• Journal of architectural history
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• v.21 no.1
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• pp.27-46
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• 2012

The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War II, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

• Journal of the Korean Institute of Rural Architecture
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• v.26 no.4
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• pp.53-60
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• 2024

In Korea during the enlightenment period, there were very active changes in almost all areas that made up the era, including politics, economy, society, and culture, and these changes were no exception in the religious field. This study aims to identify the characteristics of architectural elements of compromising style of Korean traditional cathedral architecture, especially in the case of Nabawi Cathedral, a representative compromising style of Korean traditional cathedral, which appeared in the early 1900s during the introduction of Western architecture to Korea. The results found in this study are as follows. First, in the case of the exterior of the building, despite being a Korean traditional building, the intention to pursue the Western style is very strong, and this trend can be found especially in bell towers planned as brick structures in front of the building and outer corridors on the side. Second, in the case of the Presbytery, it is faithful to the essential function of the space where worship takes place by having a spatial hierarchy that is clearly distinguished from the space of Nave. In particular, in the case of the space where the Presbytery is located, the Presbytery has no pillars in the center but two left and right pillars are planned, and a triumphal arch is formed between these pillars, preventing distractions from the vision toward the altar and separating the space between the Presbytery and the Nave. Third, in the case of Nave, rather than the formal demands of religious facilities, it is planned to be very faithful to the original function for worship. This is well reflected in the vertical axis of the interior plan of the building, the meaning of the column in the center, and the very practical functionality of the arrangement of the choir. Religious architecture is influenced by the ideas and cultures of that time and continues to develop as a result and adapt to solve them. The compromising Korean traditional Cathedral is our own valuable architectural asset that shows this trend very well.

• Journal of architectural history
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• v.13 no.3
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• pp.37-50
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• 2004

Presentation is the way of revealing regionality that is hidden into the inner world. The expression of regionality has to be based on the origin and at the same time created newness as always suitable for the present through combination of 'familiarity' and 'unfamiliarity'. Regionality that has been maintained even under the application modern trends, spirits, technologies and materials should be now disclosed. Creating new forms that reflect regionality is possible only when a keen sense(emotion) always focusing on the essence of the earth works together with foresight(imaginative power) clarifying global pattern changes, under high tensions between both of them. Kim Su-Keun succeeded in reinterpreting traditional spaces, but failed in communicating patterns of life, ultimately revealing stiffness with no tension and no creativity. Kim Jung-Up could not draw out a whole meaning of relations among traditional fragments or relations between them and the present. He only borrowed such fragments from the view of formative art. For 'disclosed abstract', 'familiarity' and 'unfamiliarity' are repeated circularly and cope with pattern changes, continuously creating new forms and showing unity as a complete calmness(rest). In "YangDuk Catholic Church" by Kim Su-Keun provides a simultaneous reactivation of various images through continuous cross-weaving rather than being inclined to either the earth or the world. Based on the technique of 'disclosed abstract', "YangDuk Catholic Church" created a new form and space never seen before.

• Journal of the Korean Society of Costume
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• v.42
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• pp.5-24
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• 1999

The purpose of this study is to present new design for religious habits which represen traditional Korean characters as well as prope charisms of religious congregations. The preliminary research was carried out through questionnaires. The result of this survey suggests the way how to improve the design of habits as follows: 1. The habit has to be simple according to the spirit of vowed poverty. 2. It is necessary to take into consideration the reality of Korean culture and the climate with four seasons 3. The habit is to be of help to give witness to evangelical life and safeguard the dignity of the religious state. 4. It has to be appropriate to the environment and circumstance of apostolic mission. 5. It has be funtional and conducive to apostolic activities and labors. 6. The design has to be such as will not alienate ordinary people. 7. It should express the charism of each religiou congregation as well as Korean identity. Consquently four types of inculturated habit design were newly developed and actual dresses or suit have been manufactured as a apart of this study.

• Journal for History of Mathematics
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• v.10 no.1
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• pp.1-11
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• 1997

In this paper, we investigate a relation between the history of western logic and religion. Logic, as distinct from theology, began in Greece in the sixth century B. C. After running its course in antiquity, it was again submerged by theology as Christianity rose and Rome fell. Its second great period, from the eleventh to the fourteenth centuries, was dominated by the Catholic church, except for a few great rebels, such as the Emperor Frederick II(1195-1250). This period was brought to an end by the confusion that culminated in the Reformation. The third period, from the seventeenth century to the present day is dominated by science; traditional religious beliefs remain important but are felt to need justification, and are modified wherever science seems to make this imperative.

• The Critical Review of Religion and Culture
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• no.31
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• pp.255-287
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• 2017

