• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.65-66
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• 2019

'천(天)'은 불교 세계관 속의 선인으로서 불교 전통 예술에서 많이 표현된 불교 세계관 중에 하나이다. 최근 '천'의 개념이 애니메이션 작품에 표현되면서, 불교 세계관에 대한 관심이 많아지고 있다. 불교 문화와 세계관의 이해를 통해 다양한 예술작품에 활용된다면, 애니메이션의 발전에 대해 훌륭한 소재가 될 수 있을 것이다. 이를 위해 형태 특징, 색채 특징 이 두 가지 시각적 특징으로 불교 세계관의 '천'을 분석하고 애니메이션 캐릭터 창작의 연관성을 분석하였다. 본 논문을 통해 불교의 세계관과 불교 문화가 더욱 발전할 수 있는 계기가 되기를 희망한다.

• The Journal of Korean Philosophical History
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• no.32
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• pp.371-394
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• 2011

Buddhism have affected Korea traditional education very much. Sam Guk Yu Sa is a book which includes the public disposition grounded on world view of Buddhism. In the wide scope, the public disposition relates to their cultivating education. This paper reviewed cultivating education grounded on John Dewey "experience-learning" model about the Buddhistic public disposition appearing in Sam Guk Yu Sa. "Meaning-experience" as "adult-becoming" appearing in Sam Guk Yu Sa shows a strong characteristic of cultivating education when we see on a creative horizon in the Buddhistic world. Dewey-Deleuze's cultivating education which modernizes the theory of John Dewey meets at the place of the public disposition and three fables of Sam Guk Yu Sa grounded on the Buddhistic world. This could open possibility to interpret the cultivating theory of Korea traditional thought and western educational theory with interdigitation. Fables of Sam Guk Yu Sa dealt with growth and maturity of the public from Buddhist monk to folk wishes to achieve Bulgukto(佛國土; the land with Buddha) through the process of cultivating education which leads to "impulse-observation-knowledge-determination." In these series of process for "adult-becoming," life itself possesses characteristic of cultivating theory. In this respect, fables of Sam Guk Yu Sa shows Korea traditional cultivating theory and can be a role of a discourse book for cultivating educational theory which could relate to western educational theory.

• Cross-Cultural Studies
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• v.33
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• pp.287-307
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• 2013

One cat caused a big wave in Russian literature. This cat revived the heroine of Russian classics. Her light breath was scattered in the world, in the cloudy sky and in the cold spring wind about one hundred years ago. And the cat gave an opportunity of turning to Russian classics to Russian readers. Thanks to this cat, a Russian dreamer changed his typical thinking, as well as many ordinary readers start to read works of creator of this wonderful cat. Pelevin accomplished these works with one cat, which he has made. Of course "Nika" is not only caused to make readers to return to Russian classics. I think, the cat and "Nika" are the symbols of writer's purpose in Russian literature. In this study the understanding of "Nika" is following the steps of realization of writer's purpose. In the second chapter it is analyzed to the textual relationship between "Nika" and "Light breath". Apart from existing analyses to be emphasized the succession of thematic aspect of two works as well. Existence of observers to each heroine stress this succession of thematic aspect of two works. In the third chapter it is analyzed the use of technique of mystification in "Nika". This intentional use of mystification has been demanded to read a "Nika" from another point of view(internal speculation of hero-narrator). The purpose of writer was to expose the cognitive error of a human being. I think this purpose was effectively explained by Pelevin's Buddhist world view which was introduced in his several works.

• Journal of Korean Philosophical Society
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• v.142
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• pp.99-119
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• 2017

Buddhism tends to be accepted as an institutional religion. This is probably due to the historical background in which Buddhism has been accepted as a representative institutional religion along with Christianity since the mid-20th century. In particular, Buddhism is accepted as an institutional religion based on tradition. Buddhism is also accepted as philosophy. Even if the western philosophical background is embraced that defines philosophy as the pursuit of intellectual clarity and wisdom in life, Buddhism is deemed to be classified as a philosophy that allows for the possibility of philosophical criticism without unconditionally believing the truth that Gautama Buddha discovered. The possibility of Buddhism as philosophy like this is directly linked to the possibility of Buddhism for doing philosophy. Doing philosophy in Buddhism can be presented in three processes: keeping a distance from daily life, the observation and concentration based on the distance, and the formation of a new world-view. Doing philosophy is rooted in the same way as meditation in the lives of people tired from post-capitalist everyday life. Nonetheless, Buddhism clearly has the characteristics of religion, thus posing a challenge of establishing a new relationship between religion and philosophy. The tradition of a strict separation between the religion and philosophy in Christian civilization is still working as a factor that keeps Buddhism from being classified as philosophy. In cases where the pursuit of intellectual clarity and practical wisdom in life is incorporated into the purpose of philosophy, Buddhism can be categorized into having the distinctive function of religion "spiritual peace", and sharing the common function of philosophy and religion "enlightenment." In that sense, it can also be an important task to seek a new perspective on the relationship between religion and philosophy.

