• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.263-269
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• 2023

Zhang Yu was a famous Taoist priest and poet in Yuan Dynasty, compared with the identity of Taoist and poet, his handwriting had greater influence in history. According to the relevant historical data, people at that time were mainly attracted by his Taoist identity and poetic talent. However, if we considered him as a poet,or a calligrapher to inspect,it would be often easier than facing a Taoist priest. Zhang Yu's poems and relationships can be used as some clues for our investigation of his calligraphy activities,not only would it not affect us to judge the value of his calligraphy, but also we will comprehensively and objectively analyze his calligraphy works. His early calligraphy closely followed Zhao Mengfu, in his later years, when he met Yang Weizhen, the style of writing changed greatly.During this period, what kind of changes and fundamental influence had on Zhang Yu's life and book learning thoughts experienced. Our contributions to this paper are as follows.To solve this issue,this passage will try to find clues from several representative figures and representative calligraphy works of Zhang Yu, and draw on the research results of relevant scholars to discuss the identity of Zhang Yu as a Taoist priest and the origin and style characteristics of his handwriting and probed into the status and influence of his calligraphy in history.

• Journal of the Korean Society of Costume
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• v.39
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• pp.21-37
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• 1998

This study researchs forms of Egyptian religious dress for studying formation-process of religious dress and its ornament. The study goes abreast literature and the very spot's materials also divides god's dress, priest's. Ancient an egytian worshiped mainly animals, step by step animal's humanization. So gods were expressed animal's face and human's body. Egypt god's costume is 1st, to take off upper hament and wear loin cloth on trousers 2nd only to wear short sheath skirt. 3rd to wear shout sheath skirt and to skirt and to wear loin cloth on there 4th to cover whole body and to open hand like mummy. Egype goddess' costume is largely to wear long sheath skirt up to the ankle and we can see selkit goddess's figure that wearing kalasiris after new dynesty. Priest had been a bald head and worn loin cloth and surrounded leopard's skin on there, but after the period of empire, worn a wig and worn less stoically. Also god had hung the lion's tail at symbol of the dignity and priest had put on sandals for a ceremony.

• Journal of the Korean Home Economics Association
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• v.42 no.2
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• pp.151-160
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• 2004

This paper researched and compared the Jangsam religious costume, of Buddhism in Yeongsanjae with that of Shamanism in Gutgeori. Jangsam is a full length, flaxen hemp dress used in both religions. (Ed-please amend this sentence as necessary but note that it is essential to give some description of the costume here for non-Korean readers) The religious point of view can cause Jangsam's features to differ Jangsam's meanings are as follows. First, the purpose of wearing Jangsam in both the Buddhist priest's and Shamans' costumes is to gain power from the Almighty in order to maximize the religious effect. Second, Jangsam in the Shaman's costume features universality mixed with Buddhism and folk religion and becomes symbolic in Buddhism. As society disregards Shamanism, it has become combined with Buddhism. Third, Jangsam for Yeongsanjae or Chukwon Gut has kept its religious specialty as a Pyoeui despite various modifications.

• Journal of architectural history
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• v.17 no.6
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• pp.45-65
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• 2008

Hoe-amsa temple was renewed by Zen priest Na-ong(1320-76) in the later Goryeo dynasty(918-1392), and he introduced the institution of Zen Buddhism temple of Yuan dynasty(1271-1368) in China. And in 13-14 century, many Zen Buddhism temple were built in east Asia, like China, Japan, Korea and so on. Hoe-amsa temple became to be ruined in the middle years of Joseon dynasty(1392-1910), and the ruin was excavated recently. The purpose of this study is to make a searching examination the history of Hoe-amsa temple by analyzing the historic records and excavation relics, and to clarify the function of Jeongcheong, east Bang-jang and west Bang-jang of Hoe-amsa temple, by comparative analysis with Bang-jang architecture of Zen Buddhism temple of Yuan dynasty. As the result of this study it can be said like follow. Hoe-amsa temple maintained the form made by priest Na-ong in spite of several times of repair in Joseon dynasty, and it was reflected in excavation relics of now. The Jeongcheon of Hoe-amsa temple was the space called Chimdang where the chief priest performed lectures and ceremony, the west Bang-jang was the living space of chief priest, and the east Bang-jang was lodging for honored guest. The architecture composed by Jeongcheong, east Bang-jang and west Bang-jang was the adaptation of institution of Bang-jang architecture of Zen Buddhism temple in Yuan dynasty, on the base of general architecture form of Goryeo dynasty.

• Korean Journal of Human Ecology
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• v.12 no.3
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• pp.377-389
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• 2003

The purpose of this study is to obtain the symbolic meaning of the priestly costume through the Bible. Based on corroborative the Bible, this thesis analyzes the costume of priest. This compares the two onyx stones on the shoulder pieces with four rows of precious stones on the breastpiece. This era falls on about from the 15th century before Christ. It was found that the breastpiece was a piece of the same multicolored linen as in the ephod, a span square when folded double. It symbolizes righteousness. It hung on the high priest's chest, supported by two golden chains attached to the shoulder clasps. It symbolizes love. On the breastpiece were twelve beautiful jewels, arranged in four rows of three jewels, each jewel symbolizing one of the tribes of Israel. The variety of jewels on the breastpiece suggests the variety of people. Urim is the Hebrew word for 'lights' and therefore would logically be associated with bright or white stones. Thummim is the Hebrew word for 'perfection'. The high priest's ephod was made of gold, and of blue, purple, and scarlet yam, and of finely twisted linen. The golden yam symbolizes faith. The robe of the ephod was made entirely of blue cloth. The blue color symbolizes an obligation and life. The robe of the ephod symbolizes calling and dignity. The woven tunic symbolizes holy duty.

