• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.330-341
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• 2018

In recent years, a number of Chinese artists are interested in 'Chinese-style'. 'Chinese-style' can be understood as an art form in which Chinese elements are combined with modernized sensibilities. This paper analyzed how Chinese traditional elements can be effectively implemented in fashion photography, focusing on Chen Man, a leading fashion photographer in China. Our research shows that Chen Man looks to the traditions and history of China to inspire her modern work, which makes her unique as a Chinese fashion photographer. She tried not to repetitively express typical images of Chinese elements but to visualize the symbolic meaning of traditional elements as new images of modern China. Through this practice, she were able to effectively communicate the images of products and brands promoted in fashion photos. Furthermore, her works are being recognized by not only the fashion industry but also the international art elite as they contribute to building and promoting Chinese fashion identity. Research on Chen Man's work is significant in providing a new way for 'Chinese-style' fashion photographers to reinterpret Chinese traditional elements without following Chinese tradition.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.415-430
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• 2022

The purpose of this study is to explore the Canadian Film Director Sophie Deraspe's . Director Sophie Deraspe adapted a Greek Sophocles's novel to the Film in a modern way. For this study, adopt two research methodologies which are 'Author-structuralism' and 'culture studies', and explore traits of esthetics, narrative, subject and context meaning by analyzing . This study concludes that Firstly director Sophie Deraspe is a 'Quebecious writer-director' who represents cultural identity of contemporary Qubec, Secondly, express immigrants in Qubec using Greek Sophocles's novel tragedy as an allegory in narrative, Thirdly, enhances the dramatic effect in esthetics using virtual mise-en-scene as insert, fantasy, SNS, etc. And lastly, can confirm re-territorializing the cultural identity from the distinct characteristics of regional past tradition to the universal hybridity discours in subject. Therefore, Sophie Deraspe's is a work that symbolizes a new trend of 'New Quebec Cinema' in Canada.

• Journal of Christian Education in Korea
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• v.67
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• pp.45-75
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• 2021

The purpose of this study is to explore a new paradigm for Bible didactics in the context of the contemporary times and it turns its gaze to the midrash, the old tradition of Hebrew Bible interpretation. In order for the current Bible study to be meaningful and effective in today's situation, it is an effort to connect the Bible and us well, more than educational contents or materials. The word "midrash" itself means "textual interpretation", or "study", derived from the root verb darash, which means "to seek," "to seek with care," "to enquire," "to require" forms of which appear frequently in the Hebrew Bible. Midrash means an exegesis and interpretation of the Hebrew Bible (Torah) as well as a group of works that are the result of specific interpretations of the rabbis. This rabbinical tradition provides specific interpretative guidelines dealing with the Bible. These interpretive guidelines were passed down and formed an attitude of interpreting the Bible that is still relevant today. The rabbinical interpretative guidelines in midrash lead to the discovery of the following biblical didactical meanings. First, the Bible requires an attitude of listening and learning. Second, an attitude of inquiry is needed. Third, an exploration through the empty space is essential. Fourth, it leads us to recognize the importance of mutual respect and communication. Fifth, through the Words that challenge me, the meaning of biblical teaching is discovered. These interpretation guidelines have much in common with Bibliodrama, which applies midrash to the didactic of Bible. Bibliodrama is a dramatic inquiry, where the effect of in-depth inquiry and consideration that midrash aimed at can be expected. In addition, bibliodrama is a process of communal interaction that leads to a new experience and a richer understanding of the Bible through different positions and viewpoints. Exploring the "white fire" of the Bible, we listen to what God says to us, which causes us to change and form an identity. The biblical didactical meaning found in midrash's interpretation guidelines and the biblical didactical application of midrash through the bibliodrama can be presented as a new alternative to Christian education for the past, the present and the future. This will be able to present a new paradigm for biblical didactics with the word of God living and working in the present, not the Bible of the past, which is far from our present life.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.195-218
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• 2000

