• Journal of the Korean earth science society
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• v.30 no.3
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• pp.317-329
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• 2009

By comparing the understandings of theology major with science major in a college, this study investigates how theology major students view the origin of universe and life and how they portray the view of sciences. In addition, this study examines how theology majors change their viewpoints through a series of lectures related to understanding of the modem sciences. Twenty six theology majors and nineteen science education majors participated in the survey investigation. For theology majors, questionnaire data revealed that 42% of theology majors support theistic evolution, while 42% responses with young and old Earth creation and none with evolutionism. On the other hand, most respondents in science education major espoused evolutionism and no one with extreme creationism. Most respondents with creationism shared the insights that science is an instrument for describing the creator's work, whereas most with evolutionisms perceived science as a logical and descriptive system of the natural world. After taking science courses, the theology majors' support of an extreme view like young Earth creationism has decreased by 4% (was 23%), while their support of the theistic evolution increased by a small percentage. This result lends support to the idea that science related courses helps theology major undergraduate students to understand the scientific evolutionism based on their theological backgrounds.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• Journal of Physiology & Pathology in Korean Medicine
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• v.17 no.4
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• pp.861-878
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• 2003

In the ancient time wind is considered as the life . soul and the human's breath which represents essence of universal creation and the absolute power and also the messenger of the god or god's state. Greek's 'pneuma' , India's 'Brahman' and the Old Testament's 'ruach' are used to signify the wind. Also Wind(風) in traditional culture, it is related to 玄妙之道 of 花郞, the flower of youth in Shilla dynasty and sexual intercourse in shaman's dream which can be thought as Freud's libido. In this aspect we can see the connection between the wind and the libido which can be meaning of sexual desire. Ancient Chinese wrote word ‘風’ as phoenix, the god's bird, the phoenix in inscriptions on bones and tortoise carapace(甲骨文) because one can feel the wind but can’t see it. The word Ki(氣) origins from 風 therefore 風 is 氣's fundamental notion. The wind can be understood by ki which travels around the world to create all nature. And the Wind is associated with 風化, 玄鳥, 八僧舞, which are related with reproduction. In the book of change (周易) the 震巽卦 ; 雷風 come under wind which means the function of ki and also menas the 精(essence of life) of 恒久(eternity) means the reprodution ; that performs succession of life. In the Oriental Medicine 氣 is a phenomenon that appears by movement of Ki by 相火(Ministerial fire). 相火 is core of the succession of life which means preservation of descendants; therefore 風 has very similar concept with sexual desire. 風 is the beginning ki of universe and in human body aspect 風 belong to the Liver Meridian. If 風 makes movement then the Pericardium Meridian of Hand Kwolum responds and the genital organs which belongs to Liver Meridian of Leg Kwolum reproductive function by contraction and expansion. Generally 風 understood as movement and origination and this is recognized as meaning of 氣. Therefore as studied above the present writer believe m. participates closely to reproductive function.