• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.52-59
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• 2006

The study is intended to clarify the ideologies and principles applied to the formative expression of church architecture which is contained both the God and human. Iconography as the relation between described target and the meaning as meaning analysis especially emphasized since the religious reason in religious art. Iconography is the area of discussing rules and habits and involved in the pieces of transition from the piece of experience obtained by sensing to the one of the ethical structure. N. L. Prak who apply meaning theory of E. Panofsky who distinguish between iconography and iconology clear relation of mental foundation which characteristics of shape of art and its concretion in architecture categorized the shape of meaning in three steps. Among them, conscious symbol and unconscious symbol correspond to iconography and iconology of Panofsky respectively. The symbol is mainly showed in religious architecture and is not related to simple practical architecture. Such symbol system can be important discussion objects in modern church architecture and necessary expressional system for expressional characteristics.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.184-199
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• 2008

This thesis aims to examine the formation, and the religious meaning and symbolism of Beob-Lak, which is attached to the preacher's clothing as a full dress of Won-Buddhism, which, as a new religion, was originated in Korea's historical foundation in 1916. In addition, it tries to provide the basic data for the study on Korean religious costume by examining Beob-Lak in the context of social atmosphere of Korea, which has accepted various religions. As a result, I found that Beob-Lak was originated from the different colored lines of the early Japanese Buddhist religious costume and it employed rochza as an independent component, but that the present protocol of Beob-Lak was completed by the first Jongbeobsa Jeongsan Jongsa in the late 1950s and all the religious workers have put it on with the religious costume in great worships since the early 1980s. Beob-Lak of Won-Buddhism, which employs Ilwonsang Beobsinbul as the symbol of its religious doctrine, symbolizes the succession of Beob and represents the will to repay the teacher's favors to hand down the great truth. At the center, Ilwonsan(one round shape) is the symbol of the innate place for everything in the universe, and its yellow color symbolizes the highest nobleness. I expect to see following researches which deal with the costume of Won-Buddhism from various views on the basis of this study on the formation and development of Beob-Lak, which is the symbol of formal full dress of Won-Buddhism as Korea-style new religion created over 90 years ago.

• Journal of the Korean Home Economics Association
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• v.48 no.8
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• pp.39-50
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• 2010

This study aimed to identify today's religious fashion motifs as elements for design development by examining the expression modes such as religious motifs in contemporary fashion. Methodologically, the study conducted literature review and empirical analysis of pictures and articles in domestic and foreign fashion collection magazines and other related data available on the internet and analyzed the collections of 1990 through 2009 with a focus on Christianity, Buddhism and Islam. As a result, this study identified two expression modes of religious motifs in the contemporary fashion. The first expression mode was to employ the forms of religious costumes and their associated images. The second one was to take on religious symbols and their associated images.

• The Research Journal of the Costume Culture
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• v.6 no.3
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• pp.175-184
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• 1998

This study analyzes the symbolism of uniform in modern Korea, based on the symbolic interaction theory. I classify a representative symbol among many symbols in one uniform. I found the sex, age, occupation, situation, religious, group belogning,cleanlines,authority, superiority, and rank symbol in the modern Koran uniform.

• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.189-208
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• 2011

The psychology of Carl G. Jung is often called an "ancilla religionis"(servant of religion, James Heisig), by which Jung's understanding of the unconsciousness of human being as the religious one is well expressed. According to Jung the dichotomy between the consciousness and the unconsciousness of men is reconciled in the various religious symbols of the world religions. He also asserted that the religious symbols must be understood and interpreted by a symbolical way. When the religious symbols are understood literally and dogmatically, they lost their dynamic power to bring salvation to men. In this paper I try to understand the essence of the symbolical and intuitional understanding of the exclusiveness of Jesus Christ. The confession of the Christianity that only Christ, once for all, could bring the salvation to the whole humankind is to be interpreted by a symbolical and intuitional way. That means, Christ is to be understood as a always new being at every time when he is confessed as a salvator. Christ as a symbol could never be a historical past. I mentioned about the understanding of Buddha by Muneyoshi Yanagi, a Japanese Shinto Buddhist, in order to show how such a symbolical and intuitional understanding of the Christ could be possible.

