• 공연문화연구
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• 제20호
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• pp.163-204
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• 2010

감로탱은 수륙재를 거행할 때 거는 탱화로서 수륙화라고도 부른다. 중국 명나라 때의 보녕사 수륙화는 모두 139개의 족자에 장면들을 나누어서 그려 놓았다. 그러나 한국의 감로탱은 하나의 커다란 탱화에 모든 장면을 함께 그려 놓았다. 감로탱의 구성에서 가장 흥미로운 것은 바로 하단에 그려진 육도 윤회상이다. 육도윤회의 업을 반복해야 하는 미혹한 세계의 실상을 묘사하고 있는 하단은 아귀나 지옥고(地獄苦)뿐만 아니라 천상 인간 아수라 축생의 고통상을 인간 세상의 다양한 현실생활에 비유하여 표현하고 있다. 하단에 묘사된 인물들은 죽은 영혼들의 생전 모습을 표현한 것으로, 이들이 바로 수륙재를 통해 천도되어야 할 대상이다. 감로탱의 하단부는 사회생활, 현실생활을 묘사한 내용으로서 그 주제가 인생의 고통, 재난, 인생무상을 표현하여 사람들로 하여금 불교에 귀의하고 해탈하도록 의도하고 있지만, 오히려 당시의 사회현실을 반영하고 있다. 감로탱의 하단부에 묘사된 다양한 유랑예인집단과 그들의 연희도 현실생활의 일부를 사실적으로 반영한 결과이다. 감로탱의 하단부에는 외줄타기, 쌍줄타기, 솟대타기, 쌍줄백이(솟대타기의 일종), 땅재주, 방울 쳐올리기, 탈춤, 접시돌리기, 인형극, 사당춤, 검무 등 전통연희의 공연장면이 많이 그려져 있다. 이 중에는 솟대타기, 쌍줄백이, 쌍줄타기, 방울 쳐올리기, 검무(풍각쟁이패 연희)처럼 이제는 사라져버린 연희종목들도 있다. 감로탱에 묘사된 연희집단은 사당패, 남사당패, 솟대쟁이패, 초라니패, 풍각쟁이패, 굿중패, 서커스단 등 모두 유랑예인집단이다. 이 유랑광대들은 각지를 떠돌다가 죽은 후에 무주고혼(無主孤魂)이 된다. 감로탱에 묘사된 각종 연희 장면의 연희자들은 죽은 사람의 생전 모습을 재현한 내용 가운데 일부로서 수륙재의 천도대상이다. 이 중 솟대쟁이패 사당패 초라니패 풍각쟁이패 굿중패는 현재 존재하지 않는다. 그러므로 감로탱을 통해서 현재는 전승되지 않는 여러 연희종목들의 내용, 그리고 이미 사라져버린 유랑예인집단들의 구체적인 활동상을 살펴볼 수 있다.

• 수완나부미
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• 제9권2호
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• pp.91-122
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• 2017

Before the start of the North Borneo Company administration in North Borneo (now Sabah, Malaysia) in 1882, the Timugon Murut of today's interior Tenom District lived in longhouses, and practiced head-hunting during wars with other Murutic ethnic groups. Their economy revolved around swidden agriculture of hill rice, sago, and cassava. Wet rice cultivation and water buffaloes were introduced just before 1885. Wet rice was planted on the alluvial plains around the Pegalan and Padas Rivers, while dry rice was planted on hillside swiddens that had been cleared by slash-and-burn methods. Today, wet rice cultivation and cash-cropping on the plains are the main Timugon socioeconomic activities, while some families also plant dry rice on the hills as a back-up. The Timugon believe that the physical world is surrounded by the spiritual world, and everything was made by the creator Aki Kapuuno'. The focus of this field research paper is on the beliefs and ritual practices of the Timugon connected to their traditional rice agriculture. This study found that for generations, the Timugon believed that since animals were created by Aki Kapuuno' for the wellbeing of humans, various types of animals and birds convey omens to guide people. Thus, the older Timugon rice cultivation is strongly influenced by good and bad omens and taboos, and also involves symbolic practices and ritual offerings to guardian spirits of the rice. After the 1930s and especially since the 1960s, most Timugon became Roman Catholic Christians. Hence, this paper also examines changes in the traditional Timugon rice cultivation related beliefs and practices due to religious conversion and other factors.

