• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of the Daesoon Academy of Sciences
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• v.45
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• pp.1-35
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• 2023

This study aims at determining the meaning of Life in The Canonical Scripture of the Daesoon Thought upon the ontological bases of occidental philosophies; especially upon those of Plato and Bergson. In western philosophy, the word ontology designates investigating the meanings of being, which is derived from the Greek 'onto (being)' and 'logia (logical discourse).' The various meanings of life have been sought from ancient times all over the world, for these are the critical and vital questions that pertain to the nature of human existence. Plato had asserted that life, in his word, soul, had three different kinds of aspects of meaning. Immortal, reciprocal, and divine. Plato scheme was such that the soul could die, but after death it could became reborn into another various forms of living creatures. The real inner life of humans, the soul, would live eternally. Henri-Louis Bergson, a famous French philosopher from the 20^th century, claimed that life had three different kinds of aspects. Self-identity, Élan vital (vital impetus) and liberty. Bergson insisted especially the real meaning of life had been characterized by "unité multiple et multiplicitéune," "unity as something multiple and multiplicity something singular." The meaning of life in Daesoon Thought could be said to have three different characteristics, solidarity, earthly immortality and grievance-resolution. Some similarities can be found between certain western ontological meanings of life and those of Daesoon Thought. Namely, the qualities of eternity, reciprocity, and divinity.

• English Language & Literature Teaching
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• v.9 no.spc
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• pp.167-184
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• 2003

This paper is to analyze how Walt Whitman developed the theme and structure of Leaves of Grass with his ideal of democratic vistas. Whitman established his identity as an inspired poet, having faith in the divinity of man based on transcendental belief. After being awakened to the transcendental truth, he practiced his own common world view--his democratic vistas. Whitman searched for the unity with nature and identified his self with "common man and his nation." The poetry expresses "cosmological and national ideology" dedicated to the creation of an ideal nation united in eternal freedom and peace. By portraying common cosmic and national theme in terms of his individual personality, he brought various paradoxical and controversial ideas into one thing, namely "democracy", fusing diversity into unity. As in the symbol of the grass, there is a unity in variety reflected by democracy in a cosmological and political compound. With the form of free verse, he could express his liberal unrestrained and mystical thoughts of democracy. This new form has been associated with the poet's strong consciousness of the need for modernization in his country. He willingly assumed "the role of prophet and public voice for American democrat" with the rolling catalogues and I-persona which formed a sense of the common man and common things of America. Whitman pioneered a democrat literature with simple and dynamic tone and style. He successively pursued the democratic vistas in his Leaves of Grass.

• Journal of the Korean Society of Costume
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• v.20
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• pp.93-104
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• 1993

The purpose of this study is to clarify the adap-tation of traditional beauty of dress in Baek Eui for the establishment of tradition of dress culture. Especially, the color of the traditional dress rep-resent a symbol which is connedted with the na-tional character and the evvironment. But it is hard to examine closely because color preference are transformend with the times. This study is framed within the limits of the next themes : the origin, history and meaning of the Baek Eui ; the philosophical theory of cosmic Five Elements and the Prohibition of Baek Eui ; the beauty of Baek Eui. As the national character is indicative of the conservativeness and the purity, Koreans have kept up wearing Baek Eui spite of the occasional prohibition. Since the color of the dress represen-tatived the signs of the social class and the power, over the eighty persent of the common people put on the Beak Eui : ramie and flax fabrics that has it's own color in Chosun-Dynasty. I think that the use of natural color harmony is prominent and the beauty of Baek Eui is the naturality and the non-artificiality. The meaning of the symbol on the Korean Beak Eui is the divinity, the holiness, the purity, the cleanliness, the modesty, the frugality, the integ-rity, the constancy, the elegance, the simplicity.

• Journal of Physiology & Pathology in Korean Medicine
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• v.19 no.3
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• pp.596-599
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• 2005

Human health is affected by not only physical conditions but also mental and social well-being. Changes of human emotions show up as gestures, facial expressions and sweating. Human emotions are affected by such automatic nerve system functions as blood pressure, blood circulation speed, heart beats, pupillary reflex, fluid transfusion, muscular contraction and digestive organs, all of which influence the holistic diseases. The Oriental Medicine sees from a perspective of unity of divinity and men that human life activities are united in terms of their physical and mental functions. From such a perspective, human Five Organs are linked with Five Mental(五神) and Seven Emotions(七情), while they are affected by each other, influencing the life activities both directly and indirectly. Based on Confucianism, Sa-Sang Theory argues that human emotions can be categorized into four energy states and therefore, that human diseases and physiological conditions there of may be determined differently depending on the Four Energies(四氣). There seems to be some common points between Sa-Sang Theory and the conventional Oriental Medicine in that human emotions affect individuals' health conditions, so there seems to be much room for mutual complementation.

