• Sim-seong Yeon-gu
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• v.29 no.2
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• pp.101-126
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• 2014

'Transference phenomenon' is considered as a essential feature in psychotherapy as well as psychoanalysis. But there is much difference in conceptual and methodological issues for 'transference phenomenon' among various psychoanalytical schools. In general, the depth psychological studies for 'transference phenomenon' are mainly from the psychoanalytical view of point but relatively sparse from the analytical psychological view of point which has more holistic and deeper understanding for human psyche. So this article was intended for a comprehensive review of 'transference phenomenon' from the perspective of analytical psychology and tried to make an understanding for its meaning. To begin with, the concept of 'transference phenomenon' was investigated from the view before Jung and after Jung, with Jung's view in the center. Then it was made clear that 'transference phenomenon' from the perspective of analytical psychology could be understood by several characteristic aspects. It was suggested that a careful study on the symbolic meaning of the woodcuts' pictures in Rosarium Philosophorum including a proper interpretation of its posterior part to which Jung didn't refer in "The Psychology of The Transference" be devoted to the genuine understanding of 'transference phenomenon' from the perspective of analytical psychology afterwards.

• Sim-seong Yeon-gu
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• v.33 no.2
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• pp.99-140
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• 2018

After a careful review on the concept of transference from the perspective of analytical psychology with Jung's view in the center, the author had proposed that an interpretation for the whole series of 'Rosarium Philosophorum' including its posterior part to which Jung didn't refer in 'The Psychology of The Transference' be carried out for the genuine understanding of transference. The symbolic meaning of the twenty woodcuts' pictures in 'Rosarium Philosophorum' could be interpreted as the alchemical stages of blackening, whitening, yellowing, reddening and etc. The transformation through each stage could be associated with the process of psychotherapy as well as individuation process and the meaning of transference could be elucidated as a kind of initiating process for the individuation process. The eastern traditional thoughts on psychic transformation and human development were also compared. The individuation process would be coexistent with the development of human relationship including the therapeutic relationship and the concept of human (人 and 人間) in the eastern traditional thoughts would have many meaningful implications for further studies.

• Sim-seong Yeon-gu
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• v.39 no.1
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• pp.92-128
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• 2024

This study examines Gijesa, a Korean tradition of memorial worship for departed ancestors, from the perspective of analytical psychology. To understand the psychological background of ancestral rites, a literature search was conducted to examine the basis for ancestral spirits, the objects of ancestral rites, the symbolic meaning of the customs and practice of Gijesa, and the contents of volume 3 of the book Jhuza-uryu about 'Ghosts and Ancestral Rituals'. Gijesa, the Korean ancestor worship, may appear as a complicated formal ritual, but it reveals a psychological phenomenon of individuation. Gijesa facilitates a conversation between descendants and ancestors, bridging the conscious and the unconscious, leading to a realization of totality. The creative aspect of spirit worship lies in the 'realization of the individuation process' in that it fosters a connection with the collective unconscious, the root of consciousness. When an individual develops into a new integrated personality, we could gain strength from the support of ancestors, the support of the unconscious. The relationship with the spirits of ancestors is essential because consciousness has an important relationship with its root, the collective unconscious, especially for those of us living in an era of chaos where the fundamental meaning of human existence is lost due to rationalism and materialism.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.63-73
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• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.

• Journal of architectural history
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• v.23 no.4
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• pp.91-100
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• 2014

There are lots of and kinds of stone pagoda and stone Buddhas at Unjusa Temple in Hwasun, Jeonnam, which is thus called as Cheontap(千塔) or Cheonbul.(千佛) Several archaeological excavations have been conducted in Unjusa though, the foundation purpose or background motivation is yet wrapped in mystery. Circular shape is representative pagoda of Unjusa made of round frame or spherical roof but circular stone pagoda is unusual that there is no similar example found in India or China as well as in Korea. Located in the symbolic center, Circular stone pagoda is a key to understand Unjusa. Yundeung(輪燈) is made of stone for circular stone pagoda and there are craft lamp and large lamp. The large lamp, for the palace courtyard on the occasion of Palgwanhoe,(八關會) consists of discs and light on each disc. Outdoor lamp of circular stone pagoda made of stone for permanent preservation purpose. Unjusa is a very special temple with stone-yundeung for circular stone pagoda. In this study, a circular stone pagoda that is the source of yundeung said. Unjusa circular stone pagoda next to the title of 'yundeung pagoda' and proposes to call.

• KIEAE Journal
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• v.15 no.1
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• pp.21-27
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• 2015

In the case of public buildings, fast communication and transparency in the administration and the public, as well as ensuring visibility and lighting performance using a glass curtain wall is symbolically expressed through the transparent glass skin. This study is a simulation in order to derive the basic data for the establishment of the improvement of the heating and cooling load analysis according to the window area ratio changes with respect to the high effectiveness of the government's large public building energy consumption analysis and green building certification system of guidelines was analyzed by a change in the energy load. Glass curtain wall is light and visibility, the symbolic meaning of communication, etc., but is widely used in a variety of characteristics, in terms of energy consumption being disadvantaged sheath plan should have been. Design, including the Atrium, is much less energy than energy consumption by the window area ratio. Thus, while compliance with design guide lines, the atrium and I like the burden of a large space ratio and energy load consists of only glass suggest that require more research on that given in the guidelines.

• Journal of the Korean Home Economics Association
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• v.46 no.7
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• pp.35-45
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• 2008

For the highly involved and emotional product, such as cosmetic product, the consumer focuses on the information about the symbolic meaning of a product. As a continuum, cosmetic advertising frequently requires a celebrity and/or cue since it provides identification between customer and cosmetic. Although many studies have examined the effectiveness of the congruence between brand image and self-image, there are little research regarding the congruence between advertising image and self image. The objective of this study is to examine the attitudinal effectiveness of the congruence between cosmetic advertising image and self-image. For the experiment, 2(ad type: rational vs emotional) factorial designs were performed. A total of 240 undergraduate female students participated in the experiment. The results of the study are as follows. First, the congruence had a significantly positive influence on advertising attitude, but not on brand attitude. Second, the type of cosmetic advertising caused differences in attitudinal persuasiveness affected by the congruence.

• Journal of Fashion Business
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• v.14 no.1
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• pp.106-115
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• 2010

This study's purpose is to, first survey the traditional children clothing, clothing which doesn't get studied mostly. Second, to choose the factor that can modernize. Third, to design the present one-piece dress. Fourth, to gather an understanding about traditional children clothing and make a chance for children to wear the clothing that has a traditional factor. Traditional children clothes have a same shape with adults' clothes they use five primary color and use a pattern of a symbolic meaning which means healthy and long life. For ordinary wears there are Chimajogori and Bajijogori and for ceremonial dresses they wore Durumagi, Sagyusam which are Po and Dangui and headdress was added. The shape was considered by the children growth condition so the Gorum got longer. The dragon, cicadas, butterfly, phoenix and lots of flower pattern was used by the difference with the class. 5 one-piece design adapted Jogori, skirt, Dangui, Sagyusam, Magoja and used the traditional fabric by mixing the five primary color and the five secondary color was used to make traditional color. This study expects for a chance of children to wear traditional Hanbok or Hanbok-adapted clothes.

• Journal of Oriental Neuropsychiatry
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• v.25 no.2
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• pp.203-212
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• 2014

Objectives: The aim of this study is to bring new light on TalYeong-SilJeong (exhaustion of Yeonggi and loss of Essence) through the verification of both the original intention of Hwangjenaegyeong and the conceptual variation afterwards. Methods: Of various East Asian medical texts, those inferring to TalYeong-SilJeong includeing Hwangjenaegyeong itself were closely examined under the aspect of its conception. Results: TalYeong-SilJeong was suggested as the first representative tool and accurate diagnostic method of questioning in order to determine the mental state of a patient. However, medical scholars have suggested different levels of meaning. Some used the term for the broad coverage of mental illnesses, understanding Hwangjenaegyeong's discrimination as symbolic gesture, while others projected an unchallenged value on it and weaved it into the concrete set of a disease. Conclusions: The treatment of TalYeong-SilJeong is suggested according to the varying viewpoints of each medical text. By understanding multiple layers of the conception beyond, a clinician is expected to gain an exuberant image of conception on the one hand and an insight for more effective treatment on the other hand.