• Journal of Family Resource Management and Policy Review
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• v.26 no.4
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• pp.39-52
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• 2022

The purpose of this study was to examine the workday leisure time of dual-income fathers and mothers with preschool children. Data were gathered from the Statistics Korea Life Time Surveys from 2004(y1) and 2019(y2) (n=2,697). Life time was composed of three types(inevitable time, compulsory time, and leisure time) and leisure time was categorized into 11 activities(voluntarism, participation, social relationships, religion, rituals, culture and tourism, sports, game and play, media, rest, and others) to investigate gender differences and time effects. The major results were as follows: First, both working fathers and mothers with preschool children spent less inevitable time, more compulsory time, and less leisure time, than other adult group. Second, fathers spent more time on 10 leisure activities except religion in y1, and on all activities than mothers in y2. In y2, less time on three activities(social relationships, rituals, and media) for both fathers and mothers, less time on religion for mothers only, more time on two activities(participation, game and play) for both groups were spent than y1. Third, in the regression analysis of fathers' and mothers' leisure time on three leisure activities(sports, game and play, and media) with a distinct pattern from leisure time for adult group between y1 and y2, socioeconomic variables and lifetime variables showed different effects by gender and waves. Based on the results, family policy and programs to improve the work-life balances of working fathers and mothers discussed.

• Journal of the Daesoon Academy of Sciences
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• v.48
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• pp.1-40
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• 2024

Time can be the fundamental basis of religious doctrine and the foundation for a life of faith. Therefore, understanding a religion's interpretation of time and exploring its perception is accepted as one of the approaches to comprehending its principles. Based on this idea, this article delves into how chronos (measured time) and kairos (experienced time) are manifested in Daesoon Jinrihoe. In Daesoon Jinrihoe, the moment when chronos and kairos intersect is considered a moment of spiritual experience. Ethical codes are accomplished in the midst of the process of defining this time as the Heavenly Dao and adjusting human affairs accordingly. These ethics lead individuals towards a religious life. East Asian traditions also apply this logic, but Daesoon Jinrihoe differs in that it emphasizes reinterpreted ethics. Furthermore, Daesoon Jinrihoe posits that Degree Numbers (度數) are a device that ensures the transition from chronos to kairos. Degree Numbers, which are both a law of the universe's motion and a function of time, were emphasized by the Kang Jeungsan when he advocated for the discarding of old ways and the creation of the new ways. He thereby urged humans to live in accordance with time. Time is also facilitated in the dimension of ritual observances and participation, with examples including prayers, devotional offerings, and holy works (gongbu, 工夫). Those rituals of Daesoon Jinrihoe actively incorporate a unique basis of reason for this style of engagement with time, which is one of the aspects that is held to secure justification.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.16-30
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• 2012

This study examines the types and features of formal ritual hats for Tibetan Buddhist priests. Findings of the study are as follows. The types of formal hats that Tibetan Buddhist priests wear during religious rites or rituals include: u rgyan pad zhwa, pan zhwa, tshogs zhwa, rigs inga, zhwa nag, zhwa dmar and dwags zhwa. The reason why such formal ritual hats as listed above were developed is because the region had an alpine climate, and also because they were the symbolism of Buddhism, the most reverent priest, and reincarnated Buddha thoughts. They were an essential part of the culture of dressing Buddhist statues and offering utensils. Formal ritual hats' shapes originate from lotus. They are colored in red, yellow, indigo, green, white or black, that reflect the nationality and aesthetics of Tibetans. They are mainly made of woolen or silk fabrics. They are usually decorated with gold, git bronze or jewels and the patterns of the sun and the moon, vajra or clouds.

• Architectural research
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• v.13 no.4
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• pp.31-42
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• 2011

This study notices that all religions in Central Asia from the fourth century through seventh century C.E. provided considerable hands in keeping a uniform unity through a process of assimilation, although art and architecture were greatly stimulated by the creative genius of the many people. The study thus intends to argue that the common ideas of rituals and primitive forms of religious shrines lead the square-based layout of Buddhist shrines the unity and universality in the architectural products of particular regions or epochs: i.e. the "square-based plan" in Buddhist temples of Central Asia was a significant prototype in the synthesis with pre-Buddhist architectural models and Buddhist universal ideas. Thus, this thesis notes that they did not lose the universal principles of the Buddhist shrine plans due to ritual functions, and even there have been never differences from pre-Buddhist building models remarked by the periods and the venues in which they were produced, although there had been continuous evolutions and adaptive transformations in the local tastes of religious architecture. Accordingly, this study discusses how such plans in Buddhist architecture had been consistently produced within that regional style also representative of the local idioms of architecture, and how they were adopted in the sites, founded on the composition of ritual functions. The foreign architectural cultures were selectively chosen getting along with local building types of each site according to each taste for architecture as a result.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.6
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• pp.866-886
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• 1995