This study investigates the characteristics of European knitted works from a historical perspective. Specifically, this study deals with the following research topics: 1) the origin and development of knitting. 2) the characteristics of knitting industry according to the change of times, 3) the comparison of local knitting patterns and cultures. 4) 7he symbolic meaning of the designs in the knitted works and theire functions. This research is barred on the survey of the relevant literature and photographs. The results of the study are summarized as follows. 1) The introduction of knitted works was closely connected with the climatic and socio-economic conditions of the places of the origin. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. 2) In ancient times, abstract and geometric patterns have developed in Europe under the influence of Arabian knitted work. Middle Ages saw the flourishing of Arabian knitted works representing the authority of the church. In early modern times, the knitted work assumed the wealth of the royal families and the nobles. But afterward it was gradually Popularized among the middle classes. Knitting was then regarded as one of the women's major cultural activities. However, recently in the interwar periods. the knitting industry did not flourish and the knitted works came to serve merely as comfort goods by political urge. Knitted works were introduced in Korea around 1870 (the 7th or 8th year of king Kojong era) by Catholic missionaries and they started to be made by machine in 1917. 3) As for the propagation of the knitted work into Europe, there are three routes estimated. The traditional knitting patterns of local areas and their characteristics are summed up as follows : (1) England Guernseys are thick dark blue wool, whereas Jerseys are thinner and of various colors. The knitted shawls of Shetland are world-famous for their fine, lace-like texture that they can be through a wedding-ring. The knitted work of Fair Isle shows several distinctive features, such as the use of no more than two colors, patterns with diagonal lines. symmetry within the patterns, the prominent OXO patterns, and horizontal bands of patterning. The representative knitted work of Aran is Aran sweater made for fishermen to developed from guernseys of Scotland. (2) Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. (3) Baltic area : The Latvian and Lithuania stockings have very ornate patterns. Many of the Estonian knit stockings and mittens share designs. Komi was well-known for its symmetric diamond pattern. Komi patterns include colored stripes, borders of pattern and all-over designs of complex diagonals. (4) Balkan area : In Yugoslavia, the patterns of roses, leaves and flowers were used for stockings, gloves and leggings. Greek knitting resembled southern Russian knitting, which utilized light colored patterns with dark colors for a background. Turkish patterns are symmetric vertically or horizontally. 4) The traditional knitting patterns net only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns also represented Power or authenticity Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.18-27
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• 2016

A 'flowered-wall,' which are also called a 'flower plant patterned wall,' or a 'flower patterned wall,' is a wall of a building or a fence with various patterns on it. A flowered-wall can be an external mean to look into the owner's authority and values while internally it possesses the symbolic meaning of wishing the well-being and peace of the household. In the research area of the flowered-wall, the walls located in the palace were well researched in various studies across architecture, horticulture, and art design, however, the walls belonging to the local regional traditional folk houses and temples have been involved in little to no research in the landscape architectural area. Taking notice of this perspective this study researched and analyzed the cases of the flowered-walls of the traditional folk houses and the temples that belonged to the national and municipal cultural properties of Jeollabuk-do Province from the landscape architectural perspective. The whole samples were examined and it was shown that there were 9 traditional folk houses with flowered-walls. Among the temples there were 7 cases. Therefore the research focusing on tracing the shape and symbolic meaning of the flowered-walls in the 16 cultural properties located in the Jeollabuk-do Province which consisted of traditional folk houses and temples resulted in the following. Flowered-walls displayed hierarchical differentiation revolving around the main space and its spacial characteristic. This differentiation is variously displayed across the flowered-wall, gable, crack plastering, and chimney. In the case of the folk houses the symbols have the meaning of the prosperity of the household and progeny, exorcism, longevity, number of fortune, harmony, and peace etc that prays for practical wishes such as long life and good health with the prosperity of their descendants. Meanwhile in the temples, symbols indicating an easy passage into eternity, perpetuation of the Buddha-nature, and three marks of existence are applied, differentiating from the folk houses by the appliance of the religious values in the patterns. In conclusion this research resulted in the rightful illumination on the local landscape culture, the possibility of expressing the Korean sentiment through flowered-walls in the contemporary space, the reassessment of flowered-walls, and the provision of basic data for a plan to success the cultural heritage.

• Journal of the Daesoon Academy of Sciences
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• v.32
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• pp.77-108
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• 2019

The purpose of this paper is to clarify the characteristics of 'Podeok' in Daesoon Jinrihoe. The term Podeok can cause some misunderstanding as the same word Deok (德 virtue) has long been used in the Eastern Tradition. In other words, for most people who are used to traditional thought, Podeok may be conflated with the similar word 'Deok (virtue)' as used within Confucianism. People who are familiar with Confucian culture might thereby misunderstand the term Podeok as an aspect of Confucian moral ethics, or they could misconstrue Daesoon Jinrihoe as having appropriated and misused Confucian ideas. Furthermore, there are other problems that could arise if people compare Daesoon Jinrihoe's 'Podeok' with 'Deok (virtue)' as used by Laozi. While Deok in Laozi's usage represents the ability of an individual who can exercise his or her rationality with excellence, Deok in Daesoon Jinrihoe indicates the idea of actualizing Mutual Beneficence and the conditions that enable Mutual Beneficence. If one understands Deok as used by Laozi to contain the meaning of Mutual Beneficence, then it is possible to think that the two tradition share a similar meaning of Deok as Podeok in Daesoon Jinrihoe pursues Mutual Beneficence as its ultimate value. In order to preemptively correct these misunderstandings, I need to clarify how the idea of Deok was born out of traditional thought and what meanings it embodies. Additionally, it is necessary to examine how it became meaningful in Confucianism, and how it was criticized and ascribed new meanings in Laozi's thought. Through these clarification, it will become clear that Deok originally indicated a religious ritual that the king of the Zhou Dynasty performed after receiving the heavenly mandate and assuming rule over the nation. Later, this idea was transformed into a moral virtue and norm by Confucius. This moral virtue and norm was criticized by Laozi as an unnatural form of control as it was understood by Laozi as a teleological argument justifying whether or not lives were to be saved or sustained based on the perceived merits of each individual. On the contrary, Deok in Daesoon Jinrihoe and traditional thought stand on a totally different theological bases. Deok in Daesoon Jinrihoe is a means to practice and realize the truth of the earthly paradise of the Later World and the truth of Mutual Beneficence which were posited to the world through Kang Jeungsan's Works of Haewon (grievance resolution) that resolved the pattern of mutual conflict that characterized the Former World. Therefore, the idea of Podeok in Daesoon Jinrihoe gains completion only on the premises of Haewon Sangsaeng (resolution of grievances for mutual beneficence) and Boeun Sangsaeng (reciprocation of favors for mutual beneficence), and the way to practice Podeok is to practice Haewon Sangsaeng and Boeun Sangsaeng. In addition, the subordinate virtues such as loyalty, filial piety, and faithfulness that exist within Daesoon Jinrihoe's religious practice are not same as those of traditional thought. They are new concepts of virtues drawn from the cosmological laws of Daesoon Jinrihoe. To be specific, the virtues of Daesoon Jinrihoe are not rules that create discrimination and mutual conflict, but are instead ethical rules established upon the basis of Heaven and Earth having been newly organized, and thus, they will bring virtuous concordance, harmonious union, and mutual beneficence. The idea of 'Podeok' in Daesoon Jinrihoe can be understood as a religious practice that requires doctrinal understanding and tangible practice in daily life of followers. In other words, it is not the same Deok of earlier traditional thought in East Asia, but is instead a religious truth by which practitioners realize the truth of Sangje's Works of Haewon in human world as they practice Haewon Sangsaeng and Boeun Sangsaeng.

• Korean Journal of Hospice Care
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• v.6 no.1
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• pp.1-11
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• 2006

