• 대순사상논총
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• 제18권
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• pp.101-122
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• 2004

When people discuss the continental cultural elements in the ancient East Asian culture, people always attach great importance to the two major cultures of Confucianism and Taoism, but offer little explanation to the significant influence of the theory of yin and yang, the important philosophical base of the two major cultures. The theory of yin and yang, existing as the theoretical source at a profounder level, possesses philosophical connotations that are always embedded into the mainstream of thought, religions and customs, displaying its unique glamour in its unique way. Its influence is more than that, however. It has exerted far-reaching influence on and is of significant importance to the development of the ancient culture of East Asia. This article aims at exploring this field of study. After the erudite scholar of The Five Classics made a voyage to the east in the early sixth century, The Book of Changes, the most important Chinese ancient classic expounding the theory of yin and yang, started to circulate among the Japanese court, via Baiji in the Korea Peninsula. As a result, the theory of yin and yang found its way to Japan. Examining the spreading channels, we learn that the theory's dissemination was largely related to the activities of Buddhist monks. Shoutoku Prince, regent of Japan at the time, was himself an enthusiastic supporter of Buddhism and was excelled in the study of The Book of Changes and the theory of yin and yang. In the Twelve Ranks System and Seventeen-article Constitution promulgated by Shoutoku Prince, the influence of the theory of yin and yang and of the theory of the five elements can be visibly discerned. This obviously proves the sublime status of the Chinese theory of yin and yang in Japan, thanks to the victory of the political clique that adored Buddhism. In the shaping course of ancient Japanese culture, the theory of yin and yang served as an important philosophical source of its development. Mythology based on Kojiki and Nihon Shoki, two earliest Japanese books that exist today, record mythological stories about the emergence of the Japanese nation. The notion about the birth of heaven and earth and the forming of Japanese Shinto, expressed in the mythological stories, not only tell us the source and historical progress of the Japanese nation but also the nation's world outlook in the transition from barbarian period to civilized period, as well as the basis for its philosophical thinking. All these were marked with profound influence of the Chinese theory of yin and yang. The theory of yin and yang, as one of the ancient Chinese academic thoughts, was accepted asa political belief when it first spread to Japan. The emergence and establishment of both the Mikado system and the centralized regime in ancient Japan drew largely on the theory of yin and yang and adopted it as an important philosophical basis to deify and aggrandize the "imperial power" so as to protect the authority of the imperial ruling and consolidate the established regime. Following the continuous strengthening and expansion of the centralized state power, the theory of yin and yang was further employed, and gradually "hidden" in Japanese culture with the passage of time, finally becoming the edge tool of ancient Japanese Mikados in exercising political power and controlling the country.

• 대한가정학회지
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• 제41권2호
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• pp.123-139
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• 2003

This study examines the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect through field study and various documents. The purpose of the study is to elucidate how their religious ideas are reflected in their ceremonial costumes and what characteritics and underlying meanings these costumes have, and I reached the following conclusions 1. The new religious groups in Korea modified or mixed the designs or names of existing outfits to convey their ideas or beliefs in their costumes. 2. The costumes of new religious groups turned out to have certain characteristics in common: they all reflected the times, Korean tradition, ancestor worship. 3. I looked at the symbolicity, names, and types of the outfit, and their color scheme to establish their structural characteristics, and it turned out that they an symbolized the creeds and ideas of each religion. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, for instance, had to do with Buddhism Taoism, and Confucianism. The most common type of costume consisted of traditional hanbok top, pant, robe, and some type of headpiece for men, and hanbok top and, skirt for women, and if women were to wear a robe, it usually meant the sect believed in sexual equality. There was also a tendency to simplify or minimize the dress code, which seems to indicate that the sect was trying to adapt itself to, the times. The most common type of the outer garment for men was a robe with narrow sleeves, straight lapel, and no slits, and a robe with wide sleeves, straight lapel, and slits for women. The color scheme of the costumes included blue, white, yellow, red, and black, reflecting the influence of the Yin-Yang and Five Elements idea and traditional preference for white of Koreans. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbolicity, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various element of traditional Korean outfit and those of existing religions to symbolize their religious ideas. Many religions in and fall, and each has its own dress codes, and I hope this study provides a framework and data for other researchers and leaders of new religious groups that will emerge in the future.

