• Journal of Science of Art and Design
• /
• v.10
• /
• pp.183-218
• /
• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Korean journal of food and cookery science
• /
• v.24 no.6
• /
• pp.801-810
• /
• 2008

The principal objective of this study was to assess Korea's traditional ritual food culture, and to compare two types of ancestral rites the Hyang-Sa and Bool-cheon-wi rites which were held in the Daegu and Andong regions of Korea. In this study, we describe the performance of the Bool-cheon-wi rites held by two head families located near the Andong area namely, the head family of Seoae Ryu Seong-Ryong(1542-1607)(Seoae) who was well-respected for his writings and personality, and the head family of Dangye Ha Wee-Ji(1412-1456)(Dangye) who was well-known and famous as one of the members of the Sa-ryuk-sin. This research was conducted via diredt engagement in these memorial services and several interviews with the families. The results were summarized as follows; Foods used in the Hyang-sa rites including Mae(bap), Kook, Jaban(Jogee), Po(dried fish), Juck, boiled and seasoned vegetables, fruits, confections, and liquor. Jobap and Ssalbap were used as Mae at SD(Seo Dalsung), and PMPH(Pahoi Myogul Habin Park) used Jo, Hyunmy, Pi and Susu in the raw. The dishes on the table were arranged as follows. A wine cup was placed in the first row, Po(a dried pollack), and jujube and nuts in the second row, Ryukpo(slices of dried beef), Sangeogogi were set at the third row, and Soegogi, pork, Mu, and Minary were placed in the fourth row, and the head of the pig was placed in the center of the table at SD. A wine cup, Soegogi, and pork were positioned in the first row, Mu, Minary, Pi and Susu were placed in the second row, and Jogee, Jo, and Hyunmy were placed in the third row at PMPH. The sacrificial foods offered for Bool-cheon-wi rites were as follows; Mae(bap) Kook noodle Jogee Tang(stew) Po Juck Tucks boiled, seasoned and salted vegetables Jeon fruit confectioneries liquor(chungju). The head family of Seoae Yu Seong-Ryong utilized 5 types of Tang(meat stew, fish stew, chicken stew, vegetable stew, seafood stew), whereas the head family of Dangye Ha Wee-Ji utilized 3 kinds of Tang(meat stew, fish stew, vegetable stew). As a basic Tuck, Shi-roo-tuck(a steamed rice cake), piled up to 25 layers, was primarily utilized. In particular, Jung-Gae(Seoae's favorite food) was placed on the table. For grilled-meat food(Juck), Yu's family used raw meat and Ha's family the half-cooked meat. The main types of Jucks used were meat-Juck, fish-Juck, chicken-Juck, and these were not served one by one. Hyang-sa and Bool-cheon-wi rites have an the educational function, in that they allow for the carrying out of filial duties by a heartfelt performance of performing the ceremony, by taking great care from the pre-rite preparations to the post-rite period. In addition, these rites have various meanings, as events that strengthen the ties of blood relations of ancestors and themselves, and to promote and harmonize family friendships, they may also have religious meaning in the culture, as prayers are offered that all the family's descendants may be blessed, live long and enjoy abundance whlie respecting their ancestors. As for the role of Hyang-sa and Bool-cheon-wi rites in today's nuclear family society, it can be said that these rites remain especially important as a method to strengthen community consciousness by fostering an understanding of the meaning of existence itself, and thus inspiring the roots of consciousness.

• Journal of Korean Philosophical Society
• /
• v.148
• /
• pp.239-267
• /
• 2018

In the matter of ethical and moral practice, Thomas Aquinas's thought is called "intellectualism". It does not mean only that intelligence is more important than will in moral practice, but that it has epistemological, metaphysical, and psycho-psychological implications significance. The first means affirming "the first principles of knowing" as the problem of certainty of knowing. In Thomism, there are surely above suspicion notions in the domain of practice as well as in the domain of reason, which are obviously self-evident, and because of that certainty, they become the basis of certainty of all other knowings that follow. The principle to know these knowings is the first principle of knowing, reason and Synderesis(conscience). Therefore, the "intellectualism" of Tomism is the basis for providing the ground of metaphysics. In the case of reason, it is classified into superior reason and inferior reason according to whether it is object. The object of higher reason is "metaphysical object" which human natural reason can not deal with. This affirmation of superior reason provides a basis for human "autonomy" in the moral and religious domain. This is because even in areas beyond the object of natural reason, it is possible to derive certain knowledge through self-reasoning, and thus to be able to carry out the act through their own choosing. Likewise, for Thomas Aquinas, "Synderesi" as the first principle of good and evil judgment can be applied to both the superior reason and the inferior reason, and thus, except for the truth by the direct divine revelation, precedes any authority of the world, scrupulous Act always guarantees truth and good. This means "subjectivity" that virtually in the act of moral practice, it can become the master of one's act. Furthermore, "consciousness(conscientia)", which means the ability to comprehend everything in a holistic and simultaneous manner, is based on conscience(synderesis). So, at least in principle, correct behavior or moral behavior in Tomism is given firstly in correct knowledge. Therefore, it can be said that true awareness (conscious awareness) in Thomas Aquinas's thought coincide with practical practice, or at least knowledge can be said to be a decisive 'driver' for practice. This will be the best explanation of the definition of "intellectualism" by Thomism.

