• 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.

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.18-41
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• 2017

The Gangjin WolnamSaji(月南寺址) is a small site where three-story pagodas and a destroyed tombstone remained. In 1973, it was discovered that the destroyed tombstone was that of the second master of Susunsa, Hye shim(慧諶), who had a special relationship with the military regime in Goryeo, and it once again attracted attention as a result of the recent excavation of the Rooftile of Yeonhwamun(蓮花文). In particular, the Windchime excavated in 2012 is a large-sized one group with a length of 23cm, and a relatively large Sanskrit character was decorated on four sides of the body. In addition, it was also confirmed in preservation process that the word 'gaecheon(盖天)' was engraved. The Sanskrit characters(梵字) om( , oṃ), a( , a), hum( , hūṃ), brum( , bhrūṃ) were decorated on the body of the Wind-chime excavated in WolnamSaji. Om( , oṃ), a( , a), hum( , hūṃ) are known as the Sammiljineon(三密眞言) and brum( , bhrūṃ) has the meaning of having the highest honor. In addition, the Sammiljineon(三密眞言) allows us to understand the truth by responding to the principle of universe, which is the Vairocana Buddha(毘盧遮那佛), and brum( , bhrūṃ) has the meaning of unity. In the end, the meaning of the Sanskrit decorating the four sides of the Wind-chime, of WolnamSaji(月南寺址), can be interpreted as the expression of the Buddha's doctrine, or the willingness to be combined with Buddha, the highest existence in itself. It is possible that the word 'gaecheon(盖天)' carved on the body can be regarded as the name of the master craftsman related to the making of the Wind-chime, but it is unlikely that it is the name of the master craftsman, considering that it is a place where the location is not easily seen. If so, you can think of the original function that the Wind-chime has. In other words, it can be interpreted symbolically and implicitly that the wish of the sound of the airwaves symbolized by the words of the Buddha covers the sky and spreads all over the place. It is thought that the Wind-chime excavated in WolnamSaji(月南寺址) was made in the mid to late 13th century considering the comparisons with another wind-chime excavated from the temple site, the historical situation in the late Goryeo, the publication date of the scriptures(經典) of Esoteric Buddhism(密敎).

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.24-55
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• 2010

Jangmyeongdeung Lantern (貞陵長明燈) refers to the stone lantern placed in front of the royal tomb. It serves both symbolic and decorative purposes; symbolic because it is supposed to guard and illuminate the buried, and decorative because it is a work of sculpture that adorns the entire graveyard. The Jangmyeongdeung of Jeongneung was the earliest stone lantern to be produced during the Joseon period. Its square shape is unique among those from the early to mid-Joseon period. The three major parts of Jangmyeongdeung - the stand, the lantern, and the roof-shaped cover parts - are square in shape, differing from the octagonal shaped Jangmyeongdeung. The stand consists of three single stone blocks, the Hadaeseok(下臺石), Ganjuseok(竿柱石), and Sangdaeseok(上臺石). The Hwasaseok(火舍石), or the lantern part, is also a single stone block. Jangmyeongdeung of Jeongneung succeeds the style of those of Hyeon-neung and Jeongneung(玄正陵) of the Goryeo period and is of a better artistic quality. As the first Jangmyeongdeung lantern, it is a refined work of art that marks the foundation of the Joseon Kingdom. This paper tries to ascertain the stylistic origin of the square-shaped Jangmyeongdeung of Jeongneung and compare it with those of Buddhist temples. Consequently, similarities were found among the stone lanterns of Zen priests 'Jigong'(指空) and 'Nawong'(懶翁) in the Hweamsa Temple(檜巖寺) site from the late Goryeo period, those of Zen priest 'Muhak'(無學) of the Hweamsa Temple site, and those of national priest 'Bogak'(普覺) of Cheongnyongsa Temple(靑龍寺) from the early Joseon period. Primarily, this is because the three components(the stand, the lantern part, and the roof-shaped cover) are essentially square-shaped. Second, as the Ganjuseok(one of the components of the stand) became shorter, the stand took a more stable form. Third, the Hwasaseok(the lantern part) consists of two stone blocks joined together. Fourth, the roof-shaped cover is also in square in shape. Similarly, the Jangmyeongdeung of Jeongneung contains Buddhist elements as well. The three-bead pattern that decorates the Ganjuseok stand is an example. The three-bead pattern is one of the symbolic elements related to Tantric Buddhism. It is found on the diadems worn by Bodhisattvas from the Goryeo and early Joseon periods. The Jangmyeongdeung of Jeongneung in early Joseon directly influenced the production of the square-shaped stone lanterns used to decorate the tombs during the Joseon period. After the latter half of the 15th century, however, the octagonal-shaped Jangmyeongdeung style began to prevail. The Jangmyeongdeung of Jeongneung reflects the succession of the tradition of royal tombs from Goryeo to Joseon, the introduction of square-shaped stone lanterns to Buddhist temples, and the influence of the Buddhist philosophy of the time. It is a living testimony to various elements of each time and corresponding cultural trends.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.209-223
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• 2019

