• 한국생활과학회지
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• 제10권2호
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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.

• 복식문화연구
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• 제29권1호
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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.

• 한국산학기술학회논문지
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• 제22권3호
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• pp.381-389
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• 2021

토가족(土家族) 모고사(毛古斯) 춤은 상서(湘西) 토가족의 오래된 하나의 의식무(儀式舞)이다. 이는 인물, 대화, 단순한 스토리와 일정한 연출의 격식을 갖춘 일종의 원시적 춤이다. 또한 이는 중국 무용계와 연극계 전문가들로부터 중국 무용, 연극의 가장 원초적이고 살아있는 화석으로 인정받고 있다. 본 고는 철학, 종교학, 인류학 및 민속학 등 다각도에서 모고사(毛古斯) 춤의 원시 숭배 표상 뒤에 담긴 상고 시대에 남긴 여러 가지 정신 기호와 문화적 함의에 대해 해독하도록 하고자 한다. 이 여러 가지 정신 기호는 즉 자연 숭배, 토템 숭배, 조상 숭배와 생식 숭배이다. 그 강렬한 원시 숭배의식은 모구스춤의 공연과정의 시종에 내포되어 있으며, 그 행위와 정신 이념은 결코 미신과 봉건적인 행위가 아니라, 토가족의 풍부한 역사문화, 풍속과 정신내용을 진실하게 반영하고 있다. 이러한 원시적 생태의식이 살아서 번성해온 진정한 원인을 탐구하고 모고사(毛古斯) 춤에 덮인 베일을 벗기려 함으로써 우리에게는 이 두터운 역사를 담아낸 예술 형식의 깊은 내면을 더 잘 이해할 수 있도록 도와준다.

• 한국철학논집
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• 제29호
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• pp.55-88
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• 2010

다산(茶山) 정약용(丁若鏞)은 '맹자(孔孟)의 전통을 복원하겠다'는 취지 아래 성리학(性理學)의 해체를 감행하였다. 다산은 태극(太極)과 이(理)의 위상도 격하하고, 성즉리(性卽理)라는 명제도 부정하였다. 다산은 성(性)은 '마음의 기호(嗜好)'일 뿐이라고 주장하고, 따라서 인간의 본체는 '성(性)'이 아니라 '마음'이라고 주장하였다. 사람의 마음은 선(善)도 행할 수 있고 악(惡)도 행할 수 있는 자주적 존재이거니와, 다산은 상제(上帝)에 대한 신앙을 복원시킴으로써 마음을 선(善)으로 유도하고자 했던 것이다. 그러나 성리학(性理學)의 주요 개념이나 명제들 역시 충분한 경전적 근거를 지니고 있는 것이었다. 또 다산의 주요 개념이나 명제들이 반드시 고경(古經)의 원의와 부합하는 것이라고 단정할 수 있는 것도 아니었다. 게다가 다산의 성기호설(性嗜好說)은 중대한 모순과 하자를 지니고 있었다. 이렇게 본다면, 다산학이 성리학을 초극(超克)한 것이라고는 볼 수 없겠다.

• 복식
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• 제56권6호
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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.

• 영어영문학
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• 제58권5호
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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.

• 헤리티지:역사와 과학
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• 제54권2호
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• pp.98-119
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• 2021

이 논문의 목적은 울주 천전리 암각화의 구상적 문양과 추상적 문양이 만들어진 시기와 성격을 검토하는 것이다. 이를 위해 암각화가 새겨진 유구의 성격과 관련하여 의례의 종류와 암각화 문양의 관계를 검토하고자 한다. 검토 결과, 한반도에서 청동기시대에도 다양한 구상적 문양이 존재한다는 점에서 천전리 암각화의 구상적 문양도 풍요와 재생을 기원하는 청동기시대의 생업 의례를 하는 데 사용된 것으로 보는 것이 합리적이고 타당하다고 판단된다. 송국리 유형의 생업 형태보다 벼농사의 비중이 낮았고 밭농사와 더불어 수렵·어로의 성격이 강한 검단리 유형이 울산 지역 천전리 암각화 및 반구대 암각화와 관련되어 주목된다. 구상적 문양과 대조적으로 기하문으로 대표되는 추상적 문양도 청동기시대에 속한다고 생각한다. 다만 동심원문, 마름모문, 그리고 다른 기하 문양 등의 의미와 상징에 대해서는 약간의 이설은 있으나 태양 숭배, 조상 숭배, 풍요, 다산 등을 기원하는 의례에 사용된 것으로 보는 것에 동의하지만 그 의미는 지속적으로 재해석되며 변화된 것으로 보인다.

• 복식문화연구
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• 제25권5호
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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.

• 대순사상과 동아시아종교
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• 제2권1호
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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.

• 복식
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• 제14권
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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.