• Journal of architectural history
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• v.8 no.4 s.21
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• pp.9-24
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• 1999

This study is on architectural characteristics of the existing ㅁ-shaped Yo-Sa with two stories in Buddhist temple. The Yo-Sa has had the function of space for not only monasticism but also living of buddhist priests and been one of the important spaces in Buddhist temple from the beginning of it. The Yo-Sa with two stories appeared mostly in the later Chosun Dynasty, so the origin of the Yo-Sa with two stories is thought that it might relate to the circumstances of temples in the later Chosun Dynasty. Having got in the period of Chosun Dynasty, Buddhism lost the power that he has enjoyed since Korea Dynasty was established and the economic power of temples as well. Because of a change for the worse, the Buddhist priests should manage with reduced income and combine many buildings with various functions into a singular to overcome their circumstances. Therefore a waekened economic power might be a primary factor which urged to change form of Yo-Sa from one-storied to two-storied. The ㅁ-shaped Yo-Sa with two stories have the Dae-Bang-Chae for worship, Seung-Bang for Buddhist's living room in the bottom floor and garnering spaces to store up the agricultural produce, miscellaneous article, etc in the top floor. The composition methods depend on the condition of the lay of land, intentional design, and so on. Therefore, the ㅁ-shped Yo-Sa with two stories shows the diversity of space composition and architectural characteristics.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.1-11
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• 2003

This study is to clarify the true meaning of christian ceremonial dress, based on the Biblical background, by examining the origin and the symbolic meaning of the Catholic ceremonial dress. The influence of the Liturgical movement on the ceremonial dress and the changes in the symbolic meaning of the Christian ceremonial dress are studied. This research also aims to closely examine the difference in Christians' consciousness on the Christian ceremonial dress such as gown, stole, and clergy shirt. It aims to provide basic resources for the education and further study on the Christian ceremonial dress through reconfirming the basic understanding and the symbolic meaning of the Christian ceremonial dress. As a result, according to the lesson of the Bible and the ideology of the Reformation, it is suggested that priests should wear regular suits or the traditional Hanbok rather than wearing gown or Roman collar. However, if most of Christians believe that it is critical to wear ceremonial dress to project holiness and seriousness during the service, it is suggested that priest should wear gown only and avoid Roman collar and stole because they only show the hierarchy of priests. Accordingly, there is a hope in this research that the knowledge of ceremonial dress could be re-defined based on the Evangelism in the Bible though the results of the study.

• The Research Journal of the Costume Culture
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• v.1 no.1
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• pp.69-80
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• 1993

This research studied the classification and meanings of symbols on the clothes of he Koran catholic priest. The results are as follows. 1) Symbol of religios spirits and values. - There are many spirits of crist which require to keep and meanings of innocence. 2) Symbol of status - served to symbolize the conscious change from earthy to ordaned man. 3) Symbol of role - differentiate between the role of priest and aid-priest. 4) Symbol of position(or rank) - indicate the position of priests in catholic church. 5) Symbol of situation. 6) Symbol of ritual ceremony - characterized the ritual ceremony.

• Korean Institute of Interior Design Journal
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• no.36
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• pp.102-110
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• 2003

This Study is concerned with the architectural problems particular to the design of the sanctuary in Catholic churches. The paper is meant to address two distinct groups - clerics and architects. Architects do not tend to think the church buildings theologically or liturgically, and priests, though they are often trained in the arts, do not tend to look at buildings the same way architects do. Hence, my goal is to adequately address the concerns of each in a language the other will understand, thereby building a bridge of communication between the two groups. The two main concerns of the study are to provide guidelines and reflection lot liturgically correct buildings, and to re-establish the traditions of church buildings. I discuss the idea of the sanctuary in the Catholic church,(in chapter 2) and examine each of the main furnishings of the sanctuary with regard to history, liturgical use, symbolism and related pastoral concerns.(in chapter 3,4).

• Journal of architectural history
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• v.6 no.3 s.13
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• pp.23-44
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• 1997

There are two main halls in the Main Palace of the Koryo Dyansty in the 11th and 12th century. One, named Hoekyongjeon, was served only for special ceremony ; hundred Buddhist priests' sermons or receiption of Chinese emperor's letters. The other one, Kondukjeon, was used as ordinary throne hall. The ordinary throne hall was built when the palace was erected at the beginning era of the Koryo Danasty, while the special ceremony hall built after the reconstruction in the 11th century. The throne hall was located at northwest side of the special ceremony hall. Audience chamber and King's bedroom were located at west and northwest side of the throne hall. The basic layout of the Palace showed unsymmetrical shape. It seemed mainly effected by its undulating terraine. The acess road from main gate to the throne hall showed zigzag way, by following a stream penetrating the site obliquely, It could be said that the Main Palace of the Koryo Danasty achieved its originality on the aspect of unsymmetrical layout and zigzag acess road, which was not found in the former palaces.

• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.68-81
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• 1999

This paper makes a report of Shaman\`s ritual performed among Korean resiednts in Japan as socio-historical facts, and this also examines the symbolic meanings of Shamans\` costumes. The results are as follows ; 1) At the ritual of Jungsip-Wang Maji, Shamans wear Gwandae, Kunbok, Jangsam, Durumaki, and Chima-jugori. These costumes show that their wearers are priests and gods at the same time. 2) The reason why Simbang performs the ritual in different costumes at different Jaechas is that each object-god needs different costumes to represent its different character. 3) Shamans\` instruments consist of musical instruments and other instruments. Among the musical instruments are such percussions as Buk, Jing, Janggo and Sulsae. Among other insttruments are Sindo, Sanban and Yoryung. 4)Shamans think that the musical instruments have magic powers to drive out minor demons and invite gods. Sindo, Sanban and Yoryung are thought to be the symbolic instruments representing god\`s will.

• The Journal of Korean Philosophical History
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• no.38
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• pp.163-187
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• 2013

In this paper, Han Yong-un's view point of Buddhism was examined in the traditional Zen Buddhism. He emphasized the essence of calm and awakened Zen in Wonhyo's theory of Jigwanssangun and Jinul's theory of Jeonghyessangsu. He criticized the behaviors of Zen priests at that time who turned their back on common people, secluded themselves in mountains and tried to stay calm in their places, and ideologically stressed that calm and awakened Zen should be realized in disciplinants' daily lives while enlightening the public. On the other hand, he had consistently stuck to Imjeseonpung(臨濟禪風) based on the spirit of saving the world, rather than depending on Jodongowi(曹洞 五位), when glossing "Sip-hyun-dam" with the traditional $S{\bar{o}}t{\bar{o}}$ Zen(曹洞宗) after Kim Si-seup Compared with Jodongowi, Siphyeondamjuhae(十玄談註解) emphasized Pyeonjungjeong (偏中正) where the right position(正位) of a true man(眞人) is founded in the middle of common people's partiality(偏位). In Siphyeondamjuhae, he intended to rebuke Japanese $S{\bar{o}}t{\bar{o}}$ Zen priests' brutality of trying to annihilate even the spirit of Zen Buddhism through Treaty of Alliance of Korea-Japan Buddhism(朝日佛敎同盟條約). Considering Han Yong-un's view point of Buddhism, it has the characteristic of patriotism and love of the people in the traditional Zen Buddhism.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.52-64
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• 2008

The purpose of this study is to analyze the characteristics of Seon that was expressed in the costumes of worldly figures illustrated in Koryo Buddhist paintings. Findings of the study can be summarized as follows. Out of the above mentioned costumes, except those for Buddha and Bodhisattava, most were actually worn by people of Koryo. Shown in the paintings, the patterns and decorations of Seon are more brilliant and diverse in part of worldly figures than in that of Buddhist figures. For men, Seon was mainly used to robes for Buddhist priest while, for women, costumes for the queen and noble women. Seon was applied to costumes for both men and women, especially Po for ritual purposes. Besides, it was sometimes used to Buddhist priests' robes and women's Banbi and chima. The patterns of Seon were usually single in composition style and scattering in arrangement style. Whether applied to costumes for men or women, Seon usually had complementary colors that were harmonized.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.4
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• pp.47-54
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• 2012

Since ancient times in Korea, in spite of the ranks of high and low, drink was like a all sorts of human emotions. In particular, the drought, or any weapon except when wages found the ball back to God or to buy a drink to celebrate the sixtieth birthday or marriage and feasting like mails, and the priests or the funeral, such as consciousness raising in this procedure. The country had strict rituals in ceremonial events were thereby is living up to deep. The history of the drink in the history of the past, given that the main grain farming culture has already begun since the era of gojoseon was launched remains to be seen. This has been a long history of traditional attention to clean up and organize the showing to the public hall is a nationally scarce in some areas of that era, or the facility is not large. Therefore, in this study, alcohol-related exhibits and Museum recognizes the reality of the future sake Museum architectural plans: the Foundation provides materials for that purpose.

• Journal of Korean Library and Information Science Society
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• v.26
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• pp.401-440
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• 1997

The purpose of this paper is to study the historical background of the development of bibliography in the Sam-Kug Period. In the Sam-Kug Period, Bibliographic civilization was due to be invented the character. The invention of script was the revolution in communication and education. It is the acceptance of confucianism, Buddhism and Taoism to be influenced by the Bibliogaphy's development in this period. So it has produced a large number of student studying abroad and mission. And they were able to collect lots of books in China. It was various the way that they collected the materials. During one's stay in China as a student, they asked them give the books, or bought it at government expense. Their primary responsibility was to study and collect the classical canon, the Buddhist Sutras etc. Majority of the collected materials were classical canon and the Buddhist Sutras. And it was first copied by calligrapher and printed with the wood-block. Example, Dharani Sutra was found in the second story of Sokkatap pagoda of Pulguksa Temple in 1966. It was put inside the Pagoda when it was built in 751(in the 10th year of king Kyong-Duk). This is the worldwide cultural property of which we are proud. The collected books were annotated by learned priests and confucian scholars. An annotation of the sacred books were based on the Buddhist civilization, the art of printing and the development of bibliography. But we are unha n.0, ppy that it was reduced to ashes lots of the temples and the materials by the effect of war or fire.