• Journal of the Korean Geographical Society
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• v.40 no.2 s.107
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• pp.172-186
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• 2005

I examine in this paper how the contemporary sacredness of Mt. Chirisan has been modified through the reworking of the embodied experiences of the mountain. 1 examine the theme of escapism through the cases of mountain men and Chonghakdong. The two mountain men, Huh Man-Soo and Ham Tae-Sik, tacitly suggested a modem aesthetic and environmentalist view of nature by articulating a typical form of appreciating nature in a transition period from pre-modern to modern society. Mountain men mediated their own personal dreams of revitalizing the Taoist utopian place with their social practices of modernizing and democratizing the appreciation of nature. Ultimately, the appearances and practices of mountain men symbolize the end of the pre-modern geographical imagination of the mountain as distinctive plate outside society (real world). Therefore, the vision of modem civic-national landscape, national park, was made concrete at the very site where the people's dreams of utopia, the inherited sacredness of the mountain and people's religious beliefs in its protective power were terminated.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.60-71
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• 2011

This study set out to examine Hakchangui worn in Joseon around the 18th century and further the relationships between the Chinese Hakchang and Joseon Hakchangui, as well as to figure out spread factors of Hakchangui. The study proceeded as follows: 1)The Hakchangui was examined those appearing in the collections of works and paintings after the 17th century. 2)The Zhuge Liang's Hakchang was researched through Romance of Three Kingdoms, paintings and sculptures. 3)The images of Hakchangui wearers described in literature were investigated to understand the symbolic meanings of Hakchangui in Joseon those days. Those research efforts revealed four findings: 1)In many cases, the Hakchangui worn in Joseon in the 17th and 18th century has side slits, but no back slit. It's both sides of the center front were parallel, not overlapped. 2)Hakchangui was strange to the Joseon people until the end of the 18th century but started to permeate among those who liked classic style. 3)The aspects of Zhuge Liang were standardized in the combination of 'Yungeon, Hakchang, a feather fan and a wagon' in Romance of Three Kingdoms. 4)Zhuge Liang was considered as a symbol of wisdom and loyalty and had an image of a Taoist hermit who transcended the mundane world. The analysis of the research findings led to two following conclusions: 1)ln Joseon the Chinese Hakchang was introduced to people who had exchanges with Chinese or liked classic style in the 17th and 18th century and gradually spread by their advocates. 2)The Hakchangui must have been increasingly worn by more Joseon scholars because they started to borrow the image of Zhuge Liang driven by the popularity of Romance of the Three Kingdoms and the tendency of reinforcing Zhuge Liang's image as a loyal subject by the kings of Joseon.

• The Journal of the Korea Contents Association
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• v.12 no.5
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• pp.199-205
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• 2012

The purpose of this article is to study on the public administration in the perspective of I Ching(周易) which is the original philosophy and science of East Asia. I Ching is divided into two different schools, namely, the school of Image- Number I(象數易) and the school of Right Theory I(義理易). The school of Image- Number I are five science and technology(名 卜 醫 相 山) and astronomy, and so forth. And the school of Right Theory I are a Confucanist, a Taoist, a Mukist and all other thoughts. The meaning of Eastern Public Administration in mordern society is newer and better advanced concept, theory, and thoughts than western science and technology.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.32-46
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• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.

• The Journal of Korean Academic Society of Nursing Education
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• v.8 no.1
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• pp.108-119
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• 2002

This paper as the basic study aiming the establishment of nursing theory according to Korean culture, is made to reveal the types of recognition about concepts of health immanent in Korean who have the health view, completely mixed with traditional oriental medicine and Confucianism and Buddhism and Shamanism and european scientific medicine, etc. This paper is using the Q-method, which is greatly effective in measuring the individual subjectivity, to collect rightly the concepts of health of objects. This analysis shows us the 4 types of recognition about concepts of health immanent in Korean as follows. Type Ⅰ: modern self-searching type(現代的 自己 追求型), Type Ⅱ: nature-sharing type(自然 共有型), Type Ⅲ: meaning-intentional altruism(意味 指向的 他者 中心型), Type Ⅳ: oriental adaptational type(東洋的 順應型). The men belonging to type Ⅰ have positive and self-searching view of health. They are not only interpreting the concept of health scientifically, but also positively accepting the oriental concept of health. The men belonging to type Ⅱ have strong tendency of down-to-earth. They not only have the naturalistic view of health as Taoist, but also carry the weight in the family and neighbour and regard co-sharing as excellent virtue. The men belonging to type Ⅲ are positive altruists, pursuing the meaning of life and at the same time setting the importance to the good value system. Naturally they care more the family and neighbour than themselves. The men belonging to type Ⅳ have oriental view of the world characterized by nature-adaptation. They positively agree to the Shamanism, Buddhism, Confucianism and Oriental concept of health. In conclusion, in all types we can see that Korean understand the harmony of man and nature as fundamental principle of heath and carry the more importance to the mind(心) than body(身) and at the same time esteem more the family-centric, oriental and organic community than individual. All above facts is immersed in the concepts of health of Korean as a common denominator.

