• Journal for History of Mathematics
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• v.19 no.3
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• pp.57-70
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• 2006

In this paper, we study the meaning and symbols of the number three and the structure of dividing into three parts in the religions, views of the world and the nature. Also we investigate the meaning of the number three, and the structure of dividing into three in the Samsung myth. According to legend, the 'Three Names' (Samsung-Yang, Ko and Pu) which are three demi-gods emerged from Samsung-hyeol(called Moheung-hyeol), and became the progenitors of the Jeju people who founded the Kingdom of Tamna.

• Proceedings of the Korea Society for Industrial Systems Conference
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• 2004.06a
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• pp.73-76
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• 2004

인류 문화 발달에 있어 언어의 발달과 함께 이루어진 가장 초기 단계의 의사소통 수단은 몸짓이며, 또 다른 정보 교류 방법은 그림이다. 그런 점에서 구석기 시대의 동굴 암각화에서 볼 수 있는 들소, 사슴, 큰 새 등은 단순히 대상물을 묘사한 개별적 그림으로 가정하기 보다는 오히려 종교적 제의 양상을 알려주는 상징으로 이해하는 것이 바람직하다. 그러나 잦은 풍화 작용과 침식 작용으로 인하여 암각화의 인식에는 한계가 있다. 이에 디지털영상처리 기법을 기반으로 인간시각에 더 잘 보이도록 영상을 향상시키면서 더 짧은 연구기간에 더 않은 암각화를 올바로 인식하고, 더 정확하게 문명의 흐름을 밝혀 낼 수 있다. 본 논문에서 디지털 영상처리 기법을 신축적으로 적용시켜 암각화 인식에 거슬리는 불필요한 영상 잡음들을 제거하고 영상을 더 선명하게 보이게 하는 알고리듬을 제안한다.

• Convergence Security Journal
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• v.13 no.5
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• pp.107-116
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• 2013

Occur in various parts of the world and the new aspects of the regional conflict is spreading. Nation and civilization, one based on religious ideology, hegemonic tendencies areas of conflict are factors that appear. It has the characteristic that inheritance and conflict between civilizations is spreading. Christian and Islamic books, especially the confrontation and conflict is surfaced in the international political aspects, and a threat to the security of the human race is approaching. To assert the superiority of Western Christianity emerging countries, the salvation of mankind and world peace mission with the historical non-democracy, human rights, women's rights, underdevelopment, nuclear issues, and the spirit of Christian civilization, considered to be linked and reverse, Democracy Launching and human rights issues are forcing Western development model. Islam believes in absolute monotheism that God Lord only determined by the 'slave' and having the determination to serve the religious, political, social and cultural nature ingrained, and closely adjacent to each other geographically, to focus on in quency characteristics higher than the other civilizations are appearing. To assert the doctrine of non-violent Islam 'Koran' and 'knife' became known as the violent images appear in the armed conflict between the culture method. Today the world is facing a clash of civilizations is derived from the religious conflicts and confrontation and friction between the nations appear. In particular, the deep religious roots of Christianity and Islam, the Arab-Israeli conflict, including the right to live in strife confrontation between Christianity and Islam was spread. By a factor of civilization and the spread of terrorism occurred historically proven came here from all over the earth that is being generated is true. Civilization are the symbol of the nation and the species identity.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.737-752
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• 2003

