• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.55-62
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• 2004

The ceremonies were roughly categorized into four： coming of age, marriage, funeral and ancestral worship. Among them, the funeral was a representative example to show ancestral worship. As it symbolizes the worship to ancestors, its procedure was complicated and formalized. It was undoubtedly certain that formalized mourning dresses and complicated table setting for sacrificial services to ancestors were burdens. Although what was symbolized by mourning dresses was different depending on the wearers purposes, it was thought that no clothing had such unusual symbolism as mourning dress. When the composition of mourning dress was examined, it was shown that Taoism, family relation of Confucianism or symbolic clothing system of Shamanism were combined. Mourning dress first represented the Confucian idea of ancestral worship. For the composition of clothing in which a shamanistic element was inherent, forms of birds were used to guide the dead soul to the other world. In cutting out mourning dress, opposite concepts of Yin and Yang, and closure and openness were used to show a harmony between heaven and the earth. Male and female were represented through sewing techniques. The period of observing the mourning period depended on the degree of kinship. The degree to which the clothing was loose indicated the degree of sadness and kinship. Load blocks and tear pads indicated the degree of sadness. In considering the above indicators, family relation and filial piety to ancestors had a great effect on the form and details of mourning dress. Shamanistic elements as well as Confucian ones were inherent in mourning dress, which resulted in the combination of Taoism and Confucianism.

• Journal of Korean Medical classics
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• v.20 no.3
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• pp.1-8
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• 2007

In "Hwangjenaegyeong", pathogenesis is explained based on theory of Yin and Yang. According to the theory, all environments surrounding us, physical and emotional both, are related to outbreak of diseases. This also reflects one of the major theories in oriental medicine, in which a human body is perceived as a correspondence to natural environment. In this theory, the main idea is to understand changes in the universe based on mutual correlations from within. This kind of perspective is easily criticized from scientific point of view. Whereas modern science pursue analytic thinking and objective information, the theories above seem rather vague. However, from a different angle, through a characteristic perspective of oriental medicine, actual significance can be found in the theory. Many diseases result from one's intemperate living habits. Therefore, much prevention can be made by self-control. Also, once disease occurs, the essential step to treatment is to find cause in the living environment and regain balance. Natural cure will take its' course when living habits recover moderate pace and are back in harmony with the environment.

• Journal of Sasang Constitutional Medicine
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• v.32 no.3
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• pp.18-32
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• 2020

Objectives In order to find out the relationship between the Eight Principle Pattern Identification of Cold-Heat, Deficiency-Excess and the Sasang constitution, we analyzed the clinical data from 500 women with menstrual pain and women without menstrual pain. Methods In the previous study, the subject's information of Typology Complexion Pulse and Symptom was collected, and Eight Principle Pattern Identification was executed based on this. Later, the relationship between the Sasang constitution and the Eight Principle Pattern Identification was statistically analyzed. Results and Conclusion 1. The obvious difference between the experimental group and the control group in the patterns of Cold-Heat and Deficiency-Excess is that patients who complain of menstrual pain do not maintain harmony with the yin-yang ratio, it can be said that the patterns of Cold-Heat and Deficiency-Excess can be a Identification standard that significantly obscures the condition of the disease. 2. There was a significant difference between the Sasang constitution and the Eight Principle Pattern Identification of Cold-Heat. There was no significant difference between the Sasang constitution and the Eight Principle Pattern Identification of Deficiency-Excess.

• Journal of Fashion Business
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• v.26 no.4
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• pp.83-99
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• 2022