The purpose of this study is to analyze the pattern and the meaning of textiles, and decorative techniques of ikat weaving and dyeing in Indonesia. The textile design also analyzes by examining the method of ikat techniques such as warp ikat, weft ikat and double ikat, and by classifying the style of regions. The most common motifs are geometric designs of spirals, meanders, straight lines, triangles, and circles which are influenced by outside world. Although these motifs or symbols have been evident since prehistoric times, their design and meaning have been continually reinterpreted as changes in the ceremonies and rituals. While motifs such as reptiles, birds, and human figures, depicted in spiral, hooked and rhomb configurations, have been identified among the most resilient features of Indonesian textile design, new meanings have been added to these ancient forms, and designs have been transformed and reinterpreted to suit local conceptions. Since textiles are a visual expression of Indcufsian life, textiles place the individual symbolically within social milieu, identifying rank, family, locality and religious affiliations. Textiles represent a link between the human and the spiritual realm, and a vehicle for the display of sacred and secular potency Ikat textiles play to embody special transforming powers and sacred mediating qualities, providing protection and evoking life-enriching forces for individuals or social group.

• 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.

• Culinary science and hospitality research
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• v.24 no.1
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• pp.122-129
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• 2018

The purpose of this study is to understand the evolution of food culture by applying the evolutionary mechanism to the process of forming the dog meat culture. To do this, this study first examined mutation, selection, and replication as a evolutionary mechanism by biological genes and explain the evolutionary process of food culture by applying so-called 'mime' which is a virally-transmitted cultural symbol or social idea. A meme acts as a unit for carrying cultural ideas, practices, that can be transmitted from one mind to another through writing, speech, gestures, rituals, or other imitable phenomena with a mimicked theme. In addition, this study also intended to use in-depth interviews on how people have diverse cultural perspectives interpret and accept edible culture of dog meat. In Korea, which was a traditional farming society, dog meat which is easier to obtain compare to beef has been chosen as an important source of protein. And this choice has been repeatedly reproduced through generations. However, the current generation's awareness of the edible culture of dog meat has changed. The meme of pet culture has been selected and replicated, and this cultural evolution will eventually lead to the culling of dog meat.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.144-161
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• 2013

Seok, shoes worn for rituals that originated in China, is worn as part of a formal dress in Korea. The Seok for men were worn with Myeonbok(冕服: kingly ceremonial costume) and Wonyugwanbok(遠遊冠服) and the Seok for Jeokui(翟衣: queenly ceremonial costume) and Jangsam(長衫). Myeonbok, Wonyugwanbok, Jeokui and Jangsam were ceremonial costumes of ancient times. This paper examines Seok, which has never been the focal point of a study, and focuses on the period of Joseon(1392~1897). It was possible to concretely identify its changes in each of the periods and genders by means of the literature and picture data. It turns out from this paper that a unique Korean style emerged in the days of Kings Yeongjo(英祖: 1694~1776) and Sunjo(純祖: 1790~1834). The Seok that were imported from China after the Goryeo period included a neck part, which was a departure from its original form. However, during this period, fences were added on the top of the shoes, and rings were added to thread laces in Seok from China. Women wore their Seok in this period with different ornaments in accordance with the different situations.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.11
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• pp.1330-1337
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• 2003

According to the way of expression and the ritual procedure, there is a difference in the costume between Jinoggigut in Seoul and Sitggimgut, hereditary dance in the southern part of Joella province. Even though they share the same story, which is to soothe the spirit of the deceased and to listen to the grudge of the remained, the two shaman rituals are slightly different in their costumes. And the characteristics of the costume in Seoul Jinoggigut, and Jindo Sitggimgut are as follows; First, both in Seoul Jinoggigut, a spiritual dance and Jindo Sitggimgut, a hereditary dance, the universal roles of shaman costume, which are generally shown in "gut", are found-build a sacred environment, prepare for the experience of the spiritual world, listen to the grudge of the deceased and wish for God's bless. Second, the shaman costume has a special role to express specific and complex symbols-representing God on one hand, symbolizing the dead on the other. Third, unique symbols are found in the costume of Mangjachoendogut with the formality of the ritual procedure.

• Journal of the Korean Institute of Landscape Architecture
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• v.32 no.5
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• pp.129-138
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• 2004

Cherishing the dead is based in sadness. Designing a memorial space therefore has an inherent challenge to evoke the feeling that is so personal and varied by providing a physical space. The tendency of memorials, especially in the US after the mid 20th century, has been to emphasis each dead individual, as seen at the Vietnam Veterans Memorial in Washington, D. C., the Oklahoma City National Memorial in Oklahoma City, and so forth. In the process of designing the memorial of the Taiwanese Chi-chi earth-quake, Cheng Kim Park Robidoux tried to set up a series of spaces through which not only the relatives of the dead but also unrelated visitors could have their own spatial experiences, private rituals and public events, so that they can finally build up a collective memory. Sky-Well consists of a large bamboo forest enclosing a void. Without a particular entrance and guiding system, visitors stroll and get lost in the bamboo forest before they find the central void. The horror they experienced during the earthquake is melted down into the motion and phenomenology of the bamboo forest whereas the central void is reinterpreted as an empty mind, where people find solace from the sky. Details, such as the bamboo wall to place commemorative flowers and lotus blossom paving, are echoing the theme of rebirth.