• Journal of Christian Education in Korea
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• v.78
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• pp.111-136
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• 2024

The purpose of this study is to theoretically explore symbol didactic, which serves as a mediator and integrator of human experience with biblical experience. Based on a deep consideration of the functions and roles of symbols, as studied in psychology, philosophy, religious studies, and theology, this study aims to examine representative theories of Bible didactic that have introduced symbolic action into Christian education. By exploring these theories, we aim to provide a comprehensive understanding of the role of symbols in Christian education and their impact on the learning process. This study is divided into two main parts. In the first half, it examines the meanings of symbols and their functions as discussed by prominent scholars from various disciplines who have paid attention to symbols, including S. Freud and C. Jung in psychoanalysis, E. Cassirer and P. Ricoeur in philosophy, M. Eliade in religious studies, and P. Tillich in theology. In the second half, the study critically analyzes and discusses representative theories of symbol didactic, such as those proposed by H. Halbfas and P. Biehl, which have applied the symbolic action of neighboring disciplines to Christian education. Symbol didactic differs from traditional biblical didactic, which aims to transmit content, by using symbols as a medium to facilitate dialogue between the learner's experiences and those of the Bible. This approach enables learners to experience the deep relationship between the content of the Bible and the experiences of biblical figures with their own experiences, and provides an opportunity to deepen that experience.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.6
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• pp.28-40
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• 2004

The purpose of this study is to identify the characteristics of monuments in the Seoul Foreigners′ cemetery at Yanghwajin, a place where many prominent Christian missionaries and other Christians have been buried near Choltusan. In considering the characteristics of gravestone details, the researcher has divided the details into 4 analysis categories: forms, symbols, epitaphs, and materials. For this research, 281 monuments were selected including 68 of missionaries, 26 of U. S. Army Soldiers, and 13 of teachers. The analysis revealed that there were 26 types of monuments. This includes simple and standardized types like the tablet, headstone, marker, and monolith. These were used more often than other shaped types such as the Cross, obelisk, sculpture, etc. Standardized types made in Korea have been preferred after the 1950s even though the beauty of the gravestones has been degraded. Symbolical decorations related to religious, social, professional or military emblems were also introduced to strengthen their symbolical objectives. Among them, fie Cross was the most predominant Christian symbol and emblem. The families wanted to inscribe epitaphs, the greater part of which originated from the Bible, poems, idioms related to tribute, rest, supplications to deity, love, achievement, to express human sentiment and religious faith. When using materials for making monuments, monument makers have mostly used stone because of its durability. Until the 1950s, various stones had been used to make monuments, for most marble and granite were brought from foreign countries. These were very different from the Korean white marble stone used for many monuments. After the 1950s, the source of stone has been limited to Korean stone, for Korean could make stone monuments that foreigners were agreeable. Especially, a black marble stone called "O-Suk" which means black stone, has been used as a main material. The study identified the following characteristics of monument details in the Seoul foreigners′ cemetery at Yanghwajin. First, Christianity has been applied as the main concept, while symbolizing the homogeneity of religious, family, social, professional or military groups by having the symbolic form, symbol, and epitaph in common. Second, monuments made after the 1950s have been standardized into unattractive and monotonous forms by the limited materials, and so the beauty of the monuments has been degraded.