The purpose of this study was to analyze the form and meaning of shaman's costumes worn by each gutgeori in Seoul jaesugut and to derive the characteristics of Shaman's costume at gutgeori. Observational research was conducted for three years by participating in the site of two types of gut, which are divided into local jaesugut for the well-being of the region and individual jaesugut that takes place based on personal request. Seoul jaesugut consists of 12 different gutgeori according to the deity it serves and meaning: Bujeongcheongbae, Gamangcheongbae, Bulsageori, Sangeori, Josanggeori, Sangsangeori, Byulsanggeori, Sinjanggeori, Daegamgeori, Seongjugeori, Changbugeori, and Duitjeon. The shape and colour of the shaman's costume worn in each gutgeori are related to the meaning of the gutgeori. Followings are the characteristics of the shaman's costume from gutgeori. First, shaman's costume adopted traditional costumes that symbolized the characteristics of god represented in each gutgeori. Second, gutgeori consists of multiple gods, and shaman's costumes were adopt to represent the superior god among these gods. Third, sometimes the costumes were adopted according to the characteristic of the god instead of its divinity. Fourth, even if the gods were different, if the roles of the gods were the same, the same form of shaman's costume could be taken. Fifth, the process of gut showed the harmony of yin and yang using the principle of five elements through the colour of shaman's costume.

• Journal of the Daesoon Academy of Sciences
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• v.33
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• pp.31-62
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• 2019

The purpose of this article is to study on the Daesoon Cosmology of the Correlative Relation between Mugeuk and Taegeuk. Daesoon cosmology is a cosmology based on the juxtaposition between the Gucheon Sangje and the world. In this article, I would like to say that this theory in Daesoon Thought was developed in three stages: the phase of the Mugeuk Transcendence of Gucheon Sangje, the stage of the Taegeuk Immanence, and the phase of the Grand Opening of the Later World between Mugeuk and Taegeuk as a correlative gentle reign. First of all, the phase of the Mugeuk Transcendence of Gucheon Sangje has been revealed as a yin-yang relationship. The stage of the Taegeuk Immanence represents the togetherness of harmony and co-prosperity between yin and yang, and the phase of the Grand Opening of the Later World between Mukeuk and Taegeuk refers to the unshakable accomplishment of its character and energy. It will be said that this is due to the practical mechanism in the correct balance of yin-yang making a four stage cycle of birth, growth, harvest, and storage. In addition, the Daesoon stage of the settlement of yin and yang is revealed as a change in the growth of all things and the formation of the inner circle. The mental growth reveals the characteristics of everything in the world, each trying to shine at the height of their own respective life as they grow up energetically. The dominant culture of cerebral communion renders a soft and elegant mood and combines yin and yang to elevate the heavenly and earthly period through transcendental change into sympathetic understanding. The stage of the Grand Opening of the Later World between Mugeuk and Taegeuk is one of the earliest days of the lunar month and also the inner circle of Taegeuk. It is in line with Ken Wilbur's integrated model as a step to the true degrees to develop into a world with brightened degrees. It is a beautiful and peaceful scene where celestial maidens play music, the firewood burns, and the scholars command thunder and lightning playfully. Human beings achieve a state of happiness as a free beings who lives as gods upon the earth. This is the world of theGrand Opening of the Later World between Mugeuk and Taegeuk. Daesoon Thought was succeeded by Dojeon in 1958, when Dojeon emerged as the successor in the lineage of religious orthodoxy and was assigned the task of handling Dao in its entirety. In addition, Daesoon is a circle and represents freedom and commonly shared happiness among the populous. Cosmology in the Daesoon Thought will enable us to understand deep dimensions and the identity of members as individuals within an inner circle of correlation between transcendence and immanence. This present study tries to analyze the public effects philologically and also the mutual correlation by utilizing the truthfulness of literature and rational interpretation. The outlook for the future in Daesoon Thought also leads to the one-way communication of Daesoon as a circle.

• Convergence Security Journal
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• v.13 no.2
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• pp.67-73
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• 2013