The purpose of this study is to understand the medieval culture and medieval religious costume by analysing and grasping the formative characteristics of image of medieval religious costume in the modern fashion that were represented to the modern fashion, and also to offer materials to predict the history of fashion in the future by considering the progress of modern fashion and recognizing the fashion to be progress. To examine the image of medieval religious costume in the modern fashion, this thesis divided it into avant-garde image, symbolic image, and mysterious image. These can be summarized as follows. First, in avant-garde image, the harmony between characteristic eroticism and heterogeneous materials are expressed and the formative change of religious costume into general costume are expressed. Second, in symbolic image, the symbolic meanings of the medieval clergy man's costume is expressed in modem fashion while its religious meanings and senses are expressed with symbolic image. Third, in mysterious image, the abundant and profound lights and colors express the mysterious senses of the costume and sanctity applied with mosaic painting and stained glass techniques, utilizing the splendor jewelry, spangle and materials, and most of its image reflects exotic and embellish tendency. As a result, this thesis could be described as follows; Previous religious costume of clergy man was used as a mediator between general devotee and God in ceremony, and it was worn by the general devotee to express devotion. This religious costume was utilized in modem fashion, and it gave the avant-garde image and symbolic image of religion. In addition to it, mysterious image was expressed with exotic and embellish tendency.

• SUVANNABHUMI
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• v.3 no.2
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• pp.31-77
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• 2011

식민지하 동남아 천년왕국 운동에 대한 오늘날의 해석들은 그 주체인 농민들을 식민주의를 개념화하고 저항하는 동기와 조건 그리고 상징을 제공하는 토착 지식의 전수자로 간주한다. 종말론과 저항에 대한 관심의 대부분은 농민연구나 지역연구 학자들로부터 유래하며, 이들은 봉기에 대한 과거의 묘사들이 토착의 정신세계를 간과했거나 국가이념을 저항세력들의 결집원리로 과대 포장한 것에 주의를 기울인다. 천년왕국 봉기에 관한 글들에서 제공하는 해석들은 동남아 신념 체계에 관한 독립적인 관점을 제공할 뿐만 아니라, 인식론적 측면에서 식민지국가들을 이와 같은 전통에서 단절시키고 있다. 영국 식민지하에서 최대의 농민반란인 서야쌍 봉기(1930-1932)는 오늘날 이와 같은 천년왕국 운동의 정수를 보여주는 사례로 간주된다. 학자들은 수천 명의 농민들로 하여금 버마인의 권위를 되찾고, 불교를 회복시키며, 식민통치로 인해 낳은 사회-경제적 부조리를 일소시킬 그들의 왕으로 믿게 만든 한 농부의 흥미로운 이야기를 묘사하고 있다. 일련의 반란이 미신에 의해 추동되었다고 간주한 식민지 관찰자들과는 달리 이후의 역사가들은 그 반란이 불교를 재건하고 태평성대로 인도할 미래부처인 미륵불의 현신에 대한 믿음의 표현이라고 해석했다. 이러한 학자들에게 서야쌍 봉기는 어떻게 동남아 사람들의 감수성이 식민지의 사회-경제적 압력 속에서도 지속되었으며, 상좌불교의 예언이 토착의 문화적 토양에 얼마나 깊이 내재해 있는지를 말해주는 사례였다. 경험적 관점에서 본 글은 서야쌍 봉기의 근원을 재해석함으로써 천년왕국 봉기에 관한 글들이 대부분 식민지적 문서화 작업과 종교를 과장되고 세속화된 화술로 믿게 하려고 지역연구자들의 산물임을 밝히고 있다. 개념적 관점에서 본고는 버마에서 일어난 천년왕국 운동의 역사적 구성에 대한 식민주의의 역할을 보다 면밀히 관찰하였다. 또한 식민지법, 학문, 그리고 식민지하 버마 농촌에서 발생한 종교적 저항에 대한 우리들의 이해를 상호 연결하는 인식론적 관계를 탐구했다. 그리하여 본고는 천년왕국 해석이 이 시기에 공존했던 다른 유형의 불교정치적 형태를 어떻게 왜곡했는가를 밝히고 있다.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.105-110
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• 2023

This article attempts to analyze John Greenleaf Whittier's anti-slavery poems. As a Quaker, he criticizes and satirizes the rife slavery in the mid nineteenth century. His thoughts are based on his religious belief. "The Farewell of a Virginia Slave Mother" depicts the mother who lost daughter for she was sold to the South. The harsh state of the corrupt South is described. In "Massachusettes to Virginia," the speaker, deploring the moral corruption of Virginia, denounces any attempt to return slaves to slave states. With a moonrise as a socio-political symbol, "Arisen at Last" celebrates the passage of law to protect fugitive slaves. Written after the Civil War, "The Peace Autumn" celebrates the peaceful situation in which Emancipation was declared. His efforts contributed to the abolitionist literature.

