• The Research Journal of the Costume Culture
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• v.7 no.3
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• pp.50-57
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• 1999

Folk belief, which originated with the rise of human existence is a fundamental and comprehensive mode of living that reflects sociocultural conditions. Adherents of folk belief accept a certain thing to be true and real without scientific authority and absolute certainty. Taboo can be seen as a king of folk belief. The object of this study is to examine the taboos in relation to the manufacturing process and the quality of the shroud and to shrouding customs. I will also try to find out the meaning and significance in this. Through this task, I hope to contribute to the enhanced understanding of the cultural characteristics, the spiritual life, and the views on after life of the Korean people. In Korea, it is considered to be propitious to prepare the shroud on the intercalary month of the leap year , as it allows one to enjoy longevity healthy and sound. Moreover, as this belief gives credence and repose while preparing for the “final departure”, this custom is relatively well observed. From the taboo concerning leap months, we infer that death as viewed as a commencement of a new life, which reveals a positive view on afterlife. This can be seen as a return to the origin of anti-universal space in this “bonus” month of anti-universal time. Taboos on the manufacturing process of the shroud is related to the belief that it allows the deceased to go the nest world without any hesistation or disturbances. This symbolizes the immortality of the human soul: I. e. that the human spirit does not end in this world but continues on to the next. Taboos concerning the preparation process of the shroud as well as various other taboos are related to the belief that preparation for the shroud should be done in sincerity and secredness with a thoughtful consideration for the deceased. This can be perceived as an implication to sanctity for the dead.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.1
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• pp.59-72
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• 2014

This study investigated slow fashion consumers from a human desire viewpoint in order to examine the psychological aspects of slow fashion consumption. First, the concept of slow fashion was defined. Second, this study reviewed the concepts of desire found in Oriental philosophies and applied them to slow fashion consumption. This process identified the fundamental desire that motivates consumers of slow fashion. Lastly, the psychological aspects slow fashion consumers were examined through a comparison of fundamental desire and external reasons given by interviewees in regards to personal motivation to purchase slow fashion products. Data were collected through in-depth interviews with 10 unmarried women 25 to 37 years old with experience in buying slow fashion products. Exploratory data were classified into external reasons and fundamental reasons to derive the concept of slow fashion. First, slow fashion is defined as sustainable fashion that considers humans and nature. It also seeks to produce morally good products that transcend time and space. Second, we identified the following external reasons: social responsibility, pursuit of healthy products, and pursuit of beauty. Finally, we extracted four factors that reflected fundamental desire: Recognition Desire, Ostentation Desire, Sexual Appeal Desire, and Power Desire. Altruism was emphasized by respondents who expressed social responsibility among external reasons and the desire for recognition among fundamental reasons. However, this goodwill also originated from human desire due to the emotional healing they receive from helping others. Interviewees sought psychological benefits such as self-satisfaction and spiritual growth through slow fashion that implied an Association of slow fashion consumption with human desire. Slow fashion consumption was influenced by moral convictions as well as various desires; in addition, external reasons for slow fashion consumption could be explained by desire.

• Korean Journal of Human Ecology
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• v.8 no.2
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• pp.327-337
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• 1999

Primitive men's primordial formative activity derives from incarnation contained in intensive vitality and strong creativity mind. The trend of modern fashion requiring the boundless imagination can be called that it, just, itself, has something in common with basic spiritual activity that primitive men had. What is concerning how modern fashion designers have developed formative language through enchanting primitive art is as follows. 1. The nature's mysterious power appears to be transformed into personified image. The incarnation for acquiring beauty, power, prestige of genius appears in the form of personification, making use of mask in modern fashion. 2. As for primitive men, the whole universe has a potentiality as a symbol. The symbolism of primitive art based on religion and myth appears in modern art as the form of presenting oppositional objects together in one space. 3. Primitive art is the purest form and the most unpolluted. This shows the natural quality being assimilated into nature, which is expressed in modern fashion as intensity, free-spirit, simplicity, etc. 4. The primitive men's anxiety to the outside world appears as impulse. The geometrical form of primitive art occurred in the shape of impulse appears in expressional form of modern fashion. 5. The real existence in primitive art inducing real materials and objects, in themselves, into formative world appears in modern art in the way of expression such as repetition, enlargement, exact reproduction.

