• The Journal of Korean Philosophical History
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• 제59호
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• pp.241-260
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• 2018

The purpose of this paper is to explore Buddhist interpretation of Jeong Mong-joo, a Confucian scholar of the late Goryeo Dynasty. Buddhism in the latter part of the Goryeo Dynasty was no longer able to exercise the social purity of the national spirit and culture. In this situation, Neo-Confucian was gradually accepted. Thus, a change of ideology was made from Buddhism to Confucianism. Jeong Mong-joo's academic world was based on the fundamental scriptures of Confucianism. Jeong Mong-joo was especially well versed on the Book of Changes in the fundamental scriptures of Confucianism. Jeong Mong-joo emphasized the Book of Changes as the basis of the Buddhist interpretation. Jeong Mong-joo met the doctrines through various Buddhist scriptures. He was interested in Buddhism. There were not a few meetings and social gatherings with Buddhist monks. For this reason, Jeong Mong-joo cannot ignore his connection with Buddhism. On the other hand, Jeong Mong-joo is characterized by his understanding of Buddhism and his critical consciousness as Confucianist.

• Journal of Korean Philosophical Society
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• 제105권
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• pp.27-47
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• 2008

불살생계를 제1계율로 내세우는 불교는 기본적으로 생명을 해치는 그 어떠한 행위도 용납하지 않는다. 따라서 원칙적인 입장에서는 사신(捨身) 행위에 해당하는 뇌사와 장기이식 등에 부정적인 입장을 견지한다. 그러나 현실적인 측면[적용의 융통주의]을 고려하면서도 본질적인 측면[원칙주의]을 간과하지 않는 불교의 자비와 중도주의적인 입장에 따른다면, 특수한 경우에 한해서 뇌사와 장기이식을 고려할 수도 있을 것이다. 즉 불교는 뇌사와 장기이식을 기본적으로 인정하지는 않지만, 자비의 원칙에 따라 어떤 상황에서는 엄격한 규제를 통한 제한적인 범위 내에서 뇌사와 장기이식을 허용할 수도 있다는 중도적인 입장을 취한다고 할 수 있다.

• Korean Journal of Heritage: History & Science
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• 제52권1호
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

• Journal of the Korean Geographical Society
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• 제44권1호
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• pp.77-88
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• 2009

In Korean history, Fengshui and Buddhism were closely connected in a harmonious and interrelated manner, together influencing the location and function of Buddhist temples, the forming of social and spatial ideologies, the spread of Fengshui, the development of Buddhist Bibo-Fengshui, ete. The interaction between Fengshui and Buddhism, which began after the introduction of Zen Buddhism in the late-Silla period, acted as a spatial ideology that empowered the powerful local gentries to trigger a social upheaval in the late-Silla period and was used by the government leaders for political purposes throughout the Goryeo period. In the Joseon period, the link between Buddhism and Fengshui weakened and was felt only at a grass-roots level.

• KOMUNHWA
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• 58호
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• pp.85-117
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• 2001

This paper is focused on Buddhistic and ancient fortress excavated recently in Cheonnam Province. The outcome of Buddhism is researching the building place of the period of the Unified Shilla Period in Geumdunsaji(金芚寺址). This is the first research for Bud

• (The) Research of the performance art and culture
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• 제42호
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• pp.77-106
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• 2021

The history of The Korean Buddhist music dates back to as early as the 2nd year of Goguryeo King Sosoorim's reign (372) when Buddhism was introduced to the land for the first time and should cover the entire development to this date, which spans over 1,600 years. The extensive scope of research is overwhelming and research efforts are limited at best. Against this backdrop, this study aims to examine how the historical development of The Korean Buddhist music has unfolded over such a long period of time and to understand how the Buddhist music is supposed to further develop in this land in and after the 21st century. Since the Three Kingdoms period, followed by Goryeo and Joseon Dynasty period, Japanese colonial period, and to this date, the history of the Buddhist music has unfolded in line with the 'ups and downs of the history of Buddhism'. The Buddhist music is characterized by various development paths based on historical peculiarities over different periods, including protection by the royal family during the Three Kingdoms period, aspect of Buddhist music during the Goryeo Dynasty period, policy to worship Confucianism and suppress Buddhism during the Joseon Dynasty period, harsh repression of Buddhism during the Japanese colonial period, and the present Buddhist music seeking new ways of proliferating Buddhism among the public, which requires an effort to understand the different characteristics of different periods by identifying key perspectives and tasks of Buddhist music in different periods. In this vein, this article includes not only the history of 'Beompae(Buddhist Chant)', a collective term for Buddhist music in a narrow sense but also all Buddhist music characterized by with Buddhism that is communicated in this land and extends its coverage even to Chanbulga(Buddhist hymn)讚佛歌 music created in and after the 20th century. It also examines the historical development of Buddhism related music in this land. Another task of this article is to understand the Myeongching-gagok 名稱歌曲 sung by monks in the early Joseon Dynasty period, music created for public mission work during the Joseon Dynasty period, the meaning of the existence of 'Hwacheong' 和請, and the traces of Buddhist music existing in the music of the Joseon Dynasty period.