This paper analyzes the religious circuit of suicidal concept based on verbal expression and ritual acts, which are found in the suicide discourse of Korean Catholic Church and Protestant Church. In the relationship of suicide and religion, it is easily overlooked the religious circuit and its construction that forms the concept of suicide among the religious laymen. It is assumed that the belief system of traditional religions prohibits suicide and the laymen accordingly construct a perception or concept of suicide along with this belief system. Various studies on this subject have proved it. However, in order to understand the religious way of constructing the concept of suicide on a personal level, it is necessary to pay attention to the religious environment in which the concepts and emotions of suicide circulate. The laymen do not passively and perfectly accept the finely established suicide concept provided by the doctrine or the theology. Rather, the laymen tend to collect the pieces of concept over the suicide that are drifting in the religious environment of his/her daily routine life and to make an concept of suicide in an incomplete form. We can find the unstable and imperfect traits of such a suicide concept through the experience of suicide survivors who have a religious background. For the suicide survivors with religious beliefs, they resist the formal doctrinal and theological provisions to suicide, or try to understand the notion of suicide in their own contexts. In terms of linguistic expressions and ritual acts relating to suicide, the attentions are differently directed in the public and the private domain among the religious groups. Considering on the high rates of suicide in Korean society, the Korean Catholic Churches are increasingly tolerant over the suicide and accept it in the public sphere. It is unlikely when comparing to the negative attitudes of the suicide in the past. However, such tolerance does not go beyond the doctrinal and ethical judgment that defines suicide as a serious sin. The once-committed lay believer's speech and gestures usually contain the various emotions, such as sadness, grief, anxiety, regretfulness, eagerness, and pain in the private spheres. The language and gestures with these emotions have been activated in the religious circuits of suicide, being extended to the religious apparatus for the person who died of suicide. In case of Protestantism, the institutional organizations, such as the particular denominations and the individual-churchism of the Korean Protestant Churches, and their own interpretations of the Bible have in the private sphere strongly effected on the linguistic expressions and the rituals related to the suicide. The religious-ethical judgment of the suicide is varied how the suicide is interpreted by the theologians and the pastors. And the ritual acts for healing the complex feelings and the psychological wounds of the suicide survivors are not actively explored and adopted yet. It makes harder to approach and heal the protestant followers since they emphasize the innermost belief and the salvation assurance faith.

• Journal of architectural history
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• v.13 no.2 s.38
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• pp.57-70
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• 2004

Since Korea disclaimed to open the ports, Korean architecture has met the impetuous transformation. Although there would be various factors of this transformation, the new-coming architecture by missionary seemed to be a significant one, and many researches have been carried out on this theme in diverse viewpoints. However, because these researches have preponderated on the Catholic tradition, it is deficient for clarify the whole history of mission architecture. Therefore, this research has the meaning to enrich the history of Korean modern architecture by making balance. First of all, this paper is focused on the activities of one missionary, Graham Lee. He is a practical missionary at the beginning, his architecture made a critical influence in Korean traditional architecture. Graham Lee was born in Rock Island, Illinois, 1861, and he determined to become a missionary through grown up. He spent his boyhood by working as a plumber for his purpose and studied in a university afterward. Graduating of McComick Theological Seminary, he was nominated as a pioneer of Pyeng Yang Mission Station and set foot in Korea, September of 1892. Since then he started to erect missionary facilities in Pyeng Yang, such as Well House(1898), Pyeng Yang Central Church(1900-1901), Pyeng Yang Academy(1902). These all his works are designed with eclectic style which shows western and Korean traditional style intermingled. This unique characteristic made a profound influence to the Korean mission architecture afterwards. Especially, the L-type plan of Pyeng Yang Central Church, which is first shown by him, is recognized very unique, and this plan type had been spread all over the country. Therefore the L-type plan became the peculiar feature of the early Korean churches. Furthermore, working with Korean carpenters, he taught them new skills of modem buildings. After that, they were expanded out northern part of Korea and took the roles of master builders. According to this expansion, his particular style had got spread and had been settled as a unique eclectic style in Korean modern architecture. In the conclusion, he is evaluated to be a critical pioneer missionary, who left a big influence on the frame work of Korean modern architecture in the transitional times.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.195-218
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• 2000

This study investigates the characteristics of European knitted works from a historical perspective. Specifically, this study deals with the following research topics: 1) the origin and development of knitting. 2) the characteristics of knitting industry according to the change of times, 3) the comparison of local knitting patterns and cultures. 4) 7he symbolic meaning of the designs in the knitted works and theire functions. This research is barred on the survey of the relevant literature and photographs. The results of the study are summarized as follows. 1) The introduction of knitted works was closely connected with the climatic and socio-economic conditions of the places of the origin. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. 2) In ancient times, abstract and geometric patterns have developed in Europe under the influence of Arabian knitted work. Middle Ages saw the flourishing of Arabian knitted works representing the authority of the church. In early modern times, the knitted work assumed the wealth of the royal families and the nobles. But afterward it was gradually Popularized among the middle classes. Knitting was then regarded as one of the women's major cultural activities. However, recently in the interwar periods. the knitting industry did not flourish and the knitted works came to serve merely as comfort goods by political urge. Knitted works were introduced in Korea around 1870 (the 7th or 8th year of king Kojong era) by Catholic missionaries and they started to be made by machine in 1917. 3) As for the propagation of the knitted work into Europe, there are three routes estimated. The traditional knitting patterns of local areas and their characteristics are summed up as follows : (1) England Guernseys are thick dark blue wool, whereas Jerseys are thinner and of various colors. The knitted shawls of Shetland are world-famous for their fine, lace-like texture that they can be through a wedding-ring. The knitted work of Fair Isle shows several distinctive features, such as the use of no more than two colors, patterns with diagonal lines. symmetry within the patterns, the prominent OXO patterns, and horizontal bands of patterning. The representative knitted work of Aran is Aran sweater made for fishermen to developed from guernseys of Scotland. (2) Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. (3) Baltic area : The Latvian and Lithuania stockings have very ornate patterns. Many of the Estonian knit stockings and mittens share designs. Komi was well-known for its symmetric diamond pattern. Komi patterns include colored stripes, borders of pattern and all-over designs of complex diagonals. (4) Balkan area : In Yugoslavia, the patterns of roses, leaves and flowers were used for stockings, gloves and leggings. Greek knitting resembled southern Russian knitting, which utilized light colored patterns with dark colors for a background. Turkish patterns are symmetric vertically or horizontally. 4) The traditional knitting patterns net only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns also represented Power or authenticity Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns.