초기 기독교 성화의 기원과 토착화

박정세(Park Chung-Se) 연세대학교 신과대학(연합신학대학원) 2006 신학논단 Vol.45 No.-

‘선한목자’ 도상의 변천과 토착화

박정세(Chung-Se Park) 연세대학교 신과대학(연합신학대학원) 2012 신학논단 Vol.68 No.-

The story of the Good Shepherd was the voice of hope, especially to the early Christians persecuted under the Roman Empire. It became not only one of the foundations of their life-risking faith, but also the symbol of hope for the salvation of the deceased under the persecution. Thus, their faith and hope were materialized into the images drawn on the ceilings and walls of the Catacombs of Rome in the early third century. The icons of the Good Shepherd in the Catacombs were deeply influenced by Greek and Roman icons in its expression. Thus, it can be found that most of the frescos shared a similarities to Moscophoros, Orpheus, or Hercules. When Christianity established as the official state religion of the Roman Empire in the fourth century, the Good Shepherd icons underwent a drastic change. And furthermore the icons were disappeared for a millennium. The Good Shepherd icons re-appeared in the seventeenth century. It was the composition, costume, and accessories of the icons by a Baroque painter that later worked as the model to the Good Shepherd icons in Europe, Russia, and North America. In the early eighteenth century, the peculiar icon of Virgin Mary as Shepherdess appeared in Spain, and then spread to Portugal and South America. The Good Shepherd did not seem to appear among the icons of Eastern Orthodox Church. However, the Ukraine-based Eastern Catholic Church, developed the Eastern Orthodox-style icons. In the twentieth century, the contextualized icons of the Good Shepherd were created in many regions for example in Korea, China and Africa(or African American). In sum, from the early Church era to modern days, the story of Good Shepherd, beyond each era, has been the vision of hope to the suffered, which was embodied in their icons based on cultural backgrounds respectively. Now, Christians of each nation are required not only to share the faith symbolized in each Good Shepherd icons in the past but also to reproduce continuously new graceful Good Shepherd icons according to their own culture. The story of the Good Shepherd was the voice of hope, especially to the early Christians persecuted under the Roman Empire. It became not only one of the foundations of their life-risking faith, but also the symbol of hope for the salvation of the deceased under the persecution. Thus, their faith and hope were materialized into the images drawn on the ceilings and walls of the Catacombs of Rome in the early third century. The icons of the Good Shepherd in the Catacombs were deeply influenced by Greek and Roman icons in its expression. Thus, it can be found that most of the frescos shared a similarities to Moscophoros, Orpheus, or Hercules. When Christianity established as the official state religion of the Roman Empire in the fourth century, the Good Shepherd icons underwent a drastic change. And furthermore the icons were disappeared for a millennium. The Good Shepherd icons re-appeared in the seventeenth century. It was the composition, costume, and accessories of the icons by a Baroque painter that later worked as the model to the Good Shepherd icons in Europe, Russia, and North America. In the early eighteenth century, the peculiar icon of Virgin Mary as Shepherdess appeared in Spain, and then spread to Portugal and South America. The Good Shepherd did not seem to appear among the icons of Eastern Orthodox Church. However, the Ukraine-based Eastern Catholic Church, developed the Eastern Orthodox-style icons. In the twentieth century, the contextualized icons of the Good Shepherd were created in many regions for example in Korea, China and Africa(or African American). In sum, from the early Church era to modern days, the story of Good Shepherd, beyond each era, has been the vision of hope to the suffered, which was embodied in their icons based on cultural backgrounds respectively. Now, Christians of each nation are required not only to share the faith symbolized in each Good Shepherd icons in the past but also to reproduce continuously new graceful Good Shepherd icons according to their own culture.

게일(J. Gale)의 『텬로력뎡』과 김준근의 풍속삽도

박정세(Chung-Se Park) 연세대학교 신과대학(연합신학대학원) 2010 신학논단 Vol.60 No.-

??When in 1895 James Gale, a Canadian missionary, translated John Bunyan's Pilgrims Progress into Korean, with illustrations by Gisan(箕山) Kim Jun-guen (金俊根), the achievement marked one of the most important events in Korean mission history. The book has subsequently be-come a major publication covering missionary activities in Korea.<br/> ??In recent years, various scholarly works concerned with this translation have been published in the fields of Korean Language and Art History. But there hasn't been a noticable research on this book from theological perspective has appeared so far.<br/> ??Gale arrived in Choson in 1888 and spent the next three years learn-ing the Korean language and classics. In 1892, Gale initiated the translation of the New Testament and Pilgrim's Progress. In 1894, he requested Jun-geun Kim, a genre painter, to draw illustrations for the translation of Pilgrim's Progress. Finally, the Korean version of Pilgrim's Progress was published in 1895.<br/> ??In his work, Gale translated the words 'God' and the 'Lord' to Ha-ns-nim, the traditional name of god in Korean. Eleven years later, Hs-na-nim became the official name for God in the Korean protestant church.<br/> ??Apparently, Gale decided on the subjects and contents to be illustrated in the translation, asking Kim to draw these in a traditional Korean style. Thus, the British costume and the various scenery of the nineteenth century depicted in the original book of Pilgrim's Progress were replaced with the contemporary Korean illustrations. For example, the Korean-like Jesus is wearing Gat and Durumagi, the traditional hat and overcoat; the figure of angels with two wings in the original illustrations now appears as an indigenous celestial man or maiden; and the scenery of the Kingdom of Heaven appears as the equivalent Taoist paradise conceived in local religious imagination.<br/> ??In summary, Gale's work may be criticized as an example of immoderate - perhaps excessive - syncretism. But it should not be disregarded that the missionary's intent was to build a point of contact between the Gospel and the indigenous people without any understanding of Christianity. Thus, he took the decisive step to replace the unfamiliar concepts and symbols of the original book with indigenous ones in order to accommodate Korean symbols and the people's pride in their cultural heritage. ??When in 1895 James Gale, a Canadian missionary, translated John Bunyan's Pilgrims Progress into Korean, with illustrations by Gisan(箕山) Kim Jun-guen (金俊根), the achievement marked one of the most important events in Korean mission history. The book has subsequently be-come a major publication covering missionary activities in Korea.<br/> ??In recent years, various scholarly works concerned with this translation have been published in the fields of Korean Language and Art History. But there hasn't been a noticable research on this book from theological perspective has appeared so far.<br/> ??Gale arrived in Choson in 1888 and spent the next three years learn-ing the Korean language and classics. In 1892, Gale initiated the translation of the New Testament and Pilgrim's Progress. In 1894, he requested Jun-geun Kim, a genre painter, to draw illustrations for the translation of Pilgrim's Progress. Finally, the Korean version of Pilgrim's Progress was published in 1895.<br/> ??In his work, Gale translated the words 'God' and the 'Lord' to Ha-ns-nim, the traditional name of god in Korean. Eleven years later, Hs-na-nim became the official name for God in the Korean protestant church.<br/> ??Apparently, Gale decided on the subjects and contents to be illustrated in the translation, asking Kim to draw these in a traditional Korean style. Thus, the British costume and the various scenery of the nineteenth century depicted in the original book of Pilgrim's Progress were replaced with the contemporary Korean illustrations. For example, the Korean-like Jesus is wearing Gat and Durumagi, the traditional hat and overcoat; the figure of angels with two wings in the original illustrations now appears as an indigenous celestial man or maiden; and the scenery of the Kingdom of Heaven appears as the equivalent Taoist paradise conceived in local religious imagination.<br/> ??In summary, Gale's work may be criticized as an example of immoderate - perhaps excessive - syncretism. But it should not be disregarded that the missionary's intent was to build a point of contact between the Gospel and the indigenous people without any understanding of Christianity. Thus, he took the decisive step to replace the unfamiliar concepts and symbols of the original book with indigenous ones in order to accommodate Korean symbols and the people's pride in their cultural heritage.

