• Journal of architectural history
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• v.25 no.1
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• pp.23-32
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• 2016

This paper is to clarify on the Characteristics of the Layout of the Hue, the Capital of the Nguyen Dynasty in Vietnam, based on a close study of historical records. The results of this study are as follows: Hue was organized according to the traditional capital system of China, whereas the city wall was built Western-style called Vauban. It can be said that the construction of Hue was the result of reflecting both the regional situation that was under the influence of the Chinese culture and the situation of the time that required military facilities based on new technologies. The Axis of Hue oriented to southeast and the location of the government facilities related to way of construction, using the existing facilities. Some facilities that must be located within the imperial city were built its outside. Because facilities for ancestor worship was more important. The facilities for ancestor worship was able to get confirmation that Nguyen Dynasty was successor of ruler who dominated the country.

• SUVANNABHUMI
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• v.7 no.1
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• pp.107-137
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• 2015

This article utilizes interdisciplinary methods in order to critically review the existing research on the Mother Goddess of Champa: Po Inâ Nâgar. In the past, Po Inâ Nâgar has too often been portrayed as simply a "local adaptation of Uma, the wife of Śiva, who was abandoned by the Cham adapted by the Vietnamese in conjunction with their conquest of Champa." This reading of the Po Ina Nagar narrative can be derived from even the best scholarly works on the subject of the goddess, as well as a grand majority of the works produced during the period of French colonial scholarship. In this article, I argue that the adaption of the literary studies strategies of "close reading", "surface reading as materiality", and the "hermeneutics of suspicion", applied to Cham manuscripts and epigraphic evidence-in addition to mixed anthropological and historical methods-demonstrates that Po Inâ Nâgar is, rather, a Champa (or 'Cham') mother goddess, who has become known by many names, even as the Cham continue to re-assert that she is an indigenous Cham goddess in the context of a majority culture of Thành Mẫu worship.

• Journal of architectural history
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• v.21 no.4
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• pp.7-24
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• 2012

The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

• Journal of Digital Convergence
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• v.17 no.4
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• pp.267-278
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• 2019

The purpose of this study is to verify empirically the effects of BJ worship and perceived homophily on game efficacy through mediating effect of loyalty to viewing. 485 participants who had watched personal game broadcasting were collected as a sample through an online survey and the collected data were analyzed through structural equation modeling. The research model assuming full mediating effect and the alternative model assuming partial mediating effect were compared and bootstrapping was performed to analyze direct and indirect effects between variables. The results showed BJ worship and perceived homophily had significant effects on game efficacy through the full mediated effect of loyalty to viewing. The noteworthy contribution of this study is to verify how viewing personal game broadcasting has a significant impact on the formation of game efficacy and then ultimately provide positive perception of BJ.

• Industry Promotion Research
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• v.7 no.4
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• pp.85-95
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• 2022

This study intends to analyze the meaning of symbolism in ancestral memorial rite arrangemen from the view that ancestral worship connecting traditional society with modernity are the transmission of ritual. It appears as a change the theory of Yin-Yang and Five Elements that became the basis and ideology about the Confucian view of life and death, an understanding of the universe structure, and a change in the four seasons. Ancestral memorial rite arrangements acknowledge the existence of ancestors. And it is understood as a ceremonial instrument which the living and the dead communicate spatially with time through the symbolic system. In addition, the four seasons, spaces of the skyground and underground were symbolized and embodied through the selection and arrangement of ancestral memorial rites. In the modern ancestral memorial rite arrangement, the factors that determine the location require Time-space analysis of the target. This is because the offering is understood not only as a functional role but also as a temporal and spatial symbolism to be expressed through the offering. In this study, it is meaningful to consider it from the perspective of inheritance of ancestral worship culture through discussions about the ideological background and symbolic system that appeared in ancestral memorial rite arrangement

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.605-616
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• 2022

Given that the current Idol fandom has been enormously affected by the development of digital technology such as the Internet, mobile or social media, this study explored how generational fandom culture has been shifted depending on the fandom's use of differential online platforms and services, i.e., online community vs. social network services. The survey results indicate that 3^rd generation fandom showed significantly greater intimacy, greater attachment/worship, greater similarity toward Idol stars as well as greater fandom loyalty and greater fandom identity than 1^st and 2^nd generation fandom. Similarly, compared to online community centered fandom, social network centered fandom showed greater intimacy, greater attachment/worship, greater similarity as well as greater fandom loyalty and identity than community-centered fandom.