This research is to define the Aesthetics of Karatedo as Security Guard Martial Art by explore the aesthetics of Karatedo being invigorated as security guard martial art. The first one is beauty of space. The offense and defense of Karatedo as Security Guard Martial art are to fill in, to come out and to move from side to side. It help to have higher judgment. Secondly, it is beauty of time. It is subjective time felt by people training Karatedo. The third on is beauty of unity. We can see formal beauty of unity such as white dogi or black suit of security guard and dynamic beauty of unity such as quick and slow, strong and soft or movement of hand and foot. The forth one is beauty of symmetry. It can be shown strongly by triangle or moving of team kata and triangle between athletes and referee at Kumite competition. The fifth one is beauty of balance. It can by shown well by continual Karatedo kick motion, jumping kick motion at Kumite, jumping motion, quick turning, or moving such as standing on one foot at kata. The sixth one is beauty of harmony. The whith Dogi and blue or red guard at Kumite competition shows harmony of yin and yang and we can see also various harmony such as strong and soft, quick and slow, or high and low at Kata competition. The seventh one is beauty of curve. We can see beauty of straight line and curve by watching line of hand and foot from starting point to ending point. Specially, moving line of white dogi shows strongly beauty. The eighth one is beauty of rhythm. The rhythm is specified in Kumite kata competition rules. It is also shown by basic step, left and right step, various moving of foot, continual offense of hand or continual rhythm of offense and defense. The last one is bezuty of ethics. It is manner, duty as human, and moderation being important in Karatedo.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.209-239
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• 2017

This study focuses on reviewing the concepts, roles, meanings, and values ascribed to females and femininity as observable in Daesoon thought and in Feminist theory. Especially with regards to the process of achieving gender equality through the resolution of grievance for females in Daesoon thought, the study draws positive and desirable roles within this practice by specifically examining good deeds performed by females and practical roles that females play. By doing so, this study finds a way to go from the world of mutual contention to the world of resolving grievances that have arisen due to the oppression of yin and the encouragement of yang. First wave feminism can be summarized as the inclination for equality. In Daesoon thought concerning this and from standpoint of females, the most ideal image of woman is one of a female Perfected Being who is unified with Dao and has thereby achieved perfection of her humanity apart from gender. In the Later World (Hucheon), people can get results based on their hard work regardless of gender. The enlightenment of Dao is such that it is not important to distinguish between males and females. Both of them can be 'unified with dao'. Therefore, despite the similarity, the concepts of equality in first wave feminism and the resolution of grievance for women have differences in terms of their ideal vision of equality. The representative claim in second wave feminism is 'consideration' and, in this context, 'consideration' has pronounced feminine characteristics. In Daesoon thought, this sense of 'consideration' is related to the concept of 'Jamojijeong', a term that refers to motherly affection. However, it is not simply a virtue of females and mothers, but rather the value of 'Yin (pronounced in Sino-Korean as 'Eum')' called 'Eumdeok (hidden virtue)'. Jamojijeong means that people should behave in a modest way and this helps them achieve their aims. It is also closely related with 'femininity' in the sense of Eum. One of processes spreading it socially is to propagate virtue (Podeok) and if harmony is achieved through it, then 'right yin and right yang' emerge as the precondition by which Pyeong Do (Pacification of Tao) can be realized. Furthermore, because the aspect of Pyeong is a cosmic process, it has distinct differences from the social aims of feminism and the worldly aims of other numerous ideologies. In proceeding from the Former World (Seoncheon), an era of mutual contention, to the Later World, an era of mutual beneficence, it is essential to emphasize the connection between 'harmony (Hwa)' and 'propagating virtue' as the starting point from which the perspective of Daesoon thought aiming at the principle of 'Pyeong' and 'Hwa' emerges. Herein one can discover that the realization of Daesoon thought is based on the vitalization of the feminine value of 'Jamojijeong'.

• (The)Study of the Eastern Classic
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• no.32
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• pp.245-278
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• 2008

The purpose of this paper is to create an inter-religious dialogue between the Western Christian concept of the spirit and Eastern ch'i philosophy within the category of panentheism. The Hebrew term ruah means 'moving air' and 'wind' which derive from the particular experience of the ancient Hebrew people living in the desert. The Greek pnuema also means 'life' and 'wind' which denote the natural power. Both ruah and pneuma consist of the main idea of the spirit exploring the symbol of relationality of the divine in Western tradition. Eastern ch'i philosophy indicates a vital force for keeping the body and soul alive, which is unconscious and spontaneous. Ch'i as a vital force constitutes cosmogony and cosmology with the constant movement of yin and yang. Yin and Yang as representing earth and heaven are dynamic breaths, blending harmoniously to become all existence. The ethical implication of the inter-religious dialogue between the spirit and ch'i would be the integration and interconnection of heaven, earth, and human beings. The dialogue suggests becoming one body with nature and human community through embodying the non-dualistic spirit of life. The inter-relationality means that since all modalities of existence are made of the cosmic life, human beings are part of the divine cosmic process. This is related to degree of spirituality in the entire chain of being: rocks, trees, animals, humans, and goods represent different levels of spirituality based on the varying composition of the spirit and ch'i. All beings that internally embody with the spirit and ch'i are organically inter-connected, and they are integral part of a continuous process of transformation of life towards holistic liberation of human and nature community.