The Iron Seated Buddha sculpture in the National Museum of Korea had long sat unregistered in storage at the museum. However, a new accession number "bon9976" has recently been assigned to it. This sculpture was excavated from the neighborhood of Heungnyongsa Temple in Baekun-ri, Yidong-myeon, Pocheon-gun, Gyeonggi-do Province together with another Iron Seated Buddha sculpture(bon9975) called "Iron Buddha from Pocheon." A comparison and examination of Gelatin Dry Plate and official documents from the Joseon Government-General Museum during the Japanese occupation period have revealed that these two Iron Buddha sculptures were transferred to the Museum of the Government-General of Korea on December 17, 1925. The Iron Seated Buddha sculpture(bon9976) has a height of 105 centimeters, width at the shoulders of 57 centimeters, and width at the knee of 77 centimeters. The Buddha is wearing a robe with rippling drapery folds and the right shoulder exposed. He is seated in the position called gilsangjwa(the seat of good fortune) in which the left foot is placed over the right thigh. The features of the Buddha's oval face are prominently sculpted. The voluminous cheeks, eye sockets in a large oval shape, slanted eyes, short nose, and plump lips can also be found in other ninth-century Iron Seated Buddha sculptures at Silsangsa Temple in Namwon, Jeollanam-do Province, Hancheonsa Temple in Yecheon, Gyeongsangbuk-do Province, and Samhwasa Temple in Donghae-si, Gangwon-do Province. Moreover, its crossed legs, robe exposing the right shoulder, and rippling drapery folds suggest that this sculpture might have been modeled after the main Buddha sculpture of the Seokguram Grotto from the eighth century. The identity of this Iron Seated Buddha can be determined using the Gelatin Dry Plate(M442-2, M442-7). In them, the Buddha has its right palm facing upwards and holds a medicine jar on its left palm. Until now, the Iron Seated Bhaiṣajyagura(Medicine) Buddha(bon1970) excavated from Wonju has been considered the sole example of an iron Medicine Buddha sculpture. However, this newly registered Iron Seated Buddha turns out to be a Medicine Buddha holding a medicine jar. Furthermore, it serves as valuable material since traces of gilding and lacquering clearly remain on its surface. This Iron Seated Buddha sculpture (bon9976) is presumed to have been produced around the ninth century under the influence of Esoteric Buddhism by the Monk Doseon(827~898), a disciple of the Monk Hyecheol, to protect the temple and help the country overcome geographical shortcomings. According to the records stored at Naewonsa Temple(later Heungnyongsa Temple), Doseon selected three significant sites, including Baegunsan Mountain, built "protector" temples, created the Bhaisajyagura Buddha triad, and enshrined them at the temples. Moreover, the inscription on the stele on the restoration of Seonamsa Temple states that Doseon constructed temples and produced iron Buddha sculptures to help the country surmount certain geographical shortcomings. Heungnyongsa Temple is located in Dopyeong-ri, Yidong-myeon, Pocheon-si, Gyeonggi-do Province. This region appears to have been related to rituals directed to the Medicine Buddha since Yaksa Temple(literally, "the temple of medicine") was built here during the Goryeo Dynasty, and the Yaksa Temple site with its three-story stone pagoda and Yaksadong Valley still exist in Dopyeong-ri.