• Journal of the Korean Society of Food Culture
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• v.3 no.2
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• pp.125-133
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• 1988

In recent years, Korean traditional culture has been reviewed in many ways. And Great efforts have been made to form a culture suitable for the Koreans. With these tendencies, the interest in Korean traditional foods has been greater. So this paper is intended to identify and analyze the kinds, materials and cooking processes of the rice cakes needed for ancestral worship rites in the court of Choson Dynasty. The work is centered around the Tae-sang-ji written by Lee kun-myong in 1873-the 10th year since king kojong's coming to the throne. And we study such literatures on foods and cooking processes as Kyugon-si-ui-bang, Yo-rok, Jungbo-Sallim-Kyungjae, Kyuhap-Chongso, Si-ui-jon-so and so on. The results are compared and analyzed. Cooking processes and materials of Korean rice cakes in Choson Dynasty were various and had traditional characteristics. Rice cakes necessarily needed for various rites were called pyun especially when they were used for ancestral worship. And many different kinds of Pyun were used according to seasons. There were nineteen kinds of rice cakes used for ancestral worship in the court: Gu-i-Byung, Bun-ja-Byung, Baek-Byung and so on. The six; Gu-i-Byung, Bun-ja-Byung, Sam-sik-Byung, Yi-sik-Byung, Baek-Byung and Huk Byung were essential for the great rites at Jong-myo and Young-nyung-Jeon and so they were highly thought of. Main materials of these six were rice, glutinousrice, sorghum and wheat flour. Cooking processes of the rice cakes above mentioned can be classified into frying, beating, boiling, steaming, etc. Powder for covering rice cakes was made of bean, pine nut, sesame and red bean, of which bean was made the greatest use of. If was very wise of them to use these kinds of powder, for they supply protein and lipid of which rice cakes are destitute and they also add colors and good tastes to rice cakes. But Korean traditional rice cakes are less used as the thought of rites has changed and various kinds of desserts have been developed. And yet there is no denying the fact that even now rice cakes play a great role in traditional formalities.

• (The)Study of the Eastern Classic
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• no.33
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• pp.253-278
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• 2008

Samkookyusa is a valuable book, which shows us ancestor's fomality, being folklorically highly evaluated. So I focus on this, look into Samkookyusa's formality especially the ceremonies of coming of age, marriage, funeral and ancestral worship. Coming of age ceremony on Samkookyusa performed by a ruler or the nobilities whoes age are uncertainly assumed as thirteen, fifteen or eighteen. In the times, our own ways of ceremonies were performed by them. Marriage ceremony on Samkookyusa, especially king Sooro and Heohwangok's amrriage procedure shows a part of royal family's ceremony before Korea dynasty and have a precious meaning as the earliest outset. Through premarital relation between Yoohwa and Haemosoo shows that there was an non-arranged match for marriage. A record of a marriage between near relatives at the early Korea dynasty is worthy. The funeral ceremony record of king Hyeockgeose on Samkookyusa could be regarded as the first one. The record pointed that using a mound as feudal lords and king Talhae's funeral ceremony showed having Seagoljang customsand making a clay figure for the ceremony. Those facts are crucial documents as helping us understand our ancient time's funeral ceremonial customs. Ancestral ceremony on Samkookyusa, specific record about ancestral ceremony for king Sooro such as fomulas, procedures, ritual fields and foods, sanctuary and portrait is a worthful record to understand a side of national ancestral ceremony of the times. Samkookyusa is a valuable book ceremonially and folklorically to understand the ancient times' ceremonies of coming of age, marriage, funeral and ancestral worship.

• KIEAE Journal
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• v.17 no.2
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• pp.21-28
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• 2017

Purpose: The early churches such as tabernacle, temple and synagogue had played a important role to form space concepts of western churches. Tabernacle and temple were designed with vertical axis which consisted of sanctuary, sanctum, outdoor yard. Synagogue was designed pew of congregation around pulpit to give a sermon. The aim of this paper is to analyze spatial principles of churches designed with vertical axis and centralized plan. Method: The concept of vertical axis plan succeeded to Basilica, Romanesque and Gothic churches, and the concept of centralized plan succeeded to Byzantine and Renaissance churches. Therefore, this paper analyzed spatial characteristics and role of light in churches according to epoch, and was progressed by examining the existing researches and case studies. Result: The churches designed with vertical axis plan realized spatial composition to show the concept of domus dei, and worship space was illuminated with mysterious light. The churches designed with centralized plan realized spatial composition to show the concept of domus ecclesiae, and light created dramatic holiness in worship space.

• Journal of the Korean Institute of Rural Architecture
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• v.11 no.1
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• pp.75-82
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• 2009

The goal of this study is to find a design pattern of platform of chapel according to acceptance of community's social activities and classify a forms of platform design between urban and rural community church. It was surveyed by 18 community churches including of 8 rural churches. And it was comprised in main contents that this study surveyed about social functions of church and composition of room, a transformation of worship and platform, and furniture of platform. As a results of this study, I could suggest a conclusions as follows; firstly, community churches are trying hard to make their social functions wide and deep. Secondly it was necessary for them to prepare a spaces and rooms for service of community people like a social welfare and christian cultural activities. Thirdly, the form of platform and style of worship were serviced by transformation for the acceptance of community requirements. Finally, the service style of chapel and platform have been transformed in a view point of accommodation of community since early 2000.