• Journal of Korean Academy of Nursing
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• v.25 no.4
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• pp.825-836
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• 1995

This ethnogrphic exploratory study sought to de-fine the meaning of Sanhubyung, as consequence from the perspective of the women who experienced it. A convenience sample of 9 elderly women in San Francisco. and 20 postpartal women and their 20 non-professional helpers during postpartum in Seoul, Korea were observed and interviewed for 23 months from January 1991 to December 1992 at the Human Development Center in San Francisco and at the hospital and their homes in Seoul, Korea. Sanhubyung was regarded as the consequence of "Doing a Sanhujori Wrongly," as a group of symptoms or sequelae which have two types of characteristics of symptoms . chronic and acute. It can be called a culture bound syndrome in the cultural context re-lated to childbearing phenomenon in Korea. If women violate the principles of Sanhujori, such symptoms can appear at various times : during the period of postpartum itself, at any time, periodically, especially at the anniversary of the child's birth, late forties, and in old age. Acute symptoms that can be classified into immediate and late types include painful and edematous gingiva, sensitive teeth, strange sensation and pain in the knees or backache. Besides, there is a localized sense of soreness and pain ; sense of being in a draft and cold, stomach upset, GI irritation, chilling, shivering, and tiredness, pain and dazzling in the eyes. Chronic symptoms occur in the head, neck, teeth, back, hands, knees, hands and feet, arms and legs, eyes, sinews and joints, bones, and in the body or as a whole. Generally these symptoms are pain, often accompanying a feeling of being cold and in a draft, regardless of actual weather conditions. In conclusion, this findings reflect the Oriental way of thought of causal relationship of women's health and illness based on the wholistic paradigm of harmony and balance of two forces, Yin(cold) -Yang(hot). It provides a challenge to the professional sector to rethink the effect of culture on health and illness. Finally, it suggests care providers use cultural assessment for the appropriateness of the intervention and quality of care for desirable health outcomes.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.176-188
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• 2013

This research examines embroidery panels of Hwarot belonging to the Victoria and Albert Museum (the V&A). There are a total of seven objects and are all disassembled into clothe pieces. They were classified into two groups according to their acquisition year. One group, four objects, was acquired by the Museum in 1920. Considering their materials, embroidery threads, techniques and formative characteristics of patterns, it can be assumed that the objects formed an original dress, Hwarot. Although they look very similar to the embroidery patterns of Hwarot belonging to National Folklore Museum of Korea, they are more finely embroidered with very thin embroidery thread that uses the Jarisu technique. There are some differences in used embroidery threads and embroidery skills between Hwarot artifacts of the National Museum of Korea and the V&A. The embroidery of the National Museum of Korea used thicker threads and longer (approximately 0.7cm) Jarisu stitch techniques. With these details, they would have been made in different time periods. Comparison of the V&A and Changdeok Palace' Hwarot objects show that their patterns' motifs are almost similar but the pattern units, expressions and embroidery techniques are different. Regarding the colors of their patterns, it is noticeable that the peonies are generally expressed in reddish and the lotus patterns are expressed in either bluish or purplish color. It seems that they are contrasted with red-colored flowers and show harmony between yin and yang symbolically. Three artifacts of another group were acquired in 1925. Two of them show patterns almost the same as those of the sleeves of Hwarot (no.33156, no.33158) in Chicago Field Museum collection. The pattern of the remaining object is very similar to Hansam of Hwarot (no.33158).