• The Journal of the Korea Contents Association
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• v.9 no.7
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• pp.171-183
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• 2009

The spiritual world of the ancient times has precious values which forms the origin of human thought. This study aims to reevaluate ancient people's particular views on man in their spiritual world reflected through gods' ornaments by studying the human race's fundamental spiritual world gradually disappearing due to science development from Egyptian gods' ornaments expressed symbolically in Ancient mythical components. Although evidently ornaments in Egypt served for decoration, the basic purpose was exorcism as amulets, a shamanistic purpose to be protected from mystical and hostile powers by carrying them on the vulnerable spots of the body. As this aspect indicates, the human race tried to solve their self-insoluble transcendental issues through the help of supernatural power, pursuing to lead their lives there within. As a result, Egyptian ornaments; First, the deity raised their value by deifying human-beings. Second, the nobility enhanced their dignity by having goddesses wear the same skirts as theirs. Thirds, all deities maintained their class society by wearing fpassiums, bracelets, and anklets. Fourth, the resurrection was symbolized through gods and goddesses in charge of the afterlife.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.45-53
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• 2013

The purpose of this thesis is to identify the gardening method of Mus${\bar{o}}$ Soseki by looking into his works. Through this research, life and religious values of Soseki were studied, which gave a better understanding of the garden architect as an individual and seeker of religious truth. Among his works, the most widely known-four ponds, Eiho-ji, Erin-ji, Saiho-ji and Tenryu-ji were studied. The research found that based on the Zen of Buddhism, Soseki symbolized various philosophical ideas into space structures. In addition, through two gardening components, stone buildings and tributaries, he specifically materialized related themes. An absolute religious aesthetics of the creator could be found in the stone buildings that expresses the world of Buddhism and the Chinese letter 'Sim'(heart)-shaped tributaries. By experimenting new method away from a Chinese-style Japanese garden which was widely popular during his time, Soseki devised a garden as residential quarters of a high priest that can be set aside entirely for Zen-study, which became to represent Japanese garden style. If Soseki's gardening method had not been adopted, Japanese gardens could not have been developed as a personal garden that contains symbolic concepts. Unfortunately, in this study, to think of another Zen monk and Mus${\bar{o}}$ Soseki did not study is to compare. also the study on how another Zen monk and Mus${\bar{o}}$ Soseki's compare has to be continued.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.115-128
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• 2018

Tibetans who live in the Tibetan highlands, the Roof of the World, have their own unique lifestyle wherein they conform to its long history, natural environment, and their own form of clothing culture. In their costumes, the use of colors, patterns and designs express religious meaning and represent the hopes and heart of life, which respects nature. This study aims to analyze the colors used in Tibetan costumes and examine the meaning of these colors. In addition, this study intends to understand the specificity of Tibetan culture through a consideration of the symbolism of the colors of ethnic costumes. By examining the literature and conducting case studies, colors of Tibetan costumes were analyzed through the I.R.I HUE-TONE system. We analyzed 96 photographs of the costumes photographed during the Tibet ceremony costume, photographs seen at the Qinghai Tibet Culture Museum and photographs from the Internet museum. The results revealed the following: First, the most important element of the costumes is connected to the five colors of JangOsaek, which gives meaning to each color. Red, navy blue, yellow, white and green symbolize fire, the sky, earth, clouds or snow, and grasslands, respectively. Second, Tibetan costumes are characterized by bold color contrasts such as red and green, black and white, red and yellow, and yellow and purple to achieve an intense harmony of colors. Third, these fancy costumes express the unique aesthetics of the Tibetan people. The primary colors follow general emotions, but they can also include their own emotion.