• Journal of the Daesoon Academy of Sciences
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• 제19권
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• pp.145-163
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• 2005

What is Buddhism for? Is the enlightenment the only valid goal of the Buddhist practice? In answering to such questions, this article attempts to challenge the traditional Buddhist notion on the enlightenment, which has been believed to be the utmost and unquestionable, the final goal of Buddhist practice. This article argues that the enlightenment as the final goal of Buddhist practice resulted from religious atmosphere of the ancient India, where the society was bifurcated with the lay and monks. Moreover, nirvana, the final enlightenment with no-more-rebirth, was not the goal of all the Buddhists, but the goal of a few, religious elites. In modern society, where the role of lay people becomes more and more important the Buddhist goal for the enlightenment needs to be reevaluated and to change, from the enlightenment to happiness.

• Korean Journal of Heritage: History & Science
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• 제52권2호
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• 제1권
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• pp.278-305
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• 2024

Gelatin dry plate photographs dating to the Japanese colonial era and the official documents from the Japanese Government-General of Korea Museum in the collection of the National Museum of Korea are significant materials documenting cultural heritage in North Korea before it was severely damaged in 1950 during the Korean War. There has been an increase in recent years in studies of Buddhist sculptures in North Korea based on these photographs and documents. This paper presents some new comments on the Buddhist sculptures at Seongbulsa Temple in Hwangju, one of the most famous temples in Hwanghae-do Province, based on the related existing research outcomes. This paper aims to facilitate a more comprehensive understanding of the Buddhist sculptures at Seongbulsa Temple by chronicling its history based on historical records, examining its current status, and exploring in detail the production dates and backgrounds of the Buddhist sculptures featured on gelatin dry plates. Prior to Korea's liberation from Japan in 1945, Seongbulsa housed at least seven sculptural items: two Bodhisattva statues, four Buddha statues, and a triad. Two items are from the early Goryeo period, one is from the late Goryeo period, three are from the early Joseon period, and one is from the late Joseon period. Among them, two surviving items are noteworthy. One is the early Goryeo-era Stone Seated Bhaishajyaguru Buddha photographed in Eungjinjeon Hall at Seongbulsa Temple. A close examination of a schematic drawing of the sculpture's pedestal made at the time it was photographed reveals that its material accords with the materials used for the headless Stone Seated Bhaishajyaguru Buddha and pedestal currently found in the old Sangwonam Hermitage site in the Inner Geumgang Valley of Jeongbangsan Mountain. This accordance could mean that the statue is a new significant example of early Goryeo Buddhist sculpture in North Korea. The other notable sculpture is the Gilt-bronze Seated Amitabha Buddha Triad created in 1454 (the second year of the reign of King Danjong) and discovered in Geungnakjeon Hall at Seongbulsa. This statue is currently in the collection of the Sariwon History Museum in Hwanghae-do Province. It is an important example of a dated small gilt-bronze Buddhist statue from the early Joseon period found in North Korea. This paper is a case study of Buddhist sculptures in North Korea, focusing on Seongbulsa Temple. Further utilization of the National Museum of Korea's gelatin dry plates will contribute to developing the study of the history of Korean Buddhist sculpture.

• Journal of Korean Society of Archives and Records Management
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• 제6권1호
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• pp.5-42
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• 2006

The personal praying sentence in personal praying scripts of Koryo Dynasty should be very important source for study of Koryo buddhism's history as well as historics, bibliographics and art historics. Especially it would be good source for study of official position in Koryo Dynasty because in the personal praying scripts the prayers expressed their own official position when compared to the official positions presented in Bekguanji(all officer's magazine) in Koryosa(history of Koryo Dynasty). As the characteristic of script is presented in the contents of personal praying sentence, it would be remarkable source for study on the history of buddhism's thought. Through the personal praying sentence it is possible to make clear the hopes of donor and high monks who were the key members for writing praying script. Also study on the personal praying sentences in Koryo scripts would be helpful for understanding the profile of society of Koryo Dynasty.