특집 2 : 대학교회와 학원선교 ; 한국 대학교회의 태동과 변천 -연세대학교를 중심으로

박정세 ( Chung Se Park ) 한국대학선교학회 2010 대학과 선교 Vol.19 No.-

한국의 기독교대학에서 캠퍼스 선교와 관련하여 채플과 기독교 과목에 관해서는 여러 면에서 고찰해 왔으나 선교의 중요한 축인 대학교회와 관련하여서는 별다른 연구가 없었다. 이에 한국에서 제일 처음기독교대학으로 출발한 연세대학교를 중심으로 대학교회의 설립과 변천 및 현황에 대해 고찰하였다. 제중원 초창기에는 공식적으로 기독교 선교가 허락되지 않은 상태였으나, 1894년 제중원이 북장로교로 이관됨에 따라 선교의 기회가 생기게 되어 교직원이 환자와 함께 주일예배를 드리게 되고 여기에 인근주민들도 참여함으로써 교회의 기틀이 마련되었다. 이 모임은 점차 성장하여 교회로서의 면모를 갖추게 되고 교단의 공의회가 모일 수 있는 예배당을 갖게 되었으며, 그 후에는 교회를 신축하기에 이른다. 연희대학교회인 ‘연희협성교회’는 1930년 초에 창립되는데, 당시 서울의 교회는 사대문 안 중심이었으나 이제 성문밖에 새롭게 형성된 교육 커뮤니티는 그 나름대로의 편리와, 연합교단 교회의 필요를 충족하는 새로운 형태로 시작되었다. 또한 이러한 연합 정신은 한 대학의 울타리를 넘어서 인근 이화대학과 공동으로 한 대학교회를 운영하는 데까지 발전한바 있다. 연희대학과 세브란스의학대학이 연합하여 연세대학이 된 후 1962년에 다시 시작된 대학교회는 몇몇 과정을 걸쳐 1975년부터 교목실과 유기적인 관계로 운영된다. 이는 교육기관으로서의 커뮤니티를 기본으로 하여 기독교에 관심을 갖는 학생을 육성하려는 목적을 예배와 프로그램과 친교활동을 통해 조화시키는 것이었다. 그리고 근간에 이르러서는 예배의 부분적 토착화 시도와 국제화에 따른 제반의 필요를 프로그램으로 연결하고 있다. 연세대학교의 여러 캠퍼스들은 본교 대학교회의 운영방식을 근간으로 하여 그 나름의 특성을 살리고 있다. 의료원 캠퍼스의 병원교회는 환자를 위한 주일예배를 중심으로 하는 전통을 유지하고 있으며, 1981년부터 시작된 원주의과대학교회 역시 해외 의료선교 활동을 중심으로 그 특색을 살리고 있다. 또한 1984년부터 시작된 매지캠퍼스 교회는 지방에 위치하며 방대한 기숙사를 가진 대학의 특성을 목회와 프로그램에 잘 반영하고 있고, 2006년에 설립된 삼애교회 역시 기증자의 뜻 (三愛: 하나님 사랑, 노동사랑, 농촌 사랑)을 살려 특색 있게 운영되고 있다. 연세대학교의 대학교회들은 각각 그 시대적 요구와 그 공동체의 요구를 잘 연계하여 교회를 설립하였고 나름대로의 특색을 발전시키고 있음을 간략하게 살펴보았다. Although many articles have been published on chapel programs and lectures for campus Christian ministry in Korea, research on university churches, an important part of campus ministry, is relatively rare. In this article, the founding and transition of Yonsei University Church, which has the longest history among university churches in Korea, will be examined. Christian missionary activity in Korea was prohibited in the early days of Chai Chung Won - the first modern medical college with a hospital, founded in 1885 and renamed Severance Medical College in 1904. The transfer of the ownership of the institution in 1894 from the King of Chosun (Korea) to the Presbyterian Church of the United States became the first step in missionary work; worship service was initiated for fellows, staff and patients. The congregation can be regarded as the origin of Yonsei University Church. The church was also used as the venue for the general assembly of the Korean Presbyterian Church. Meanwhile, Yonhee College Church was founded in 1933. The church, located outside the walled city of Seoul, not only served the people dwelling in and near the college site but also fulfilled the need of an ecumenical church in the campus. This spirit of cooperation expanded to the setting up of a church managed by two colleges-Yonhee and Ewha- in 1935. Although this Hyop-seong Church, or the Union Church, was shut down by oppression of the Japanese colonial government, it was reopened by the two colleges after independence. The consolidation of Severance Medical College and Yonhee College into Yonsei University in 1957 was followed by the establishment of Yonsei University Church in 1962. The construction of University Chapel, or Luce Chapel, in 1975 provided the momentum to develop a renovated mission policy of Yonsei University Church, such as ‘community church,’ ‘bridge church,’ and ‘open church’. Enculturation and globalization of church programs were added recently. In accordance with the opening of the new university sites of Yonsei, new university churches were built in new campuses. These churches, following the ‘main’ Yonsei University Church as a model, have been developing their own programs. For example, Wonju Medical College Church, opened in 1981, organized an overseas medical service team; since 1984 Maeji Campus Church has been focusing on students’ dormitory ministry; Samae Campus Church, founded in 2006, has been trying to develop their own church program following the donor’s ‘Samae (three loves)’ spirit.