There are various understandings how to define death. In the context of medicine, death is defined as the irreversible change of the tissue according to the cessation of circulation and respiration. According to the psychologists, a person need to accept the finiteness as a human being and remain conscious that the death is not avoidable. And they say if a person doesn't regard death as unavoidable reality of life he or she will not confront the humanistic death and after all will die like animals. In philosophy, death is viewed as an unwelcome reality in the end of the journey of life. Sociologists usually understand that the society is the organization composed with living persons and human beings which construct and transmit the culture from generation to generation between the both ends of life and death. In society, the generation is changed, maintained, and developed through the phenomenon of death. Although death of human being is natural event in society, the death of a specific person brings a sense of loss, crisis, and anxiety to the communities like family, regional society, nation, and the world. In this context, death is not confined to personal dimension and it can be regarded as a social problem. It is valuable to summarize the religious perspectives on the meaning of death for the better hospice care. In shamanism, there are basic idea that although the flesh of human being disappears, soul never die. If human dies, the flesh of human being disappears but soul never disappear and come back to the origin of soul as it is called chaos. So in shamanism, it is said that shaman can solve the mortified feeling, restore the broken harmony, send the soul to comfortable space- the origin, and guarantee the blessing of descendents. Buddhists regard the death as an essential component through the cycles of life. Through this cycle, human being exits as an endlessly transmigrating being and the death is just a restoration to the original status. In Confucianism, the view on the death based on the philosophy of the "Yin and Yang" and "Five elements". In Buddhist tradition, many believers said the philosophy of "Death is the same as life". Unlike usual thoughts that a god governs "life and death" and "fortune and misfortune", Confucianists deny the governance of a god and emphasize the natural orders in which every phenomenon in the world moves according to the principle. Confucianists understand the death as a natural order with this principle. In Confucianists' belief, the essence of human being remains in their own descendent's lives after the death of ancestor, so in Confucianism there is no concept of immortality of the soul. In the history of Christianity, death has been defined generally as the separation of the immortal soul from the mortal body. In the earlier days of Old Testament, the death is regarded as a disappearance of just a flesh and human never disappear and always live in the relationship with God. Later days in Old Testament, we can find the growing concern for the life after the death because of the entrance of the theodicy. In the New Testament, the death is not regarded as the normal process of the human life and regarded as the abnormal status in which death come to human because of sin as a decisive factor and it should be conquered. In fact, the most of us afraid death because not of the fear of death itself but of the sense of the emptiness and regrets. so many people often make the monument hoping to live forever. But Christian usually regard this behavior as a sinful act because human being usually think themselves as a master of their life and attempt to become immortal in this kind of trial mortal. But if we live with God, we cannot confront such a condition because we aware limits as a mortal human being and entrust everything on Him and want to live according to His guidance. Therefore, in the Christian tradition, the death is regarded as accomplishment of life, fruits of life, invitation to the eternal life, and the last stage of human growth. For human being, the death is the great step of maturation as a human in the final stage of life.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.101-140
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• 2017

Currently, the whole world is being swept away by spiritual movements. Since the Three Kingdoms periods, Korea has been under the influence of "The Three Teachings". But during the modern times, the word "The Three Daos" began to be widely used alongside the expression "The Three Teachings" within various circles of New Korean Religions. Regarding this, Daesoon Thought is particularly noteworthy due to its description of the religious realm spoken of as "Confucianism, Buddhism, and Taoism" and the figurehead of that realm, the "Gwan-wang (Crowned King)". This study suggests that there should be a distinction noting the differences between "The Three Teachings" and "The Three Daos" in order to understand the status of the "Gwan-wang" in Daesoon Thought and to facilitate the study Buddhism as both a religion and a religious principle within the context of "The Gwan-wang of the Three Daos". Chapter II, details the conceptions of "Dao" and "Teaching" in the Eastern tradition and "Religion" in the Western tradition. This chapter includes a discussion of how the word "The Three Daos" could be approached as a "Theory of the Three Daos" that explains the religions of the East and the West through comprehensive principles. Chapter III goes through descriptions in the Jeon-gyeong of Buddhistic faiths, doctrines, monks, and temples to discover the meaning of the Dao of Buddhism and Buddhist culture as contained in the Jeon-gyeong. In chapter IV, the Buddhistic characteristics of Daesoon Thought is clarified in three ways: the Dao of Buddhism as the "substance of form", oneness as "growth and nurturing", and "Jinmuk" as the leader of the Dao of Buddhism. From this discussion, it is shown that research on the Dao of Buddhism in Daesoon Thought is a crucial avenue for understanding the identity of Daesoon Thought. In other words, the status of Daesoon Thought is not irrelevant to the Dao of Buddhism or to Buddhism proper, but Daesoon Thought should instead be understood as pursuing the state of Gwan-wang (Crowned King), which has the Dao of Buddhism as an axis characterized as "the substance of form" or as "growth and nurturing". Also, it provides a comprehensive view by which the various aspects of Buddhism as a modern day religious phenomenon of can be understood under the principle of the Dao of Buddhism.