• 대한한의학원전학회지
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• 제27권1호
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• pp.15-28
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• 2014

Objective : Jeol-sik, (festive seasons every 15 days based on sun cycle), refers to both Korean Traditional Festival food(jeol-sik), intertwined between months, and in-season meals(si-jeol-sik) in which the ingredients used are produced in each and one of the four season. I found that ingredients in Si-jeol-sik of Autumn are helpful for strengthening one's life force. Method : The study found that si-jeol sik for fall season has strong characteristic of casting out demons. When making songpyeon(half-moon-shaped rice cake) for Chuseok (Korean Thanksgiviing Day), they are steamed with pine needs spreaded underneath because pine needles are believed to have power in casting away evil spirits. For harvest ceremony, which were frequently held in October, people consumed steamed rice cakes garnished with red beans, which were considered to negate bad fortunes. Result : To prevent respiratory diseases caught esaily in fall due to wide daily temperature difference and dry weather, white good ingredients such as radish, pear, and taro are used. Conclusion : Main fall holidays are Chil-soek, Baek-Jung, Chu-seok. The best feature of Si-jeol-sik for fall season is that they cast out demons. Also, fall si-jeol-sik consist of many white ingredients for protecting lungs.

• 복식
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• 제59권1호
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• 한국한의학연구원논문집
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• 제2권1호
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• pp.104-128
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• 1996

In the ancient times, the medical practice relied primarily upon human instincts and experiences at the same time, shaman's incantations were widely believed to cure diseases, the workings of evil spirits supposedly. For the period from the Old Chosun through Samhan(三韓), Chinese refugees brought a long medical knowledge and skills of the continent. New Chinese medicine, traditional practices and incantations were generally used at this time. In Samhan, however, the last was the most important, performed by a Chongoon(天君). Medicine and the medical system were arranged by the period of the Three Countries(三國時代). No definite record concerning Koguryo remains now. As for Paekje, however, history shows that they set up the system under the Chinese influence, assigning medical posts such as Euibaksa(醫博士, medical doctor), Chaeyaksa(採藥師, pharmacist), and Jukeumsa(呪禁師, medicine man) within Yakbu(藥部, department of medicine). Scientifically advanced, they sent experts to Japan, giving a tremendous influence on the development of the science in ancient Japan. After the unification of the three countries, Shilla(新羅) had theri own system after the model of Dang(唐). This system of the Unified Shilla was continued down to Koryo(高麗) and became the backbone of the future ones.

• 한국의류산업학회지
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• 제9권3호
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• pp.262-269
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• 2007

Traces of ancestors in the era without letters can be found in their legacies and remains such as stone implement, earthenware, dwelling sites, etc. Petroglyph among them reflects their life and spirits as like an epic so that we can be with them through petroglyph. petroglyph is a common culture of mankind, which has been found in various places over the world. The infinite value of traditional culture has a great impact as much as it is unnecessary to more discuss about it. When a culture of a country is reproduced as a world-class product, the country can have visible profits as well as positive effects on diverse fields. The Pangudae petroglyph in Ulsan, consistion of fishery and huntihg religiong, is one of the greatest cultural legacies of the local own uniqueness, and a source and thesaurus of design development. Despite limited tools and unskilled tact, the Pangudae petroglyph Carving shows a strong vital power, which does not change by time, of a whale or a man with various methods such as line and face carving, embossed carving, etc. under a desperate and unconditional purpose, the survival. Thus, the study tries to suggest scarf designs that applies such beauty in fashion design by using the formative beauty caused by natural abrasion through the time, and the feel of lines and stony material.

• 대순사상논총
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• 제22권
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• pp.509-538
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• 2014

This paper analysis Daesoon thoughts of three essence Sung, Kyoung, Sin in the traditional confucianism emphasis in the distinct ethical implications of religious meaning. Daesoon thoughts basically background on the supreme god sangje of religious faith. Here's sangje is as Daesoonjinrihoe religious order of the supreme god, to achieve the human religious daeyeoksa come world ingyeoksin which means gangjeungsan. Thus, Daesunjinri start come world gangjeungsan which is believe sangje, as Tenet. Faith and purpose degree all around having religious denomination, see based on the attitude of religious faith. So Daesunjinri of tenet doctrine that corresponds to the three essence which is Sung, Kyoung, Sin of understand also need to explanation is based on religious attitude. Three essence is three important truth or meaning of three important clause, to possess all the religious attitude of Christian said. Always said to hearty funeral of hearts (誠), the fear of spirits and honor the Emperor(敬), one strong gangjeungsan do not doubt believed that the Emperor(信) is that. Thus in the text, Daesoon thoughts of Sung, Kyoung. Sin as by analyzing the religious dimension, Daesunjinri is to achieve the tenet doctrine. Also shown in 『jenkyoung』 views of the individual religious experience and religious devotion and reverence and faith for the analysis of the arguments presented by the Emperor Daesunjinri faith the transcendence of truth inspires faith or deepen naganeunde would like to contribute.

