• Title/Summary/Keyword: "삼국유사(三國遺事)"

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Development of an integrate program for children using folktales of 『Samguk Yusa』 (『삼국유사』를 활용한 유아 융복합 프로그램 개발)

  • Kim, Jung-Sun;Kwon, Eun-Joo
    • Journal of the Korea Convergence Society
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    • v.8 no.12
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    • pp.257-264
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    • 2017
  • In the modern age where various knowledge and experiences are shared through communication, it is necessary to have an integrated educational experience that allows developing creative problem-solving ability that is organically related, not a segmented education experience and it is essential to have experience in history education that derives the present from the past and nourishes the logic. Therefore, this study has developed an integrated program for children using folktales of . A total of 4 stories were selected through consultation of expert group and 12 classes were planned. It is expected that the creativity and logic of children will be increased through the program and it will have a meaning that it provides the basis for the study of the integration program using the Samguk Yusa, However, since this study is on a program development, it has limitations that the effect on development is not verified. Once the effectiveness of the program in subsequent studies is verified, it can be a highly utilized program in the field.

The Logic of Seclusion (숨어살기의 논리 -삼국유사의 "피은"과 16세기 강호시조 -)

  • Shin Young-Myoung
    • Sijohaknonchong
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    • v.21
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    • pp.165-183
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    • 2004
  • This paper aims to compare meaning of the seclusion which appeared in Samgukyusa with Kangho-Sijo. There is true meaning of seclusion so that a Bodhisattva implements a spirit. And in Samgukyusa, it has a dialectics logic. There is true meaning of seclusion in order to solve a trouble of a participation-retirement through the moral training. And in Kangho-Sijo, it has a plane-divided logic.

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Re-creation method of literature tale to fairy tale (문헌설화의 동화로의 재창작 방법 -삼국유사를 중심으로-)

  • Jeong, Hee-jeong
    • Journal of Korean Classical Literature and Education
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    • no.16
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    • pp.181-206
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    • 2008
  • This paper focuses on the re-creation method of historically valuable literatured tale, "Samguk Yusa" to fairy tale as well as the problems and way of improvement shown in its recreation process using five publication samples. In case of the fairy tale based on the tale having original text, the understanding and judgement about that text as well as the focusing and causality of the story are needed to the fairy tale author. Moreover, it needs clear title for the comparison and relationship with original text and also it requires the fitting arrangement of history and fiction to evoke the imagination of child. In addition, to rise more interest of child, the various literary expression showing beauty of language, selection and understanding of original tale, acquirement of formal beauty as a literature and binding of books should be considered effectively. Through the effort of problem solving and new writing approaches for tale re-creation, we will get more interesting and instructive fairy tale, "Samguk Yusa".

Mid-Silla Buddhist Art of Bunhwangsa Temple Seen through the Record of Samgukyusa (『삼국유사』를 통해 본 분황사(芬皇寺)의 중대신라 불교미술)

  • Choe, Song-eun
    • Korean Journal of Heritage: History & Science
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    • v.47 no.4
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    • pp.136-161
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    • 2014
  • This paper investigates the Buddhist sculpture and wall-painting enshrined in the halls of Bunhwangsa (Bunhwang temple) at Gyeongju in the mid-Silla period, which are thoroughly unknown to us except through textual records of Samgukyusa compiled by Priest Ilyeon in the late thirteenth century. According to Samgukyusa, a clay portrait-sculpture of Monk Wonhyo, made by his son Seolchong, was placed in Bunhwangsa. This image faced to the side, because he turned his body toward Seolchong when Seolchong bowed to this image. This story suggests that the portrait image of Wonhyo was most likely made after the Vimalakirti images, which were popular in China from the Six Dynasties period on, especially the Vimalakirti images of the early Tang period, turning his head and body toward Bodhisattva Manjusi seated opposite. The Vimalakirti image of Seokkuram might show the portrait image of Wonhyo. A wall-painting of a Thousand-Armed Avalokiresvara who has a thousand arms with a thousand eyes, called by the name 'Great Mercy with a Thousand Hands', was enshrined on the north wall of the left hall of Bunhwangsa. During King Gyeondeok's reign, Himyeong and her five-year-old blind child prayed before this image, and the blind child gained eyesight. While praying, they sang a song pleading for one of the thousand eyes which the Bodhisattva had in his hands. This song implies that Thousand-Armed Avalokiresvara had a thousand eyes, one painted on each hand. The fact that Thousand-Armed Avalokiresvara of Bunhwangsa was called 'Great Mercy with a Thousand Hands' indicates that this painting was based on the scripture Thousand-Armed Avalokiresvara Sutra translated by Bhagavaddharma in about 655, in the Tang period, which also has 'Great Mercy' in its title. In the year 755, a gilt bronze image of Medicine Buddha was made in Bunhwangsa, using nearly 61 tons of bronze to cast. The huge amount of bronze suggests it includes not only the Buddha statue but many other images such as two attendant Bodhisattvas of Suryaprabha and Candraprabha, Eight Great Bodhisattvas, or Twelve Guardians. Seven images of Medicine Buddha might have been made in accordance with the scriptural text of Seven Medicine Buddha Sutra translated by Monk Yijing. Textual evidence and recent excavation have revealed that seven images of Medicine Buddha and their whole attendant images based on Seven Medicine Buddha Sutra were made in the Nara period from 751 to 762 when Queen Gomyo contructed Sinyakusiji temple for the recovery of her husband Shomu. It is fair to assume that one or seven Medicine Buddhas and a whole group of his (their) attendant images were made for the main hall of Bunhwangsa temple in 755.