• Korean Journal of Human Ecology
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• v.5 no.1
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• pp.14-27
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• 2002

The purpose of this study is to identify the ritual dress used by the 12 religious bodies of Dankun followers to help understand the teachings of these currently operating religious groups in Korea. The findings from the survey and related literatures are used to analyze the characteristics of these ritual dresses in terms of their items, construction, form, and color. The results of the study are as follows: first, most of the religious groups of Dankun followers have established the code for ritual dresses and they are named as 'chaebok'(제복, sacrificial robes), 'yebok'(예복, ceremonial dress), 'chungbok'(정복, formal attire), 'pubbok'(법복, Buddhist formal dress), or 'tobok'(도복, Taoist garments). The official headgear is usually named as 'chaemo'(제모), 'soogun'(수건), 'moja'(모자), or 'yoogun'(유건, 儒巾). Though, there are some groups which do not use any specific names for headgear. Second, the ritual dresses of most groups are composed of the 'hanbok'(한복,韓服) or usual Western-style dress, a traditional outer wear, 'po'(포,袍), and a headgear, as a basic attire. Third, the traditional 'hanbok' is worn as a base garment and an outer wear is worn above. The different types of outer wear are used: mostly 'chaksu jueui jikyoun po'(착수주의직령포, 窄袖周衣直領袍) for men and 'kwangsu jikyoung po'(광수직령포, 廣袖直領袍) and other various styles for women. The headgear from the ancient times are worn by both men and women. Fourth, the most frequently-used color for ritual dress is white for both men and women's dress. The colors from the Yin and Yang ideology are also used in the ritual dresses. Finally, the kinds of materials are not considered as an important element for the ritual dresses.

• Journal of architectural history
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• v.2 no.2 s.4
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• pp.37-49
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• 1993

The Purpose of this study is to look for the total conspectus of Roo-Jong(RJ) Architecture in the middle and latter era of Koryo Dynasty. The method of this study is the review of old literature, the Roo-Jung description of Dong-Mun-Sun, which had compiled in the Ninth year of Seung-Jong (AD 1478) by confucian scholar. The conclusions of this study can be summarized as follows : 1) The main currents of thought having a great influence on the RJ are thought of Mountain God (or Sin Sun, which is dwelling in mountain) or Taoist, thought of Lao-tzu and Chuang-tzu. They had required the RJ Architecture to pursuit the life of God. In this existence value meaning, the RJ Architecturethe is the semi-sacred & profane space. In the being aspect, RJ is the transcendental architecture. 2) The way of life of in the RJ had strongly turned from the personal space, mainly mind control place, into the friendship-society space, pastime place. 3) The RJ had located after the images that is what should be. The images were formed on the ground of natural landscape elements, communication elements. And these elements were indicated on one's visual, auditorial sensation with oneself. 4) In planning aspect, the scope of visual, Pungsu and history were aided with the factors of climate, topography and geography. Specially in location and fabric planning, they had regarded more important the objects and scope of visual than the climate factor.