• (The)Study of the Eastern Classic
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• no.50
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• pp.89-120
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• 2013

The concept of virtue seems to be one of the rare cases where the European and the Chinese traditions coincide. The meaning of the Latin word virtus and of Greek $aret{\acute{e}}$ seems to be similar to the Chinese $d{\acute{e}}$德. Most striking in virtue is that it is a capacity for self-realisation through action which is unique to man. On the other hand, there is something physical about it. It is the strength to do something. This strength overcomes the resistance of what is naturally given, it transforms the world, turns the natural world into a human one. In the Chinese tradition, $d{\acute{e}}$ 德, i.e. virtue, is therefore always connected with $da{\grave{o}}$ 道, the totality of natural forces. In the Chinese tradition, as opposed to the European one, virtue is itself considered to be a natural force that is present in man. This force sustains man's connectedness, unity and harmony with the surrounding world. Things exist through the unity of principle理 and ether氣. But the knowledge of this unity is due to principle. Moral and legal norms are shifted totally to the sphere of principle. Therefore their have found the final dissolution from a heroic models. Above all the classical Confucians, but also the other schools, would reply to this that there is nothing more precise than a concrete successful action. Its result fits the world perfectly. The difference is due to the differing interest of ethical thought. In the case of the Confucians the path is more direct. The actor establishes a precise pattern for other actions. Education therefore lies in detailed knowledge about forms of behaviour, not so much in conceptual differentiation. It is quite possible that generalisation may be a methodical prerequisite for success in this endeavour. That problem, too, is discussed. But the success of conceptualisation lies in the successful performance of individual actions, not in shaping actions in accordance with normative concepts.

• Journal of the Daesoon Academy of Sciences
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• v.25_1
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• pp.1-22
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• 2015

This paper took Jeonkyeong (典經) of Daesunjinrihoe(大巡眞理會) as the basic text and studied how Kangjeungsan(姜甑山), the Sangje (上帝), had embraced Chinese myth in process of formation of his religious thought focusing on Yan Emperor(炎帝) Shennong(神農) myth and Shanrangang(禪讓) myth (namely Danchu myth). First when we examine the myth surrounding Kangjeungsan's birth, it deeply emraced a feeling-birth myth(感生神話), we could realize that this is a universe motif through myth of hero birth in East Asia. Further judging from the analysis of geographic space of Kangjeungsan's activity, it included a variety of mythical and Daoist related place names. I think this is because of the fact that birth place of Kangjeungsan and the surrounding area is the locality of Xian(仙) tradition where major characters of Danhak sect(丹學派) have been turned out, and that Korean way of Xian suppressed by the regulatory system has been widely rooted in the public. Especially it's interesting that Jeungsan, the pen name of Kangjeungsan, ambiguously connotes Siru mountain(甑山), a place of his training, and the spiritual realm of the 『Zhouyicantongqi(周易參同契)』. Then I examined the God of fire Shennong myth which has been actively admitted and embraced by Kangjeungsan. Kangjeungsan put the root of his pedigree on Shennong and there is a close affinity between Shennong and Dongyi(東夷) such as Buyeo(夫餘), Goguryeo(高句麗), etc. These Dongyi spirits are losers against the Chinese major myth and beings of ressentiment. At the same time the predecessor of Jiutianyingyuanleishengpuhuatianzun(九天應元雷聲普化天尊) who shares mythical characteristics with the God of fire Shennong was a formerly Taishi(太師) Wenzhong(聞仲) of Yin(殷) dynasty. He was defeated and died by Zhou(周) dynasty, and was deified. The fact that Kangjeungsan regarded himself as a descendent of Shennong and possessed divinity of Jiutianyingyuanleishengpuhuatianzun connotes that he represents all beings of ressentiment such as family of Yin and Dongyi. However, Kangjeungsan set a religious milestone by turning revenge for such ressentiment at tribe level into religious sublimation. At the end Shanrang myth which has been critically embraced by Kangjeungsan was reviewed. According to the existing Shanrang myth, Danchu(丹朱) was unworthy and not succeeded in the succession to the throne. Then good natured Emperor Shun(舜) succeeded to the throne from Emperor Yao(堯). However, the reality of Shanrang myth was a violent change of sovereign power and Danchu was a victim in the process of such violent change. Kangjeungsan shrewdly grasped the reality of ancient China and cast light on presence of Danchu. And he emphasized the need of religious sublimation of revenge, Haewon(解冤). His such awareness of culture had a close relation with revisionist standpoint of independent Danhak sect expressing a skeptical glance at systematic, commensurate and authentic historical view of Chinese civilization. And further Kangjeungsan cosmologically and causationally reinterpreted revenge of Danchu. He established a universal salvation theology which has a corresponsive connotation in regard to embracement of Shennong myth. In conclusion, embracement of Chinese myth by Kangjeungsan was a creative work of reinterpretation resulting in an inherent religious connotation through a process of appropriation, that is independent and selective introjection.