• Journal of the Korean Society of Costume
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• v.49
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• pp.95-112
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• 1999

The purpose of this study was to research of color symbol on white in the Virgin Mary and an Infant jesus icons. For this purpose icons were selected and analyzed from the medieval ages to the 18th century. The results were as follows. Icons on the subject of the Annnunciation and the Nativity should be expressive of nobility immaculacy and innocence of the Virgin Mary and an Infant Jesus. With this view white was used to be color of candle a waxing moon lily kettle dress bedspredad towel wall encircled garden and became symbolic color in the Icons. As a result the color symbol of white the meaning of immaculacy and innocence disseminated according to spread of the Christian religion. In these days though elimination of the religious meaning the white color is using continuosly as a symbolic color of immaculacy and innocence.

• Journal of the Korean Society of Clothing and Textiles
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• v.8 no.3
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• pp.43-56
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• 1984

The purpose of this present study is not only to investigate mutual relationship between general values and clothing behaviors, but to analyize the differences in clothing behaviors in view of socio-economic backgrounds, such as professions, social classes, educational levels, monthly income, etc. For the measurement of the general values, a total of 45 questions were made use of from both part I and part II of 'The study of General Values' jointly developed by Allport-Vernon-Lindzey, while for the measurement of the clothing behaviors were used questions selected from 'The clothing variables Inventory' developed by Creekmore and from those previously used in our country for the same purpose. Data were obtained from 460 Persons and the selected sample was composed of 238 Persons from the upper class and of 222 persons from the lower class. The former class is mainly represented by government officials, doctors, company directors, professors, while the latter by factory workers, clerks, drivers. Analysis of the data in this present study reached its conclusions as follows ; 1. Among the general values valiables, the selected group in this study ranked, theoretical values' first, 'political values' 'econmic values', 'social values', aesthetic values', 'religious values' in that order, and also among the clothing behaviors variables it ranked in the following order ; economy' 'modesty' 'aesthetic' 'conformity' 'status symbol'. 2. A significant relationship between general values and clothing behaviors was found as follows ; there are negative relationships between 'theoretical values' and 'aesthetic', 'status symbol', between 'aesthetic values' and 'conformity', between 'social values' and 'status symbol', between 'political values' and 'conformity', on the one; there are positive relationships between political values' and 'status symbol', between religious values' and 'aesthetic', on the other, 3. In view of profession, it was found that a group of company directors placed the most importance upon 'status symbol', a group of factory workers upon 'economy', a group of drivers upon 'conformity' among the clothing behaviors. In light of social classes, 'economy' was given a high priority by the lower class, and 'status symbol' by the upper class, respectively. Considering educational levels, it was found that the highly educated class placed more emphasis on 'status symbol' and the lower educated class showed their preference to 'economy'. In view of monthly pay, 'conformity' was given a top priority by the middle class, and 'status symbol' by the upper class. 4. As a result of investigating the influence that one's age and marriage effect on clothing behaviors, significant differences were found among the three clothing motivations of 'aesthetic', modesty', 'status symbol'.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1221-1244
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• 2009

The death scenes are the culmination of both Doris Lessing's "To Room Nineteen" and Toni Morrison's Sula. Lessing's Susan, an intelligent white English woman, gradually loses the meaning of life as awealthy housewife in the patriarchal society and commits suicide as her solution in Room Nineteen of Fred's Hotel. Morrison's Sula, an African-American woman, grows up without having the normal ego under Eva's matriarchy in a black community named the Bottom. Sula, after Nel's marriage, becomes a symbol of evil to her community and drifts down to death in Eva's bed. Reading these two death stories from the perspective of Jung's archetypal psychology, Susan is not able to continue to live a meaningful life because her life energy is cut off from its source which is in the unconscious. According to Jung, the symbol is the medium of the psychic energy from the unconscious to consciousness. In modern society which is represented by intelligence, the religious and mythical symbols are removed by rationalism, which means disconnection of the flow of life energy from the unconscious. Susan's death can be read as a kind of creating symbol to connect the modern people to the source of life energy. Sula's case is the opposite of Susan's. She remains in the unconscious world without having the proper ego in the absurd reality of racial and sexual problems. Sula finally rises again in Nel's awareness, becoming a symbol of the feminine goddess like goddess Inanna.