• 한국문헌정보학회지
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• 제27권
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• pp.99-124
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• 1994

This study examines the establishment of Sea-po (서포) in the opening period of Korea at the end of the 19th century. The role they played, the particular situations and their geographical characteristics are researched, The earliest sea-po was Koh-je-hong sea-po, which was established in Tae­kwang-kyo at the end of 1880s. Around 1905, a specialised book distribution system was set up with establishement of Chu-han-yung book store, Kim-sang-man book store, Jesuit book store, Tae-dong su-si, Kae-myung sea-kwan, Tong-wha seo-kwan. The owners of the seo-pos were pioneers in introducing modern culture with nationalistic consciousness, although they were primarily businessmen and their social origins varied. The primary role of seo-pos was selling a variety of books but some combined printing and publication of books as well. It seems that publication business took roots around 1908, though it is difficult to know the accurate dates of first attempts. Some sea-pas offered book rental services for poor people who could not easily afford to purchase books. A certain amount of deposit had to be paid to benefit from the services. Jesuit Bookstore in Pyungyang had a library facility with a large stock or books in the same building open to public for free. These sea-pas started mainly in Seoul and Pyungyang, which were traditional centers for economic and cultural affairs. Early introduction of foreign cultures and commercial developments in these areas contributed to the establishment of sea-pos. The sea-po which took charge of book distribution in the provinces was set up around 1906. One of the important findings of this study is that the geographical distribution of sea-po shows the following three characteristics. First is that the area such as Seoul, Taegu and Chunju were the traditional centers of publishing culture from which Pang­gak-bon(방각본) emerged. Second characteristic is Pyungyang and the surrounding Pyungbuk province, and harbors like Inchon and Pusan, which had the benefits of early spread of modem cultures. Third characteristic is Kaesung and the surrounding Hwanghae province which bridged Pyungyang and Seoul. The reception of foreign cultures stimulated the commercial spirits traditionally attributed to Kaesung to establish sea-pas most actively.

• 패션비즈니스
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• 제11권6호
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• pp.125-138
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• 2007

The modern fashion contains the religious factors or theories out of numerous cultural traits. Shamanism is a product of the very complicated combination of diversified cultural phenomena and whose traits are depicted as spiritual and artistic forms, reflecting on the materialism culture, social relations, customs, and religious faith. The Shamanism that lies in the life of humans gives much impact on their clothing life up to date, consciously or nonconsciously as well. The Shamanism clothing studied as yet has been focused on the costumes that a Shamanism priest and a shaman, the principal Shamanism performer wears and on the symbolic meaning or formativeness of the traditional shaman clothing that is only confined to certain local regions. The Shamanism in the modern costume influences not only on the traditional clothing unique to shaman but also on the other apparels in a widely extended sense. Nevertheless, the research on the modern costumes related to Shamanism is yet to be progressed. In this context, it is believed that the examination of Shamanism interrelated with a contemporary clothing expression is needed. This work would take a look specifically at how the Shamanism is given in the modern clothing fashion and review the inherent aesthetic characteristics. A fact was driven through this study that the shamanism shown in fashion is not only expressed in the modern style of shaman clothing but also unconsciously absorbed in the fashion on the whole. A finding was also revealed that the geometrical and abstract expression, the implication of animistic components, and the application of inherent shaman's costume on to design in regard to clothing are related to a view point of studying about shamanism. The meaning in each expressive method is focused on the superhumanistic desire of shamanism.

• 한국전통조경학회지
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• 제35권2호
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• pp.45-57
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• 2017

조선왕릉은 제례행위의 특성에 따라 능역 내외사신사의 능원 안에 진입공간-제향공간-능침공간으로 나누어진다. 각 공간에는 제례행위 및 공간의 특성에 따라 능제시설이 배치되어 보존 관리되고 있다. 2009년 세계유산에 등재 된 조선왕릉의 경우 더욱 원형 보존과 관리의 철저가 요구되며 원형복원의 필요성이 요구된다. 특히, 융릉과 건릉은 2009년 세계유산으로 등재된 국가사적으로 세계유산 관리 규정에 맞게 경관 관리가 요구되며 능원의 전면경관(60도) 수평각의 중점관리가 요구된다. 본 연구는 일제강점기 이후 많이 훼손된 능원(융릉과 건릉)의 핵심지역 주변경관에 관한 원형검증 및 이들의 보존 및 복원방안을 제시하고자 하였다. 연구의 내용은 고문헌 및 문헌자료를 통한 검증 및 현장조사를 통해 풍수적 내외사신사의 능선과 수계 그리고 전후경관, 제례동선 주변의 경관, 그리고 역사경관림 등을 검토하였다. 즉 융릉과 건릉의 풍수적 경관, 수계 그리고 식생경관의 특성을 파악하고 이들의 보존 관리 방안을 검토하였다.