• Journal of Daesoon Thought and the Religions of East Asia
• /
• v.1 no.1
• /
• pp.17-37
• /
• 2021

Scholars of new religious movements have emphasized the role of "second founders," such as Judge J.F. Rutherford for the Jehovah's Witnesses, Brigham Young for the Mormons, or Deguchi Onisaburo for Oomoto. They systematize and structure movements often created by the "first founders" with a minimal organization only. The paper argues that the model for the sequence first founder/second founder described by these scholars is the relationship between Jesus and Paul of Tarsus at the origins of Christianity. It proposes a comparison between Jesus of Nazareth and Kang Jeungsan, who established the tradition leading to present-day Daesoon Jinrihoe. It then summarizes the biography of Jo Jeongsan, recognized by Daesoon Jinrihoe as its "second founder" within the same tradition, and discusses the analogies between his connection to the "first founder," Kang Jeungsan, and the connection Paul of Tarsus established with Jesus Christ. The paper considers recent scholarship about Paul, often described as the "New Perspective on Pauline Scholarship." Paul never personally met Jesus Christ, except after the latter's death through a spiritual revelation, just as Jo Jeongsan never met Kang Jeungsan, except after his death, when he manifested himself to him in spirit. Nonetheless, Paul was able to decisively shape the largest branch among the followers of Jesus Christ, just as Jo Jeongsan originated the lineage leading to Daesoon Jinrihoe, currently the largest religious order among those recognizing Kang Jeungsan as the incarnated Supreme God.

• Lingua Humanitatis
• /
• v.2 no.1
• /
• pp.153-174
• /
• 2002

Dong-Ri Kim's Shaphan's Cross, Do-Gi Paek's A Testimony about Judas Iscariot and Mun-Yeol Yi's Re Son of Man have a common point. In the three novels, Jesus Christ plays an important role. Shaphan's Cross researches the theme of Jesus's resurrection directly and minutely. Dong-Ri Kim shows the attitude of a sincere Philosopher in this work. A Testimony about Judas Iscariot avoids such a theme in treating Jesus Christ, but Do-Gi Paek is concerned only about the moral problem, showing the attitude of a sincere philosopher. Re Son of Man researches the theme of Jesus's resurrection directly and minutely like Shaphan's Cross, but Mun-Yeol Yi does not show the attitude of a sincere philosopher. He, instead, shows the property of a dilettante who enjoys an intellectual game. In short, these three novels play important roles in enlarging the territory of Korean literature.

• Journal of the Korean Society of Costume
• /
• v.64 no.5
• /
• pp.168-183
• /
• 2014

When expressing Jesus Christ visually in the medieval Christian paintings, the most important issue was portraying Christ's divinity and humanity in a balanced manner; showing both attributes as Son of God and a human being. The purpose of the study is to examine both the formative and the symbolic characteristics of divinity and humanity on Christ's clothes in the Medieval paintings, Baptism of Christ. In the paintings, there are iconographical devices to show His divinity including God, Holy Spirit, the Trinity and the Jordan River. But Christ's body is definite evidence to show his humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the baptism of Christ were as follows: Blue, gole, purple, and white are the emblem of divinity, while the colors red and white stand for the humanity of Christ. In addition, the divinity of christ is expressed through the decoration on the clothes, while the humanity of Christ is shown through the structured drapery and transparent material.

• Journal of English Language & Literature
• /
• v.56 no.4
• /
• pp.639-666
• /
• 2010

Meditation on Christ's body is peculiar to late medieval female mysticism. The somatic meditation on Christ basically derives from the Incarnation, but the female mystics focused more on the Passion and the Eucharist, i.e., Christ's bleeding and feeding. Then, female body structure and the gender role of nurturing were combined to make facile her imitatio Christi, because the female body was aptly identified with Christ's body. The blood flowing in the side of Christ was often in medieval graphics and texts identified with a mother's milk for a baby to suck. Wound and food, suffering and nourishing, were inseparable in Christ's and the female mystics' body. Thus, in late medieval female mystical practice, it is important to note, first, female mystics' bodily pain was not to be cured but endured; second, that not only did a female mystic eat Christ's body, but her own body was to be "eaten" by poor neighbors, just as Christ gave his own body to be eaten by believers. As Christ's body is punctured, so does the female body have open holes, and as Christ is food, so is the female body. This female meditation on Christ's body developed the notion of "divine motherhood" to be accepted and enjoyed quite literally by the female mystics in late medieval times. Yet, in a sense, the female mystics' meditating on Christ's feminine function of nourishing can be considered as their accepting and interiorizing the socially constructed female gender role and thus lacking in subversive power. Nevertheless, this meditative practice at least functioned to redeem the female body which had typically been labelled inferior and even dirty. Through Christ's feminized body, the female mystics rehabilitated their bodily dimension, presenting it to be shared by male believers. Capitalizing on the gender stereotype of womanhood itself, they converted female weakness to power.

• The Research Journal of the Costume Culture
• /
• v.32 no.3
• /
• pp.398-418
• /
• 2024

This study aims to examine how the body and clothing of Jesus Christ are represented in the Russian Transfiguration of Christ icons of the 15th and 16th centuries and why it is considered to have established a distinct Russian iconography free from Byzantine influence. The study analyzes the Russian icons comparing them with their Byzantine prototypes to identify the distinctive 'Russianness' of the representation. The research methods comprise a qualitative analysis of the literature on Russian Orthodoxy, Russian icons, Christian theology, and Christ's clothing and an empirical analysis of the icons. The scope of the study is limited to Russian icons from the 15th and 16th centuries and Byzantine icons from the 9th century onwards. The study found that, compared to Byzantine icons, the Russian icons exhibit a more elongated body, darker facial features, and lighter clothing. A statistical analysis using the Mann-Whitney U test further revealed that the Russian icons feature a stiffer, simpler form, more opaque material, and more defined clothing boundaries. These stylistic differences suggest that the 'Russianness' in the expression of Christ's body and clothing in the Transfiguration of Christ icons derives from creativity, abstractness, and tradition. Rather than a simple recreation of the historical Christ or adherence to the Byzantine tradition, the Russian iconographic representation emphasizes Christ's transfiguration into a luminous form, as described in the Bible, accentuating his divine nature over his human aspects.