GMDSS 全面 實施와 非 協約船의 無線設備 設置 方安에 관한 硏究

박진수(Jin-Su Park),정세모(Se-Mo Chung) 한국해양대학교 해사산업연구소 1998 海事産業硏究所論文集 Vol.7 No.-

After full implementation of the GMDSS on February 1, 1999, non GMDSS equipped vessels may experience difficulty in establishing communications with vessels complying with the GMDSS. These difficulties are associated with the differences between the automated equipment required in the GMDSS and the non-automated equipment typically carried on small vessels. The purpose of this paper is to describe the IMO activities on the application of the GMDSS to non-SOLAS Convention ships both from a radiocommunication and a SAR point of view, and the national GMDSS implementation programme for non-SOLAS vessels. There are no differentiation between SOLAS ships and non-SOLAS vessels complying with the GMDSS, but they have to comply with the GMDSS according to the trading area AI, A2, A3 and A4. Canadian commercial vessels not subject to SOLAS, will be required to comply with the GMDSS. Carriage requirements are being developed in consultation with the marine industry. The vessels not subject to SOLAS will not be required to carry GMDSS equipment, however, it is recommended they fit for the GMDSS as applicable to their area of operation in many countries. Some recommendations are made to implement the GMDSS for non-SOLAS vessels in Korea.

비잔틴 시대 기독교 미술의 특성과 토착화

박정세 연세대학교 신과대학 2007 신학논단 Vol.47 No.-

In this article, I would like to study the characteristics of Christian Arts and the process of indigenization after the Edict of Milan (313 A.D.) and particularly during the Byzantine Era. This is a continuation of my earlier study, “The Origins and Contextualization of Early Christian Icons. (『Theological Forum』, 2006. 9) Art works produced under persecution and those that were produced under freedom differ. This study will trace the history of Western art, paying special attention to the changes and the improvements of the architecture, art and sculpture of the period, by focusing on how they become indigenized. How the Greco-Roman culture adopts Christianity that accepts and follows a Jewish person, Jesus, based on the scriptures produced through the history and culture of Israel, and Christianity and Christian paintings of the Middle Ages will be introduced briefly first, which will be followed by the description of architecture, then the paintings and sculptures of the period. The following conclusions can be drawn from this process. First, although drawing or sculpting images of God is forbidden in Israel and the culture of the Old Testament, during the Byzantine Empire, such paintings and icons are used to educate the illiterate public about the contents of the Bible. Thus, these artworks are also known as the “poor man‘s Bible.” Secondly, although the Roman temples are not directly mimicked in church constructions, the Roman public halls, Basilica Ulpia, is taken as the foundational model. And the process of indigenization happened through the modification of its direction and structure, the creation of a new form through the addition of other Roman elements, and the reinterpretation of existing forms. Such characteristics are also evident in the architecture of the Santa Constanza Cathedral. In the cases of the Temple of Pantheon and the Temple of Antonius and Faustina, the temples themselves are remodeled and used as church buildings. Thirdly, as for the paintings and sculptures, the mosaic arts, central to the artwork of the Byzantine era, is adopted as the new style of mural painting for the churches. A significant portion of the portraits take on the features, poses, and the compositions of the Greco-Roman paintings and sculptures, and some of them are linked to the arts of the Near East. Especially, the appearance of the halo is the result of the influence of the Gandhara School of Art, which was then creatively improved to fit the Byzantine culture. The Illustrated Bibles can be described as the product of the combination of various ways of painting taken from the Greco-Roman cultures as well as the ancient-Irish culture. The above aspects show how the Byzantine Christian arts of the time did not remain in the boundary of the Jewish culture of the religion, instead, newly interpreted it by adopting the characteristics of the best forms of art of the era to create a harmonious and original world.

의료선교사 Dr. Florence J. Murray의 활동의 인술적 구조

박정세 연세대학교 원주의과대학 1993 원주의대논문집 Vol.6 No.1

장애인 선교 서설 : 장애인에 대한 성서 및 신학적 이해를 중심으로

박정세 연세대학교 연합신학대학원 1997 현대와 신학 Vol.22 No.-

의료선교의 성서적 배경

박정세 연세대학교 연합신학대학원 1996 현대와 신학 Vol.21 No.-

한국적 성서이해론 서설 : 부활기사를 중심으로 Focus on Resurrention Narrative

박정세 연세대학교 연합신학대학원 1998 현대와 신학 Vol.23 No.-