• Korean Journal of Human Ecology
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• v.10 no.2
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• pp.179-188
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• 2001

The purpose of this study was to research the symbolic of Ancient Egyptian Crown ornament. The results of this study were summarized as follows. Ancient Egyptians expressed the authority of king and nature worship to the crown ornament. The volume and scale of shape symbolized the authority of king and the nature worship. The brillant and plentiful of colors symbolized the strong1y authority of king. The numbers of patterns symbolized the authority of king and the nature worship.

• The Research Journal of the Costume Culture
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• v.29 no.1
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• pp.103-120
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• 2021

This study interprets Siberian shaman costumes from the perspective of Siberian shamanism's spiritual culture by combining theoretical and empirical studies. According to the natural environment and language families, the Siberian people are classified into the Altai, Tungus, Ural, and Paleo-Siberian groups. Se Yin's research classifies the spiritual culture of Siberian shamanism as cosmic, spiritual, and nature view. Eliade's research has divided Siberian shaman costumes into form, headdress, and ornament. According to the present study, shaman costume form and decoration reflect the Siberian three-tiered cosmic view, such that the shaman's head, body and feet correspond to the upperworld, middleworld and underworld. In addition, animism, totemism and ancestral worship appear in the shamanism's spiritual view. For example, the costume's form shows the totem of each tribe, while the costume accessories reflect animal worship, plant worship and ancestral worship. Finally, shamanism's nature view mainly manifests through three processes: personification, deification, and ethics. As an intermediary between man and the spirits, shaman use their clothing to reproduce the image of half man and half spirit. The shaman's costumes are deified and considered to have divine power. For example, the animals represented on the costume help the shaman travel through space. Generally, good animals help a shaman enter the upperworld, while animals that help a shaman enter the underworld are considered evil. Also, the number of hanging accessories represents the shaman's ability.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.381-389
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• 2021

Maogusi dance is an ancient ritual dance of the Tujia, a Chinese ethnic minority living in the remote region of the western Hunan Province of China. With characters, dialogues, simple story plots and unique performance procedures, it expresses ancient people's devout worship of nature, totems, ancestors, and reproduction in the uncivilized age. With the advancement of human civilization and the opening to the outside world, many dances of the ethnic minority gradually have faded out, while the Maogusi dance is still popular among the Tujia people and its spiritual symbols have been passed on through the generations. It is recognized by experts in dance and drama circles as the original source of Chinese dance and drama. From the perspectives of philosophy, religion, anthropology and folklore, this paper tries to remove the mysterious veil covering the Maogusi dance of the Tujia to explain how its ancient spiritual symbols have survived and why the original ecological consciousness has been preserved. These aims would help in understanding the deep connotation of this ancient Chinese art with its long history and profound culture.

• The Journal of Korean Philosophical History
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• no.29
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• pp.55-88
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• 2010

Jeong Yakyong deconstructs the Li theory of human nature in order to restore the original tradition of Confucius and Mencius. He downgrades theoretical statuses of Taeguk(ultimate pole) and Li, and denies truth values of the sameness premise of human nature and Li. He argues that human nature must be non other than mind's preference, and thus that human substance must not be human nature, but mind. Since mind can do good things as well as bad things, he tries to lead mind to do good things by way of restoring a primitive worship for Sangje(heavenly emperor). However, his major concepts and premises do not fit with original meanings of old confucian biblical books. Futhermore, his preference theory of human nature contains many contradictions and errors. Thus, his theory could not be evaluated as one which had transcended the Li theory of human nature.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.114-131
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• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.943-974
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• 2012

This paper aims to suggest the compromising vision of nature and technology as the solution to get out of the globally accelerated technology environment in Don DeLillo's Cosmopolis. This novel intends to emphasize on the importance of physical environment as a precondition for the survival of human. Eric wants to be a posthuman with the cybernetic idea, pursuing to be the digital self in a vast biosphere that integrates both the nature and the technology. His obsessive worship of technology through his quest for the futurity results in the effacement of the humanity and the insulation from the nature. Cosmopolis is DeLillo's first 9/11 novel, which describes a young-billionaire asset manager Eric's one-day life in New York in April 2000. Eric can be the third Twin Tower as a symbol of global economic hegemony. By the allusion of the 9/11 catastrophic event, it can be said that Eric's fall is caused by his hubris and avarice as a global capitalist. Crossing the 47th Street toward the West in his limousine, his journey is revealed as the environmental reflections on his desires to attain the futurity and transcendence by technology. This novel cautions that the abuse of technology can bring out the obsolescence and erasure of the humanity and the nature. DeLillo suggests that the best hope for the evolutionary possibility of posthuman can be realized through the correlation with nature and technology. This future-oriented novel warns that the excessive technology should not lead to the disappearance of community and humanity, and the separation of self and nature. It admonishes that they should not follow pseudo-cosmopolitanism as the greedy world citizens, devoting on the velocity of newest technology. This novel recommends that humans should be the world citizen of global ecosystem, making the ameliorative environment through the correlation with self/environment and technology/nature, and gardening the restorative biosphere and the younger planet.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.98-119
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• 2021