• Sim-seong Yeon-gu
• /
• v.26 no.2
• /
• pp.189-208
• /
• 2011

The psychology of Carl G. Jung is often called an "ancilla religionis"(servant of religion, James Heisig), by which Jung's understanding of the unconsciousness of human being as the religious one is well expressed. According to Jung the dichotomy between the consciousness and the unconsciousness of men is reconciled in the various religious symbols of the world religions. He also asserted that the religious symbols must be understood and interpreted by a symbolical way. When the religious symbols are understood literally and dogmatically, they lost their dynamic power to bring salvation to men. In this paper I try to understand the essence of the symbolical and intuitional understanding of the exclusiveness of Jesus Christ. The confession of the Christianity that only Christ, once for all, could bring the salvation to the whole humankind is to be interpreted by a symbolical and intuitional way. That means, Christ is to be understood as a always new being at every time when he is confessed as a salvator. Christ as a symbol could never be a historical past. I mentioned about the understanding of Buddha by Muneyoshi Yanagi, a Japanese Shinto Buddhist, in order to show how such a symbolical and intuitional understanding of the Christ could be possible.

• The Journal of the Korea Contents Association
• /
• v.20 no.9
• /
• pp.638-647
• /
• 2020

This study reflects on suffering, a theme of anthropology, from a Christian theological point of hope. It suggests that suffering is not a negative experience, rather a medium of hope that can be a positive driving force in life and an opportunity to reach personal maturity. It aims to deepen the content of anthropology regarding the meaning of suffering by discovering a new harmony within the relationship between pain and hope. The book of Job denies the theodicical concept that justifies suffering as punishment for human sins and opens a new horizon of understanding the suffering as a space of hope, where men can experience the Love of God in the relationship with God. In his theology of suffering, Moltmann broadens and deepens the horizon of understanding as the book of Job discovered. First, he interprets the history in the hope of an eschatological future when the resurrected Jesus Christ will bring the final victory over evil and suffering. Then he invites men to proactively resist the absurdity and suffering revealed through this interpretation. Second, Moltmann reflects on the problem of suffering in the concept of the Trinity of God who endures active suffering with love for men shown in the crucifixion of Jesus Christ. He offers another hope that enables men to overcome the suffering in God's love. Therefore, the Christian faith can confess that we can hope in suffering.

• Journal of the Korean Society of Costume
• /
• v.60 no.4
• /
• pp.30-44
• /
• 2010

The definition of pregnancy has changed as society and its values have developed through different periods of history. In the ancient period, the definition of a woman's fertility was that female deities provided fecundity to barren women and barren land, and protected both the pregnant women during the period of gestation and also the land during the time of growth. These goddesses also administered the appropriate ceremonial rituals for conception and childbirth, and for planting and harvesting. After that, for the last 2,000 years, the most conspicuous icon has been "The Virgin Mary with the Infant Christ". Mary was the mother of Jesus Christ and model for Christian women. However, the centuries the image of woman and pregnancy has been changed, modern society through education, careers and job opportunities allows many women to be more than just a wife or a mother. Moreover, in the 21st century, many pregnant women want stylish maternity wear because they are proud and their minds are opened by these new icons of birth culture as like the pregnancy of many famous stars. From this the purposes of this study are as follows, Firstly, to study on the meaning of woman's fertility from ancient period to present time by social changes. Secondly, to investigate the historical concept of the maternity wear for current modern maternity fashion market. Finally, to expect to use this study would be helpful basic data for develop of the new researches of the maternity fashion in the future.

• Journal of Fashion Business
• /
• v.5 no.5
• /
• pp.36-48
• /
• 2001

The Christianity that spread to Egypt in 3rd century in A.D. is called Copt. Coptic Church built a lot of monasteries along the lower stream of Nile River, which produced thousands of text and paintings. Ethiopia is well known for its worship to Virgin Saint Mary and produced many paintings of Virgin Saint Mary in different costumes. The pictures usually came in foldable small books containing 3 pictures. The paintings usually featured Virgin Saint Mary and Jesus Christ dressed as royalty in crowns, saints and angels. There are saints on white horse, mirroring the oriental influence on Coptic painting. This research will look into the patterns and colours on the Coptic textiles, mainly tapestry.

• Korean Institute of Interior Design Journal
• /
• v.14 no.6 s.53
• /
• pp.185-192
• /
• 2005

The Tabernacle was Personally designed by God and was ordered from God to Moses to build it as the first Piece of church architecture that accurately showed God's love and will of salvation towards humankind. Tabernacles, through the architecture of tabernacles teaches the Lord being among us. His Holiness and man's sins, and also reflects the path of eternity as well as the good news and salvation through Jesus Christ. And the Tabernacle is talking of the Glory of New Jerusalem that is provided Kingdom of Heaven for us at the same time being a completion of a final and ultimate church constructed long predicted through the Bible being already designed by God. The external expression of modern architecture may follow the uniqueness of that age but the special quality of the interior and exterior symbolism of church architecture will have to consist the standards of God for He is the first, sincere designer.