• 복식문화연구
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• 제9권1호
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• pp.61-72
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• 2001

Chunghahk-dong is located in a retired spot, Jiri Mountain and has been built up its won religion and culture without any exchange outside world. People in Chunghahk-dong believe in a religion called Genjungyutaosim. Forming a trinity on which mind is Taoism, body is Buddhism, and behavior is confucianism. These are the principle elements to form a village. They made their own unique cultural factor such as longhaired boys and girls, wearing traditional cloths and hat, a monastic life, folk mores and family rituals, and private school system. This shows a great deal of affection on their life style and organization and is closely connected with community and culture. Grasping a culture and behavior on clothing, it has propose to understand Chunghahk-dong properly according to this study. A method of study has a purpose to understand culture and clothing behavior precisely in Chunghahk-dong. I inquire ito clothing behavior with investigation and study of picture script. The results are as followed; People in Chunghahk-dong show unique clothing and hair style behavior based on Genjungyutao. First, men and women wear a white cloth called HanBok(Korean costume) and footwear made of rubber. Only men wear a blue vest. A grown up men wear a long coat when they go out. They are dressed in tractional cloth for a ceremonial occasion. The reason why they put on the HanBok(Korean costume) is a belief on our traditional cloth becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea become a leading country in the world. This clothing behavior is symbol of Genjungyutao and has a role of delivery system for expressing their split. Second, In sign of being a Genjungyutao men, they let their grow hair. Cutting hair is not to be a Genjungyutao men any more. There is few reason that people in Chunghahk-dong let grow their hair : First, because of importance in TanGun's ideology, they believe Korea is a first nation in the world and can't cut their hair which has grown from TanGun (The founding father of the Koran nation) Chosun traditionally. Second, Cutting their hair runs counter to the principle of nature. Third, They value their body for confucianism. They don't want to damage their body because of body from their parents. Boys and girls braid and tie up their hair and adult tie a topknot and a chignon. Wearing a YouGun(A horsehair skullcap) at home and Kat(A Korean top hat) when going out, they express as a Genjungyutao. Hemp cloth and synthetic fibers are main clothes. Also, they wear an improved HanBok(Korean costume) these days on influence outside.

• 한국생활과학회지
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• 제13권1호
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• pp.185-194
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• 2004

This study examined the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect that had given a considerable influence on the modem Korean society since the end of 19th century through the field study and the review of documents. The purpose of the study was to elucidate how their religious ideas were reflected in their ceremonial costumes and what characteristics these costumes had. The results were as follows: 1. The new religious groups in Korea modified or mixed the designs or the names of existing outfits to convey their ideas or beliefs through their costumes. 2. The costumes of new religious groups had common characteristics of the times, Korean tradition and ancestor worship. 3. All the ceremonial costumes symbolized the creeds and ideas of each religion in their names, designs, and colors. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, and of the headpieces such as Sky-Crown, Lotus-Crown, Ceremony-Crown, and Sevenfold-Crown, for instance, were related with Buddhism, Taoism, and Confucianism. The most common design of costume was consisted of traditional hanbok and some type of headpiece and robe for men, and hanbok modified to Western-style for women. Most sects adopted hanbok as their ceremonial costume, but they tend to simplify its design. The color scheme of the costumes reflected the influence of the Yul-Yang and Five Elements idea but the colors varied depending on seasons and occasions to suit their creeds and philosophy. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbol, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various elements of traditional Korean outfits and those of existing religions to symbolize their religious ideas.

• 한국콘텐츠학회논문지
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• 제9권1호
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• pp.417-427
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• 2009

본 연구에서는 현대 한국의 다문화, 다가치 사회로의 변화에 대처하고, 최근에 제기된 인문학 위기와 관련하여 이들에 대한 해결책을 마련한다는 의미에서, 한국 문화의 정체성 확립과 그 발전 방향을 모색하며, 이를 바탕으로 한국 문화콘텐츠 개발의 필요성과 방향을 논의한다. 본 연구는 두 가지 방향에서 문제의식을 갖고 연구된다. 그 하나는 오늘날과 같은 다문화, 다가치 사회에서 한국 문화의 정체성과 그 발전 방향을 모색한다는 점이고 다른 하나는 최근 제기되고 있는 인문학의 위기에 대한 논의와 더불어 문화의 기저에 있는 인문학적 지식의 중요성을 인식하고, 한국 전통 사상을 재정립하고 그것을 문화콘텐츠와 연계하여, 문화보편성으로서의 한국 문화의 정체성을 확립함과 동시에 그것의 발전 방향을 모색함이다. 본 연구에서는 한국 문화의 핵심 내용을 한국 전통 사상으로 부터 대략, 인(仁)(사랑), 화(和), 풍류정신 으로 보았다. 또한 이러한 한국 문화의 핵심 개념을 문화콘텐츠와 연계하여 영화, 음악, 만화, 에니메이션, 게임, 케릭터 개발, 한국 문화재의 디지털 복원 그리고 한국 문화 체험 프로그램 개발을 위한 기획 등의 방향을 제시한다.