• Journal of Christian Education in Korea
• /
• v.63
• /
• pp.347-376
• /
• 2020

This study suggests the direction and practice of Christian education through ecological Christian spirituality required in front of the ecological crisis. Environmental destruction and ecosystem problems are recognized as a serious crisis that can threaten human survival. As a result, the development of material civilization, which humanity has taken for granted, has been questioned, and changes in human consciousness and thoughts at the root of the ecological crisis have become inevitable. The crisis of civilization demands a new spirituality, and the spirituality required in front of the ecological crisis must be a life-friendly spirituality. The discourses on the ecological crisis that have emerged since the 1970s provide a fundamental perspective on the ecological crisis. Ecological spirituality such as 'immanence', 'interrelationship', 'community', 'healing and emancipation', and 'sustainability' are concepts that can understand and aggregate the discussions of the various discourses above. Based on this, this paper examines Christian ecological spirituality by dividing it into the areas of God, humans, and body. Through this, the Christian education was proposed as a practical place for self-depreciation for a simple life through the understanding of God, who emptied himself out of the transcendent God who reigns over all things, shared the pain of all things, maintained all things together, and lived in them. There, meditation and hospitality can be a place of practical Christian education where one can enrich one's inner self for a simple life. Christian education was proposed as a place of holistic knowledge through ecological Christian spirituality that emphasizes the spirituality of the body from dichotomous thinking that belittles the body. There, the Holy Communion is important as a place where both holistic education to restore the spirituality of the body and ecological education can be held at the same time. Through this, I hope that Christian education will be a place of education not only for the reason but also for the holistic knowledge of Christ and for learning how to 'together' with the ecosystem and neighbors.

• (The) Research of the performance art and culture
• /
• no.38
• /
• pp.193-224
• /
• 2019

Shaman's play is significant in that it provided public theater for a long time in the theatrical and dramatic history. Unlike upper class who could call entertainer or Korean geisha in the traditional society, the majority of ordinary people could see professional performances through gut. Therefore, the shaman of the traditional society pulled the play which developed in the gut and the outside play into the gut and prepared the performance street for the ordinary people. shaman's play, apart from the religious context, has also functioned as a theatrical performance. Through shaman's play, you can see the process of ritual development into play. Shaman's play is a ritual ritual of expel calamity in an agriculture based society. In Korean consciousness, evil spirits are thought to bring disease or disaster to humans, so they should be good for evil spirits. This is a ritual that goes hand in hand with the Confucian Yeoje and the Buddhist Suryukjae. Most traditional plays, including masque performance, tend to weaken and become stifling after the designation of intangible cultural properties. However, shaman's play is transformed every time it is executed and is given a new meaning. Depending on the ability of the shaman to respond to and accommodate social change, adaptability is excellent depending on the situation in the field. Shaman's play has richness, prevent calamity and playful elements such as imitation of god and sexual connection based on the element of shamanism. In addition, it is necessary to pay attention to the meaning and the direction of Shaman's play because it is differentiated into play including social subject beyond mere magic imitation.

• Journal of the Daesoon Academy of Sciences
• /
• v.48
• /
• pp.199-237
• /
• 2024

Donghak-gyo, the Teaching of Eastern Learning, is a new religious order founded by Kim Ju-hee, centered around the Donghak (Eastern Learning) lineage. The core thought conveyed in the lyrics of Donghak-gyo songs (gasa) can be identified as the concept of 'Return to the Former World (先天),' considering the frequency of the term and the content of the recited verses. The view of time and destiny (時運觀) held by Eastern Learning emphasizes the concept of 'Another Great Opening.' Donghak-gyo's perspective on time and destiny is further rooted in the concept of 'Return to the Former World.' Donghak-gyo particularly emphasizes the term 'Former World,' and incorporates the Study of Changes (易學) into their songs. They recite verses that depict the situation of the Great Opening as an interaction between yin and yang. In Donghak-gyo, it is emphatically asserted that the completion of the Later World's destiny leads to the achievement of the 'Return to the Former World.' It is sung that with the restoration of destiny associated with the 'Return to the Former World,' the symbolic 'Spring (春)' represented by the virtue of Wood (木德) will return. Donghak-gyo describes the unfolding of a new cycle of destiny (運數) as the 'restoration of Changes (易).' When this occurs, they refer to the emerging new world, characterized by a new order and norms, as the 'Return to the Former World,' asserting that a 'moral world' will be established, leading to the development of a moral civilization. It is also sung that the restoration of the destiny associated with the Return to the Former World is akin to the restoration of the Heavenly Dao (天道). The characteristics of the concept of the Return to the Former World are threefold: firstly, it advocates a nostalgic system; secondly, it is a backward-looking thought; and thirdly, the idea of 'cyclical repetition' encourages tangible actions such as 'returning to the origin' or 'restoring fundamentals.' The concept of Return to the Former World in Donghak-gyo, unlike many new religions of those days, provided a unique conceptualization and understanding of the Former World and presented a new framework for interpretation. It moved away from the notion of discarding the Former World as a relic of an outdated era, and instead interpreted it as a new era to be embraced. Therefore, the concept of 'Return to the Former World' in Donghak-gyo should be re-assessed as one of the ideologies that inherits the pursuit of returning to and restoring the past in Eastern traditions. However, it can be criticized for lacking a concrete methodology with regards to the 'Return to the Former World.' Additionally, it is noted for deficiencies in ethical consciousness and moral virtues. Furthermore, its explanation about the Former World come across as insufficient. Thus, the concept of the 'Return to the Former World' in Donghak-gyo seems to be characterized more by declarative slogans than substantive content.