• The International Journal of Costume Culture
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• v.12 no.1
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• pp.26-37
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• 2009

This study has begun as to identify various forms of personified Hindu deitiesand its goal is to understand the symbols of Hindu which are the backgrounds of the modern Hindu culture and present the hairstyle images of ancient Indians through the Hindu deities of the era. Scope of the research has been determined to six major deitiesamong those from Hindu culture that affect the Indian society and the images of Hindu deitiesappeared in the Indian miniatures and sculptures were studied as times changed. The deities could be identified by symbols maintained in common by each divinity as the Hindu deities were diversified through the long history. Examining the transitions in hairstyles and headstyles of Hindu deities, hair shapes of spiraling curls were expressed in the ancient Hindu sculptures from $2^{nd}$ century to $6^{th}$ century due to the influence of early Indian Buddhism. In Hindu paintings from $15^{th}$ century to $19^{th}$ century, beards and sideburns were expressed in male deities due to the influence from Mugul arts, while feminine characters were emphasized in goddesses with long loose hair. Works are each presented encapsulating the results of the researches on Vishnu and Lakshmi from these Hindu deities. It is attempted to find Hindu image and present directions for developments of modern beauty by supplying motives to modern hair design by researching the hairstyles of Hindu deities.

• Journal of Educational Research in Mathematics
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• v.10 no.1
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• pp.57-72
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• 2000

In this paper, in order to explicate how mathematics education can contribute to humanity education, I enquired in which position mathematics occupy in Froebel's For this, I examined Froebel's theory of humanity education, his theory of mathematics education, and the applicational problem of his thoughts to nowaday education. Froebel's educational theory is based on the concept of the Divine Unity which is relevant to the notion of 'The Absolute' of Fichte, Schelling, Hegel. He claims that from inanimate objects to human being, all is subject to the eternal law, which is presided by God. So the world itself is the representation of this law of the Divine Unity and education consists in leading man to conscious and free representation of it. The revealing process of the inner law of the Divine Unity can be attained through the awareness of the divinity which resides in the self. And this process of self-consciousness is dialectical movement of the two opposites, i.e. 'inner' and 'outer' Froebel suggests that mathematics is the mediator between the inner and outer world, i.e. he suggests that since both human being and nature are the representations of the Divine Unity, mathematics is both the pure human spirits and the law of nature. Having such a role, mathematics becomes the main discipline in education. Though there are some criticism on Froebel's educational thoughts on mathematics discussed in this paper, it can provide a typical answer to the question about how mathematics education contributes to humanity education.

• Korean Institute of Interior Design Journal
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• v.17 no.4
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• pp.42-49
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• 2008

Design concepts of light can be divided into two respects, visual plastic and metaphysical meaning. The current research focuses on the second respect. The meaning of light is abstract characteristics(for example, divinity, spirituality, or image) ultimately expressed by visual plastic. Because it makes architectural space abundant, it have been expressed frequently in architectural space until now. The purpose of this paper is to conceptualize and explain and arrange the meanings of light in the category that have been expressed in architectural space from ancient to current. The method of this study is content analysis and case study, and this is supplement by theoretical consideration on the meaning of light(relationship between perception and meaning, elements to form meaning etc.). This study consists of three steps. Firstly, through the content analysis of existing literature and documents, 17 meanings of light are confirmed. Secondly, these 17 meanings are defined and explained in 3 categories(symbolic, esthetic, and experiential character). Thirdly, they are additionally explained and articulated by case study. In the result, various meanings of light that have been fragmentarily expressed in architectural space until now is clearly arranged at a glance. Those suggested design concepts will be basic conferential material, available to the interior designers and students who want to utilize the organised study concepts.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.1 no.2
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• pp.61-87
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• 2022

This article compares the concepts of divine incarnation as expounded in Daesoon Thought and in Christianity and questions the essence of the divinity in both traditions. In Daesoon Thought, The Supreme God, Sangje, saw major disorganization leading to extreme violence and doom and decided to incarnate on earth under the human form of Kang Jeungsan (1871-1909). Then the living God taught the solution to human suffering through the revelations he sent in 1917 to Jo Cheol-Je, or Jo Jeongsan (1895-1958) and the revelations were passed on to Dojeon Park Wudang who in 1969 founded Daesoon Thought. In Christianity, God incarnated in his son, Jesus Christ, who allowed for the radical transformation of the condition of man through his physical sacrifice. Daesoon differs in that Sangje did not offer himself as sacrifice when he came on earth but reorganized the world and taught how to apply benevolence to establish the Earthly Paradise. The affirmation that Daesoon Jinrihoe is both monotheistic and polytheistic is then analyzed. If the concept of monotheism seems to differ vastly between the two traditions, it appears that biblical monotheism is itself relatively young in the history of world religions so that Christianity has ancient roots germane to those of Daesoon Jinrihoe. The article concludes on the originality of this religion: though it is built on Daoism, Buddhism and Confucianism, it has transformed their vision of the deity and of its message in a most convincing manner.

• 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.