of Antinous by capturing the progression of a cycle of pedophilia, a young boy (Eromenos), that grows into manhood as Erastes. This study defines the emperor's efforts to restore Antinous in his own way after a failed love, as a passion toward totality. Therefore, we see the two figures as a process of mythology in which the pie of tragic destiny is transferred to the myth of androgyny that becomes one body and one unity in pedophilia. We see this ancient myth as a concept contrasting with the sense of pedophilia of the emperor, who arbitrarily distinguished between love and pleasure, and believed that the affection calculated with calmness and indifference was a harmony of love. This study explains the intention of Yourcenar in her work to present the value of empathic love, especially sacredness and sublime, which should be a part of sensual love. It also reminds us of the importance of sagacity that a person with power must hold in the happiest and most loving moments of life.

• Journal of the Daesoon Academy of Sciences
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• v.31
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• pp.131-163
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• 2018

The concept of pilgrimage is a phenomenon that appears in almost every major religion. It is traditionally defined as religious travel to a sacred external place for spiritual purposes and introspection. However, there are many different relationships between pilgrimages and religious customs, including excursions through abstract dimensions and regular journeys such as annual holidays. Because modern pilgrimages are taken for a variety of reasons, they are not limited to faith-based historical locations. Thus, many scholars also perceive pilgrimages as an increasing part of the general industry of tourism. These journeys are now studied in a diverse range of fields (e.g., ethnography and tourism). In this way, pilgrimages have created a new market from an industrial perspective. This economic analysis has resulted in secular interest. Pilgrimages can now be taken by gil (walkways), which have gained tremendous popularity. Thus, religiosity and humanity as they are embraced through pilgrimages are now receiving outside influences. This study therefore is aimed at generating suggestions for developing the pilgrimage routes related to Kang Jeungsan (i.e., the Supreme God of Daesoon Jinrihoe). These proposed Jeungsan routes are not simply restricted to religious activities or nostalgia, nor are they exclusively concerned with encountering holiness. To realize this idea, it is necessary to reconsider the concept of a sacred space.

• Journal of Christian Education in Korea
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• v.72
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• pp.147-164
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• 2022

Stories have been studied as an important educational method in Christian education. In recent discussions on religious education, stories are positively evaluated in terms of stimulating children's unique fantasy, as opposed to visual media, and in terms of face-to-face direct communication. Our most profound and passionate orientation to the world is shaped by stories. This is because stories move us by moving us and shape our unconscious to act accordingly. However, the subjects that supply stories to children now are various mass media and consumer culture. The story it tells instills a secular worldview and makes us dream of a world completely different from the kingdom of God. Our children need a story to imagine the kingdom of God. This paper focuses on story-style sermons in children's worship and tries to deal with the Christian educational implications of story-style sermons. To this end, first of all, I would like to treat the Bible as a story according to the approximate concept of the story and the position of literary criticism who approached the Bible as a story. The second will deal with narrative preaching. First, we will look at narrative sermons for adults, and then deal with narrative sermons for children. The two narrative sermons were treated separately in the sense of considering the characteristics of children rather than being separated. Lastly, I would like to draw out the Christian educational implications of narrative preaching.