• Journal of the Korean housing association
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• v.22 no.3
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• pp.59-71
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• 2011

The purpose of this study is to investigate the basic historical characteristics and its modern trend of Torajan traditional housing architecture in Sulawesi Province, Indonesia. The Toraja culture belongs to the cosmological culture with Cosmos centric characteristics. A traditional house, being called 'tongkonan' in Toraja region, is more than just a structure, representing the symbol of family identity and tradition. The Torajan architecture is a combination of the myth and cosmos, also regional conditions. With a short description of the general conditions and spiritual values of the Toraja, this paper explains the space-composition, the stylistic characteristics, the ornamental elements, construction, and its modern trend, etc. In general, it is raised on stilts several metres high, with a dramatically boat-shaped roof. Village layout varies according to size. The houses are arranged in a row, side by side, with their front gables facing north. Each house stands opposite its own rice-barn. The houses with their oblong ground-plans, built on piles set on stones. The interior is divided into three or four rooms, having few window. The houses are embellished with carving and paintings, and the facades display engraved and painted geometric and figural designs. The most frequent motif is the buffalo head, ranging from the realistic to the highly stylized. The Torajan traditional housing have experienced radical changes during the Modern period. In spite of the popularity of new modern house-styles, the traditional architectural style is often now constructed as an icon of Toraja identity. This paper will be helpful for understanding regional diversity of the traditional housing in Southeast Asia.

• Journal of Haehwa Medicine
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• v.19 no.1
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• pp.87-98
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• 2010

There are four kinds of diagnosis methods in oriental medicine, and viewing diagnosis(望診) is the most important method among them. There are two ways in viewing diagnosis. These are viewing shape(觀形) and inspecting color(察色). Viewing shape diagnosis includes observation on geometric curve that is made by prominence of bones or lump of flesh, and examination on symmetric disparity and balance of vertical length among three vertical section of face. Inspecting color is literally inspecting several specified region of face. By Viewing shape, we can learn about characteristic physical mechanism of individuals, and basic disposition of reaction from inside and outside infinite stimulations. On the other hand, by inspecting color, we can estimate the very present pathologic and physiologic status of the patient. the estimation is based on principle that inside body changes reveal some reflections on facial skin surface. When you diagnosis patients with inspecting color method, It is important to distinguish color delicately, and to know where to see and what to know from it. The most important and frequently mentioned regions are myong-dang(明堂), eyes(眼) and In-dang(印堂). Myong-dang(明堂) indicates nose. In-dang(印堂) indicates the space between eyebrows. Unlike myong-dang(印堂) and eyes, In-dang(印堂) is occasionally treated as a trivial region then others. But, from research on classical books of facial examination and consideration of it's locational meanings, we've learned In-dang(印堂) is very important in viewing diagnosis, because this region is crossing of the other two regions and this fact means this region expresses the spiritual status as well as physical status in one region.

• Journal of architectural history
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• v.21 no.4
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• pp.93-106
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• 2012

Jean Renaudie was an French architect who designed many urban social housing in France, especially in the city of Ivry-sur-Seine, near Paris, with Renee Gailhoustet, co-responsible as the architect of this city, communist city from long time. He was formed as an architect by the influence of Auguste Perret and Marcel Lods, two french architects, great specialist of the structure of concrete. He formed the Atelier Montrouge with Pierre Riboulet, Gerard Thurnauer, Jean-Louis Verret, and proposed many innovative projects, based on geometrically pure forms and masses. After he joined Renee Gailhoustet, the architect of the City of Ivry-sur-Seine, as a co-responsible for the redevelopment of this ideologically communist city. His urban housing concept approached to take the function as a space to welcome the urban life of the resident, not to offer the physical provision of housing repeating the simple housing unity. He accentuated the social role of Housing project not only as the level of a personal home but also as that of an urbanism. He offered divers choice opportunity to the citizen by the urban functional complex through his efforts to make characteristic complex of urban housing, and by the consequence, the innovative result was done which ameliorated the quality of life for resident. This is an exceptional example, not only in France but even in whole over the world. But the maintenance of building against the oldness and the closing shop of inside commercial zone of Jeanne Hachette became a problem, not only that of physical amelioration but also that of spiritual conservation of the works of Jean Renaudie.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• Cross-Cultural Studies
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• v.37
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• pp.51-79
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• 2014