• Journal of architectural history
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• v.19 no.2
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• pp.85-100
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• 2010

In this study, I investigated the function and the setting characteristics of 日type plan building ruins in the Hoe-amsa monastery site, that's renovated by Zen priest Na-ong(1320-76) in the later Goryeo Dynasty(918-1392), through the comparative research between China, Japan, and Goryeo in that time. The ruins of 日type plan building, located in the east side of Buddha hall ruins, is the ruins of Jungryo(衆寮). It was called as Jeondanrim, and the name can be seen from the record(天寶山檜巖寺修造記) of Yi-saek(李穡, 1328-96). It's name and the composition of plan is very similar to the Jungryo of Chinese and Japanese Zen monastery in 13th-14th century. And from it, we can see that, the priest Na-ong tried to introduce institution of Chinese Zen monastery, which he experienced during the time of study in China. But, the location of Jungryo in Hoe-amsa monastery is deferent from the Zen monastery of China and Japan, and it can be said as the setting characteristics of Hoe-amsa monastery in Goryeo Dynasty.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.43-54
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• 2019

This study analyzed the casula wearing by Catholic priests. By understanding various applications of the priests' wearing of casula, we can understand the meaning of wearing casula, situational judgment, and the role and status of priests. Ultimately, the Catholic symbol and meaning of the casula can be found. The purpose of this study is to examine the basic setting of the casula, the setting according to the status of the priest, and the origin of the casula. Second, this study to understand the design of the pattern shown in the casula. The patterns containing the symbol and the liturgical period were examined, and the method of making the pattern design was considered. Third, various symbols appearing in examples of priests' rituals were considered and analyzed. The method of this study was to utilize various pictures acquired during interviews with priests and nuns and to perform content verification. As a result of this study, the aspects of form, color, and pattern were shown through the wearing of casula during various situations. First, the morphological symbols appearing in the rituals are the simplified casula that hangs on the stola on the top of the alb and the symbols of the form according to the priest's status. In the liturgy, the casula is put on the outermost side as for basic wearing, but in the case of celebration or the attendance at celebrations other than the liturgy, it is the same as simplified wearing. Second, in terms of the symbol and color, the basic colored casulas were worn to match the time and character of the liturgy, and in addition, on the priests' ordination ceremony and celebration day the priests wore white casulas. Third, the symbol of the pattern used in the casula was a Cathoric pattern according to the period in the basic casula wearing of the liturgy. In addition, the patterns were produced by combining the patterns and meaning of the priests that were used in the casulas of the priests' ordination ceremony. The design of the pattern used in the beatification mass casula and the Mass of Peace casula during the Pope's visit to Korea in 2014 used the same motif as the Pope's design, but the simplified pattern was produced for the casula of the Cardinal and bishops. Through this, it is possible to understand the situation where a morphological symbol appears due to a distinction according to the role and status of the priest. This shows that the symbols that appear are the cross and should also consider the complexly, shape, color, and pattern.

• KOMUNHWA
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• no.12
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• pp.3-14
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• 1974

• (The)Study of the Eastern Classic
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• no.59
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• pp.9-32
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• 2015

The purpose of this paper is to study the development process of our native verses from the Three Kingdoms Period to the Goryeo Dynasty. The contents of the discussion can be summarized as follows. Typical form of "Sanega" from the Three Kingdoms Period to the late Silla/ early Goryeo Dynasty is a well organized 3-layered structure representing the contents of enlightenment of a high priest. Sanaega has a poetic style characterized by distinct literary features compared to other native verses in the same era. The reason is that 10-line Hyangga improves its poetic level as it is aware of Chinese poetry. As it enters the Goryeo Dynasty, this literary composition starts to change. In other words, Sanega declines and quatrain emerges in the front of literary history. Unlike the Three Kingdoms Period ~ the late Silla/ early Goryeo Dynasty, development of quatrain results from that native verses enhances the characteristics of song rather than poem in the Goryeo Dynasty. Native verses form the mutually complementary relationship by adjusting the position as the song rather than competing with it as the poem as Chinese poetry becomes more common. In the Goryeo Dynasty, Sanaega declines and Sijo emerges in literary history, because native verses have been developed in the poetic form to freely express general emotion and to be more loved from the public. It is in the same vein as a native verse in the form of quatrain raises its vitality by enhancing the characteristics of the song through the adjustment of its position compared to Chinese poetry.

• Journal of The Association for Neo Medicine
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• v.2 no.2
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• pp.253-295
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• 1997

It is very critical to specify certain medical personnels in defining the history of certain era. Due to the limited source of information and lack of thorough research, there still aren't enough study grounded on concrete historical investigation. Authors attempted to investigate those medicinal personnels engaged in Three Kingdoms period in terms of the activity area, relation with religion and their role in medical system and medical exchange. The sum of recorded medical personnels in Three Kingdoms period numbers 50 of which 6 belonged to Kokooryo, 18 to Baekje, 7 to Shilla and 19 to Unified Shilla. There might existed far more medical personnels who tried to alleviate the suffering of the people and were not recorded in the documents. The more earlier in times, the more medicine gets the religious tinge. This is not the exception for the period of the Three Kingdoms and those medicine men, wizard doctors and priest doctors were playing important role in healing people and processing crude drugs. The system of royal physician and medical education facility were established and doctors and pharmacists, shamanic doctor, herb collectors, Kongbong's doctor(供奉醫師), Kongbong's diviners(供奉卜師) took leads in medicine in those times. Those folkloric healers also took part in. Korea imported chinese medicine and Japan employed chinese medicine via Korea or directly from China and developed into traditional japanese medicine. In this process those who emigrated from Baekje and Kogooryo and their offsprings took an active part. Since the limited source of information of Three Kingdoms, we only can infer the me야cal environment of those times by featuring the activities of medical personnels.