• 한국실내디자인학회논문집
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• 제13호
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• pp.124-129
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• 1997

The purpose of this study is understanding the principle of space construction in traditional houses in Cheju under the premise of house being the dweller's place. I studied it by shamanist interpretatiov. First I understood the quality and meaning of space by the theory of space and shamanism. As the method of study. I studied the space theory and shamanism and had a general idea of them. And then I looked upon the concept of space as residence and analyzed the traditional houses in Cheju. The conclusion of the study is this. I considered shamanism as a part of their way of life. Thus shamanism was a chief idea of Cheju people's thought, religion, and a view of the world. Naturally shamanism was the chief principle with which Cheju people constructed the residence. Because this cultural social aspect of shamanism, it is understood and used as the principle of space construct in modern architecture of Cheju.

• 비교문화연구
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• 제25권
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• pp.131-158
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• 2011

In the Sakha(Yakutia) Republic, culture and politics continue to be interwined. Shamanism recently has come out of hiding after Soviet repression, and into fashion. Images of the shaman are changing in villages, where traditional healers have maintained their practices in difficult conditions, and in cities, where a resurgence of spirit belief and healing has led to the revitalization of their nationalism. Shamans and folk healers manipulate their own images, and in turn are changed by the upheavals of politicized cultural revitalization. In this complex and interactive context, folklore about traditional shamans has become especially rich and accessible. I argue here that religion has become an idiom through which competing definitions of homeland and national pride are being shaped. Until September 2002, Yakutsk had never had a 'temple' devoted to the practice of traditional shamanic beliefs. Indeed the whole concept that a building 'Archie Jiete' could contain or represent the beliefs, values and rituals of the Sakha people was new, and highly controversial.

• 한국의상디자인학회지
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• 제6권1호
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• pp.34-45
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• 2004

The purpose of the study was to investigate weaving, traditional dyeing, fiber material, pattern how carpet developing according to Turkey area for using the data that can rear to the export strategic industry for carpet production and development that is correct in culture. The result are followed: 1) Life of the age was expressed in color and pattern using according to geographical environment, climate, lifestyle, religion etc. 2) In the case of weaving, there is Kilim, Soumak that appears only weft on the surface as plane weaving without knot and carpet of knotted pile weaving and knot of carpet is duplex knot difference with carpet of the other country. 3) In the case of textile material, there is use most wool fiber that can get easily from breeded sheep by nomads. 4) In the case of dyeing, did the local traditional color to use dye extracting in dyeing material that can get easily in the area. Red that can extract in madder that can get easily in which area of Turkey, dark navy blue of indigo dye that indigo plant fermentation and cream beige that is wool's natural color were exposed representative traditional color of Turkey carpet. 5) Pattern was advanced uniquely as culture of the area; weaving person's sensitivity and desire are reflected through centuries. Amulet, riches ＆ honors, fecundity and happiness appeared most pattern in any area.

• 복식문화연구
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• 제20권2호
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• pp.263-271
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• 2012

Cultural products reflect a living culture and evolve despite being based on traditional forms only. It is known as traditional cultural expression that portray certain culture groups, materials, spiritual and creativity inspired from their living environment that characterize a society. The old Malay community had a close relationship with their surrounding and environment. Sensitivity towards the nature and surrounding environment moved them into creative people. In designing the local traditional textile, role of the motifs, design and product design play an important element in Malay cultural values. This reflects the symbols and philosophy of the arts and culture and thus becomes the identity of the Malay community, which in general practice their culture and tradition based on Islamic culture and religion. Kelantan and Terengganu are the pioneer states for most producers of Malay traditional textiles. In these states the Pelangi cloths, is one of the unique textiles use and inherited by the Malay communities. Base on history, the Malay rulers and Malay nobility used Pelangi cloth as complementing clothing and ornament in attending various ceremonies and customs in their daily life. In this paper will discuss the specific picture of Pelangi motifs, design and its usage in Malay society in Malay Peninsula through its identification aspect of representations. It shows that this textile represent certain insights of Malay customs and identity.

• 한국식생활문화학회지
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• 제3권3호
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• pp.219-243
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• 1988

The sacrificial rite has its origin in the old China's primitive folkways faith based upon animism (B.C. 25c). From the animistic faith, Confucianism made its appearance in B.C. 551. Inevitably, the procedure of Confucian sacrificial rite was developed on the basis of the preceding primitive faith. In Korean culture, the god of Chinese Confucianism introduced to Korea in A.D. 108 was mixed properly with that of Buddhism imported in A.D. 372. Traditionally, Korean primitive religion (from B.C. 10c to B.C. 2c) was the sacrificial rite practiced by 'shaman.' The 'shaman' who was able to utilize ecstasy for the good of community was gods itself, and naturally the main form of the sacrificial rite was an exorcism with a sacrificial offering (food). After Korean primitive religion had been grafted to Buddhism and Confucianism, the character of Korean culture had to become compound. The most essential conception in sacrificial rite is a discrimination of a ghost, one is the evil spirit and the other is the good spirit. According to this conception, the good spirit is a spirit which ascended to heaven, in contrast, the evil spirit is a one which did not ascend to heaven and dispersed into this world. The sacrificial rite is a method to help the evil spirit ascend to heaven or to prevent harms from it. The mode of sacrificial rite especially the dead ancestor worship was transmitted from generation to generation as a purpose of the wealth and honors of descendants. Descendants believed that the evil spirit would not harm them only after receiving sufficient food and the right sacrifice. As a result, the sacrificial rite food was the sign of filial piety and a compensation for the evil spirit. How did the Korean religious culture which was consisted of three different religions-Shamanism, Buddhism. Confucianism-be combined and transformed? The author focused the mixture and transformation of the procedure of sacrificial rite and the arrangement of sacrificial food in each religion. In this thesis, the author studied first, the conception in sacrificial rite, second, the items of sacrificial rite food according to each period. In consequence of the research, each religion had lost its uniqueness and became mixed to each other and settle down in Korean culture.