Seriously depressed by the failure in the first performance of his own drama ${\ll}$The Government Inspector${\gg}$, N. Gogol sought out a space, Italy, which is obviously a turning point for the writer. Here in Italy, the writer could be able to explore an essential foundation for the national identity as well as self-identification of Russian traditional culture, all of which have already been epitomized in the Renaissance period in Italy. The city Rome itself provided Gogol with its grandness and harmonious perfectness, influencing something 'spiritual being' upon the writer. The work under discussion, "Rome," is thus created through these literary circumstances. Though it is made under the different title as "Annuntiata" and it delivers a love story between lovers, the story lines gradually turned into a fiction about the city, Rome. In comparison with city Paris, Gogol himself presents a negative view of the French metropolitan, saying that it is nothing but a by-product of the 19th century civilization. Interestingly enough, Rome for Gogol is totally different; it is the place of sublimity, that is a locus of harmonious, holy, and eternal city. Likewise, this pattern can be said of another description on the two contradictory cities: Paris and Rome. Again, Gogol fully pictures the city Paris as centripetal and Rome as centrifugal, in which the main protagonist makes the reader indulge in his own world. Throughout the story the writer tells us a transformation experienced by his character, and the work ends with an open denouement. Like Jerusalem, Rome is the city of resurrection for Gogol. Yet, this kind of possibility of transformation in the story is exposed to the hero, and it arguably depends on the extent to which he explores the readiness for encountering of 'eternity' in this "eternal city."

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.11
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• pp.101-108
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• 2019

In this study, Le Corbusier's ideas were investigated from the view point of modern dualism. Le Corbusier, pioneer of modern architecture, insisted a rationalistic architecture for the industrial period, considering a house as 'machine for living'. In the other way, he tried to arouse emotions through architecture, mentioning a house as 'machine for affecting'. In his writings and paintings, he divided the world in the two opposed things (ex: human and nature, reason and sensation, chaos and order, orthogonal and libre curve, man and woman, sun and moon, lightness and darkness, bull and woman, and etc), and tried to combined the these two divided things. In architecture, he amalgamated his white buildings with the green vegetation, which is styled in the harmony of contrast(nature and articial). In urbanism, Le Corbusier did not divide nature only into three material elements for living(sunlight, air, green space), but also pursued poetic and aesthetic nature through buildings under the rays of sun and among the vegetation. Le Corbusier's dualistic ideas are based on Descartes's modern dualism, which divided the world into the material and the spiritual and into the objective and the subjective. Due to this original division, modern dualism contains the limits of extreme subjectification on human signification and of separation from the world and nature. Le Corbusier pursued the combination of the two divided things to overcome the contradiction of dualism, but his ideas and works contain the limits of the modern dualism.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.393-426
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• 2020

In the past, holy sites were mainly designated on a basis of archaeological norms and endowed with a specific fixed identity according to historical, religious, and contextual interpretations. However, approaches to these sites are more flexible in recent times. These locations transcend the boundaries of space and time to enable the experience of diverse transformation and reveal multiple religious identities which are embedded in the complex interaction between power and authority. In this regard, the dynamic meanings of the religious symbology of Daesoon Jinrihoe's temple complexes, imagery, and the spatial structures enable us to grant them a new identity by re-establishing these structures as World Heritage sites. Temple complexes (dojang) correspond to the outstanding universal values identified by UNESCO in that the spiritual activities conducted at these holy sites draw the same attention as would be drawn by historical value. In this context, this study aims to explore the potential for Daesoon Jinrihoe's temple complexes to be designated UNESCO world heritage sites. To carry out this study, existing religious heritage sites such as Mount Athos Monasteries in Greece and Lumbini in Nepal are examined as case studies, and the operational plan, conservation, protection of relics, and interaction with its neighboring community and tourists are likewise closely examined in this study.