• 한국철학논집
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• 제23호
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• pp.317-347
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• 2008

본 논문은 주자문인인 황간과 원대 금화학파의 사상적 연관성을 연구함으로써 주자문인 및 주자 후학에 의한 주자학의 분화와 발전 과정을 분석하였다. 황간은 주자의 적통을 이어받은 도학파 주자문인이며, 그의 학문은 절강(浙江) 금화학파(金華學派), 강서(江西) 쌍봉학파(雙峰學派), 신안(新安) 주자학파(朱子學派) 등에 의하여 계승되었다. 본 논문은 이러한 사상사적인 흐름 속에서 도통론을 기반으로 황간의 학문을 계승한 대표적인 학파, 즉 사상사적으로 면재(勉齋) 황간(黃?)으로부터 하기(何基), 왕백(王柏), 금리상(金履祥), 허겸(許謙)으로 학통이 이어지는 절강(浙江) 금화학파(金華學派)를 연구의 주요 범위로 하고 있다. 황간과 원대 금화학파의 사상적 연관성을 다음과 같이 특징지어 정리할 수 있다. 첫째, 종법적인 도통관이다. 황간의 도통설은 주자의 도통관을 진일보 발전시킨 것으로서 주자가 유가의 도통을 집대성하였음을 논증한 것이기도 하다. 이러한 황간의 도동관은 특히 주자학의 적전(嫡傳)을 자부하는 금화학파에 의하여 계승된다. 둘째, 체용론과 관련한 "분수이리일(分殊而理一)"이라는 인식방법이다. 황간은 태극과 음양의 관계를 '도겸체용(道兼體用)'의 측면에서 일종의 '이일분수(理一分殊)' 또는 '일이이(一而二)'로 설명한 바 있다. 황간은 '도(道)의 체(體)는 형태가 없기 때문에 파악하기 힘들므로 우리들은 여러 만물에 산재해 있는 이(理)를 통하여 도(道)의 체(體)를 이해할 수 있다'라는 '유용이언체(由用而言體)' 또는 '인용이명체(因用而明體)'라는 구체적인 인식방법을 제시하였는데, 이러한 인식방법 역시 황간의 후학인 금화학파에 의하여 계승된다. 셋째, 격물치지의 공부론이다. 황간은 존덕성과 도문학을 모두 중시하였으며, 금화학파 역시 존덕성과 도문학을 모두 중시하였다. 특히 허겸(許謙)은 '격물치지'의 공부론을 통하여 심(心)의 문제를 폭넓게 해석하고 있다. 그러나 금화학파는 당시 상산학과의 긴장관계 속에서 도문학의 의의를 상대적으로 보다 강조하게 된다. 따라서 유가 경전의 독서와 훈석(訓釋)을 중시하고 있으며 "분수이일(分殊理一)"의 인식방법을 자신들의 학문에 응용함으로써 "유전이구경(由傳以求經)"이라는 특색을 지니게 된다.

• 대한간호학회지
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• 제25권3호
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• pp.562-580
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• 1995

This research was an attempt to make it possible to provide nursing care and health education meet- ing the need not of care givers but of patients by identifying the nature of patients' self regulation experiences. The specific objective of this study was : 1) to explore self regulation experiences of patients with adult disease. The phenomenological approach in qualitative studies is used to serve this purpose. Colaizzi's method is used for the phenomenological analysis of the data in this study, which were collected from 25 patients hospitalized in the internal medical ward and oriental medical ward of a Seoul hospital, suffering from adult disease such as hypertension, arteriosclerosis and diabetes mellitus. The research was conducted over a period of March to September, 1994. The investigator conducted participated observations and in-depth unstructured interviews which were audiotaped under the permission of patients. The investigator read the data repeatedly to identify and categorize significant statements, formulating meanings, themes and theme clusters. The result is categorized as follows : Self regulation activities, their barriers and predisposing factors of a disease. Thirteen theme clusters of self regulation activities related to health identified were. “maintaining diet regimen”, “maintaining exercise regimen”, “maintaining medication regimen”, “maintaining oriental medical regimen”, “maintaining health monitoring regimen”, “maintaining self effort”, “maintaining religious life”, “maintaining social sup-port systems”, “maintaining peaceful mind”, “maintaining moderation in life”, “maintaining sincere attitude in life”, “maintaining natural life”, and “maintaining folk remedy” This findings confirm the fact that self regulation is complicatedly and diversely influenced by oriental medicine and folk remedy, and Korean traditional ideas melted in Confucianism, Buddhism, Taoism and Shamanism, and modern medical care and western culture. Seven theme clusters of self regulation barriers identified were : "lack of knowledge and self aware-ness", "lack of social supports", "lack of awareness of need in continuous regimen and treatment", "dissatisfaction with hospital and health care provider", "lack of self management ", "lack of will to combat illness", and "overconfidence in folk remedy" Four theme clusters of predisposing factors of a disease were : "cumulation of stressors", "fatalism", "careless life style", and "family history". In conclusion, this. study will prove helpful not only in understanding clients in light of our traditional culture but also in providing them with the kind of nursing care and health education satisfying their demands and particularly cultural needs.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 조형예술학연구
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• 제6권
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• pp.33-59
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• 2004