• 복식
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• 제62권7호
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• pp.117-132
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• 2012

This study explored public awareness and donning practices of traditional and religious dresses among Indonesian Muslim. The relevant literature was reviewed first, and in-depth interviews and survey were followed to achieve the purpose of the study. Sarung and Kain Panjang are the most representative unisex traditional clothing of Indonesia. Traditional male dresses include Kemeja Batik, Beskap, Peci(Kopiah) and Blangkon. Traditional female dresses include Kebaya, Baju Kurung, Baju Bodo, Kemben, Rok Batik and Slendang. Baju Koko, Sarung and Peci(Kopiah) are the most well-known Muslim male dress items. Muslim female dresses are more diverse than men's. For traditional and religious dresses, which were identified from literature study, public awareness and donning practices were examined with survey data. Indonesian people consider Kebaya, Sarung, and Batik as the most important traditional dresses which convey national identity. Peci(Kopiah), Baju koko, and Jilbab(Kerudung) are highly mentioned as the representatives of Muslim dresses. Indonesian Muslims report that they own these representative dresses commonly. Peci and Sarung are included both in religious and traditional dresses, demonstrating that the two items are the representative crossovers of their religion and the tradition of the country. For both traditional and Muslim dresses, Indonesian people think that aesthetics and traditional values are more relevant than practical value. Lastly, it is found that traditional dresses are parts of the daily wear of Indonesian people from the fact that they wear traditional dresses more than once a week.

• 복식
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• 제64권6호
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• 복식
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• 제62권8호
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• pp.71-80
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• 2012

The Kut is the core of the traditional folk religion. The afterlife wedding Kut actually performs a traditional wedding ceremony by personifying the deceased in the process of performing the composition of Kut geori that cannot be observed from other Kuts, which is an important means to convey the situation of Kut more clearly. A traditional wedding ceremony performed in the Kut enables the audience to understand the meaning behind the Kut. The costume worn in the traditional wedding ceremony of the afterlife wedding Kut makes the audience understand the existence of the deceased by the use of a scarecrow dialect and makes them feel a vivid sense of the scene emitting from the Kut, which performs a traditional wedding ceremony in the composition of Kut geori. The results of this study showed that a shaman who led the afterlife wedding Kut had a scarecrow that symbolized the bride and a bridegroom wear the traditional wedding costume in order to visualize the deceased and express the symbol of a wedding which could not be made in this world. It can be interpreted that the traditional costume derived from the afterlife wedding Kut plays a symbolic role, which converts the deceased into a living person through the formal aspect of ceremonial costume and the cultural aspect of wedding ceremony.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.33-33
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• 2003

Lamaism is a Mahayana with strong shaman characteristics in Tibet and Mongolia. It was established through settlement of Esoteric Buddhism, based on Indian Buddhism, transferred to Tibet, mixed with a traditional Tibetan religion Bon which emphasizes shamanism, conducts Tantric and shaman rituals. One of the rituals, Tsam, is a dance drama for protection of Buddhism and enlightenment of the followers in which the monks perform in mask.

• 한국의상디자인학회지
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• 제17권2호
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• pp.185-205
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• 2015

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yi tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery or $appliqu{\acute{e}}$ pattern have a high artistic value in that its shapes are diverse, splendid and each one has its own peculiar elegance. As for the research method, I examined the Yi tribe's history, culture, traditional costumes and patterns through related books, research papers and inter web sites. As for the result, the Yi tribe's costumes consisted of a jacket, trousers or a skirt, an apron and a belt. Although the favorite color of the costume is black color, there are splendid embroidery or $appliqu{\acute{e}}$ decorations with the colors of red, yellow, green and purple on the chest or shoulder part of a jacket, the adjusting lines, cuffs or a part of a trousers and aprons. Patterns in their traditional clothing also show details that depict traditional cultural ideas that have long been formed in various fields, such as aesthetics, religion, philosophy, and customs. Moreover, most patterns displayed in their traditional clothing contain nature motifs and represent unique and beautiful designs; some patterns are even reminiscent of abstract paintings by modern artists. In conclusion, the traditional patterns of Chinese ethnic minorities reflect the values and notions of these races as well as decorative magnificence and a unique spiritual image. In other words, traditional patterns indicate the spiritual depth or symbolic stories beyond mere formative beauty.