This thesis aims to examine when the petroglyphs of Cheonjeon-ri, Ulju were carved and their nature. To achieve this, the relations between rituals and rock carving motifs are examined besides the nature of the archaeological monuments with carved petroglyphs. The investigation revealed that the figurative motifs on the petroglyphs of Cheonjeon-ri, Ulju, may have been carved during the Korean Bronze Age considering other examples of figurative petroglyphs from that period. It is reasonable to assume that the figurative animal motifs on the petroglyphs of Cheonjeon-ri, Ulju were used for rituals of fertility and rebirth as a subsistence ritual during the Korean Bronze Age. The Geomdan-ri Archaeological Culture Type is a strong candidate, having used both petroglyphs of Cheonjeon-ri and those of Bangudae, Ulju, since the Geomdan-ri Archaeological Culture Type has a higher proportion of hunting and fishing and lower proportion of rice cultivation in its subsistence than in the subsistence of the Songguk-ri Archaeological Culture Type. In contrast to the figurative motifs, the abstractive motifs, including the geometric designs on the petroglyphs of Cheonjeon-ri, Ulju, are generally accepted to have been carved during the Bronze Age. Although there have been some disputes over the symbolic meanings of concentric motifs, lozenge motifs, and other geometric motifs, they may be related to rituals for sun worship, ancestor worship, and fertility cults. Their meanings have been continuously reinterpreted.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.694-707
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• 2017

This study analyzes the characteristics of clothes worn by the Zhuang in order to produce new fashion designs, and to propose diverse new directions in fashion design. Research was conducted using a bibliographic survey on the cultural background, characteristics, and relevant techniques of the Zhuang costume and that of minority races in China. This study deploys four styles of design for women's wear. With the inspiration of the traditional Zhuang costume, black and blue were the colors mainly used for the Zhuang people and the material was mostly denim. Denim blends in well for the contemporary facilitation of the Zhuang costume, which is known for knitting technique, fur and hemp fabric as patchwork, and embroidery works. It is appropriate to express the joyful and happy mind of Zhuang people with extraordinary colors, exaggerated silhouettes, and various decorations. Images of nature, such as the sun, mountains, rivers, water, fish etc., expressed the nature worship of the Zhuang in contemporary design, representing the simple life and peaceful mind. This research develops a new fashion design and displays the possibility for diverse design development through new insight in contemporary fashion design.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.1
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• pp.31-56
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• 2022

Haewon-sangsaeng is a key idea of Daesoon Jinrihoe, which, as Professor Bae Kyuhan points out, "… has broad applications." Haewon-sangsaeng is not only congenial to Chinese Harmonism, but it also enriches this concept. However, many scholars understand Haewon-sangsaeng in a relatively narrow scope. For them, Haewon-sangsaeng is confined to pertaining only to human relationships. For example, Don Baker, the author of Korean Spirituality, states that "Haewon means relieving the resentment human beings past and present have felt because they were treated unfairly". Sangsaeng refers to "a spirit of mutual aid and cooperation" rather than "the spirit of competition and conflict that has dominated the human community up to the present day". This article argues that Haewon-sangsaeng not only has religio-ethical implications, but ecological implications as well. Specifically, it has relevance for the goal of creating an ecological civilization that aims at the harmony of humans and nature. In other words, Haewon-sangsaeng can be both "expanded for the global peace and the harmony of all humanity" and can be expanded for healing the relationship between humans and nature, including human beings and viruses. In order not to risk being "the first Earth species knowingly to choose self-extinction", an Ecological Civilization is urgently needed before it's too late. Alone with Chinese Harmonism, Haewon-sangsaeng can make great contributions to the cause of ecological civilization by transcending anthropocentrism, individualism, and the worship of competition as root causes of the predicaments faced by modern civilization.

• Journal of the Korean Society of Costume
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• v.14
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.