• Journal of the Korean Institute of Rural Architecture
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• v.12 no.4
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• pp.77-86
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• 2010

This study is about Tak Mok theory of feng-shui ideology which was main thought in Choson dynasty or some other thoughts and noble families' thought of garden building : planting trees and properties of the noble families garden. The result from the study of noble family's garden molding is as follows. In the noble family's garden molding, there were considerations of plant ecology known through long experience and the functional aspect of planting tree and esthetic sense of housing circumstances, in addition to feng-shui thought, Taoist thought and the doctrine of the five natural elements of the positive vs. negative. We can learn Choson's noble family's garden included playroom as well as symbolic and incantatory meaning. Also in the thought of noble family's garden molding we can found proper element for modern housing plan such as an ecological peculiarity or functional aspect of dwelling circumstance. And we can also found they didn't show a rejection symptoms against nature but enclosed with straight form which was traditional trait, and each space of it is composed organically. Also we knew they selected a diverse and refined technique with it's decorating the Choson dynasty playful and meditative space. We found that the key point of the thought of noble family's garden molding were on the basis of Confucianal mood, content amid poverty thought and free technique of it.

• Journal of Society of Preventive Korean Medicine
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• v.23 no.3
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• pp.83-107
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• 2019

Objective : We compare the nurturing theories of Between the Nurturing Theory of Dogyogwonseonseo(道敎勸善書) JeungjungGyeongsinrok(增訂敬信錄), Gyeongsinrokeonseok(敬信錄諺釋), Taisanggauempyeondosul(太上感應篇圖說) and Guahwajonsin(過化存神) vs Dongui-Susebowon-Sasang-Chobongwon(東醫壽世保元四象草本卷) and Dongui-Susebowon(東醫壽世保元) of Lee-Jema. And the influences that Dogyogwonseonseo had on Nurturing Theory of Lee-Jema. Method : We sort out the identical or similar vocabularies and abstract the important concepts from all four kinds of Dogyogwonseonseo and two kinds of Lee-Jema's books mentioned above and compare them respectively. The prehistories of vocabularies and concepts needed such as Bok(福, good fortune) and Su (壽, longevity) will be traced. And the synchronic understanding needed such as 'Good deed leads to longevity and good fortune whereas evil deed leads to short life' in late Choseon dynasty will be surveyed by investigating the controversy of the time. Results : The Nurturing Theory of Lee-Jema was influenced by all four kinds of Dogyogwonseonseo mentioned above. We can ascertain the influence from Lee-Jema's Concept of Myeong(命), Nurturing Life through everyday life, 'Good deed leads to longevity and good fortune whereas evil deed leads to short life', deceiving mind(詐心), betraying mind(欺負心) and the jealousy of Man and Woman. Conclusion : The influences Dogyogwonseonseo had on Lee-Jema's nurturing theory were key concept words such as Myeong(命), the ways of thinking like 'Good deed leads to longevity and good fortune whereas evil deed leads to short life' and vocabularies such as deceiving mind(詐心).

• Cross-Cultural Studies
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• v.31
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• pp.65-94
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• 2013

San-he-ming-zhu-bao-jian-quan-zhuan(三合明珠寶劍全傳), this work is characterized as follows: First of all, San-he-ming-zhu- bao-jian-quan-zhuan's charaters appear equally, the readers feels familiar. this work is formed a universal consensus. Ordinary people must empathize about xia-yi(俠義) and retribution, this work was well represented. Because the readers would have liked to this story. It was an intimate relationship between China and the Joseon Dynasty(朝鮮) all the way, The Joseon Dynasty imported books and the products of civilization. High official, official interpreter, woman loves the classic Chinese novel. The classic Chinese novel was transcribed, published, translated into a book. San-he-ming-zhu-bao-jian-quan-zhuan were introduced in the Joseon Dynasty, Sungkyunkwan(成均館) University holds one version. This work is being compromised, many missing words. Domestic holdings are rare. San-he-ming-zhu-bao-jian-quan-zhuan is a novel of chivalry, the character are classified into the chivalry, negative hero, person of affection, fantastic figure. This work is centered around Majun(馬俊). Maluanying(馬鸞英) is the heroin, seen as the classic case of overcoming adversity. Quzhongcheng(屈忠成) is the prime minister, negative figure, he fight with the chivalry, was defeated at the end. Liuxu(柳絮) is person of affection, overcoming adversity, marries the two lady, has a heroic side. Fantastic figure is more enriching the contents of the work, is Buddhist and Taoist figure, serves as the positive and the negative role. San-he-ming-zhu-bao-jian-quan-zhuan is a similar assessment on Zheng-chunyuan(爭春園)'s character and plot, But Liuxu's love story is strengthened. Therefore, continued research is needed for this work.