The purpose of this study is to analyze the symbolic meaning of the Tiger in Korean Folk Paintings, Minhwa, (hereafter, Minhwa) connected to its social contexts in Joseon period. Thinking of the Tiger Minhwa as a 'visual language' and regard the Tiger as a 'visual signifier' as well as the united-signifiers such as a Korean magpie, pine tree and so on in Minhwa. This research is to analyze these signifieds, 'Signified', what we say in this paper, have composed its symbolic meaning related to the social 'ideological complexes' and collective consciousness during Joseon period. In a word, the characteristic of the Tiger signifier has changed and spread out from the ideal trend to a worldly one. Since the late Joseon period, the change of the social contexts was, because of the civil classes who recognized the limitation of the Sung Confucianism(the doctrines of $Chi-Tz\={u}$), the predominated ideology of that time. To get rid of their uneasiness, they brought the Shamanism, Taoism and Buddhism at the front which were usually the lower class ideology or belief and tried to construct the collective consciousness and safety of their real lives. Therefore, the trend of this 'common conceptualization' show us the positiveness and flexibility to the Tiger signifier through the variation, appropriation and producing signifier. Moreover, even to the same Tiger, there were various meanings and most of them were concentrated in the meanings as follows ; Beoksa(in Korean term is to drive away evil spirits) and Gilsang, which is the good omen of a luck. All these were based on the value of 'this world'. In conclusion, through this research, the concept of the Tiger as a apotheosis has lowered its statutes and being secularized.

• 한국조경학회지
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• 제26권4호
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• pp.113-124
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• 1999

The purpose of this study is to search into the relation between the chinese seclusion culture and the gentleman's gardens by means of the historical and aesthetic approach. The periodic limits of this study is from pre-Qin to Tand. For gentleman's gardens in Tang dynasty at once got out of the noble's gardens which had imitated the imperial gardens until Tang, and became the origin of the gardens of the literati appearing in post-Tang dynasty. The major findings are as follows : First, in pre-Qin period, the origin of the seclusion culture is classified as the metaphysical seclusion of Taoism and the physical seclusion of Confucianism. Although Pu, Yuan, and Uou which could be said the first step of the chinese gardens were inquired, the clear relation between the seclusion and them is not found. Second, during Qin-Han dynasty, the role of the gardens, as the settings of the seclusion, are comparatively minor, too. But uan Kuang-Han's garden considerably escaped from that of pre-Qin in the aspect of function, and it has the characteristics of recreation. Third, during Wei-Chin and Liu dynasty, two types of the seclusions emerged. One is the small seclusion, and the other the Great Seclusion. Though, as formerly, the contemporary gardens did not escaped from the imperial gardens, Shi Chong's garden can be the setting of the Court Seclusion. But the seven Righteous in Bamboos' and Tao Yuan-Ming's settings of the seclusion were real natural environments rather than gardens. Forth, in Tang dynasty, in spite of relatively low status, Bai Ju-Yi's theory of the middle Seclusion enabled gentlemen to make seclusion in sinecures unlike the court Seclusion. The theoretical background of the Middle Seclusion was Zen Buddhism and the State Examinations System and Bai Ju-Yi's private social position also had an important effect on it. In Tang dynasty, there being nobiliary gentleman's gardens, Bai Ju-Yi's garden, Lushan Caotangyuan, was the setting of the Middle Seclusion. It can be called a real gentleman's garden, for it is simple and small unlike the imperial gardens or the nobiliary gentleman's gardens.