• Cross-Cultural Studies
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• v.35
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• pp.155-184
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• 2014

The present study aims at exploring in detail the Buddhist worldview and aesthetics of humor in Jo O-hyeon's literary works. This includes the same context as an elucidation of the ways in which his poems closely correspond in expressive forms and thematic contents. It is because, in Jo's literary world, where short poems and prose poems form a contrast, the expressive forms and thematic contents sharply differ depending on the ways in which prajnapti (provisional designation) is either foregrounded or backgrounded. In his literary world, when such a view of language and a worldview based on prajnapti are foregrounded, works that either inherit or play a variation on the fixed structure of the sijo emerge; and when they recede to the rear and are backgrounded, verses in the form of the prose poem are formulated. In addition, in Jo's literary works, where such a worldview of prajnapti and an aesthetics of secular humor intersect together, the thoughts on bheda-abheda(difference-non-difference) and the madhyama-pratipad (middle way) are formed. Such thoughts have considerable significance because they not only harbor a possibility of deconstructing and overcoming the opposition of the sacred/profane but also present a vision of a new unity.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.9-18
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• 2004

This study focuses on the medieval Mongol costume called YosunOja. This dress consists of a blouse and a skirt, and some lines on the waist part. The purpose of the study is to analyse the structural characteristics of this costume, especially on the medieval remains from the tomb Mingshui in the district of Neimenggu. It can be analysed that this costume has three structural characteristics, which are the functional structure, sumptuous one, and the idea of Buddhism. The functional structure consists of the style with a blouse and a skirt, which gives enough surplus for the movement, the back-slash for the ease of the riding, and the dart in the front line which eliminates unnecessary surplus. The sumptuous structure is the many lines of the waist which show the maximization of the decoration, the extraordinary long sleeves, and the use of the expensive gold brocade which shows the wealth of the dresser. And also, the cutting of the fabric into the numerous segment may mean the medieval Mongols believed in Buddhism.

• Journal of the Daesoon Academy of Sciences
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• v.46
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• pp.33-68
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• 2023

Simwudo (尋牛圖), known as Ox Seeking Pictures, originated in the 11th-12th century and have consistently played a guiding role in the teachings of various religions in East Asia. Some Korean religions that emerged during modern times conveyed their teachings through depictions of ox seeking or herding. Among them, Daesoon Jinrihoe stands out as a representative religion. The belief system of this particular religion elucidates its distinct doctrine and worldview by reimagining Simwudo, into a new set of six panels (seven or nine panels in some variations). The Simwudo of Daesoon Jinrihoe differs from that of Buddhism, particularly in its treatment of meditation (禪), both in terms of context and significance. While they share similarities in the aspect of ox-seeking, the Buddhist Simwudo symbolizes human nature, whereas the Simwudo of Daesoon Jinrihoe represents the great Dao of Heaven and Earth propagated by Kang Jeungsan and brought into completion by Jo Jeongsan. In the Buddhist context, the subject of the search is the Ox, signifying the restoration of a deluded human's pure nature in order to achieve personal salvation and in some version of Simwudo, reenter society to perform salvific actions for others. On the other hand, in the Simwudo of Daesoon Jinrihoe depicts the process of a human attaining immortality and following the teachings of Jeungsan and Jeongsan. This culminates in the final image which is the redemption of the world. The final phase of the Buddhist Simwudo, depending on the version, is either enlightenment (personal salvation) or reentering society to perform salvific actions (as a bodhisattva), whereas the Simwudo of Daesoon Jinrihoe show the simultaneous achievement of the perfection of humanity and the redemption of the world. This distinction highlights the fundamental differences between the Simwudo of these two distinctly different religious traditions. These differences arise from the contrasting purposes pursued by Buddhism and Daesoon Jinrihoe.

• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.115-151
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• 2021

According to Lee Young-geum, the ideas of grievance resolution and mutual beneficence were already present in shamanism. She also insists that Jeungsan merely theorized upon these ideas by inheriting them and his religious activities must be identified from within a shamanistic worldview. Contrary to Lee's claim, Cha Seon-keun argues that the grievance resolution of Jeungsan is far beyond the contents and level of development found in shamanism. He also insists that Jeungsan's religious activities must be identified as having a certain orderly uniqueness distinct from shamanism. The argument between these two different perspectives has not attracted other researchers besides those who are directly involved. However, this debate deserves attention with regard to the problem of how one approaches a given religion and which academic perspective should be applied. Based on the perspective of the Daesoon Jinrihoe, this study examines their debate by considering four issues. Firstly, whether Jeungsan inherited or expanded upon the subject of grievance resolution and its range remains undetermined. Secondly, the ethics of mutual beneficence and grateful reciprocation in Jeungsan's concept of grievance resolution should be analyzed as to whether that idea reasserts the ethics of shamanism. Thirdly, it is necessary to study whether his method of grievance resolution fully embraced the methods of grievance resolution that exist in shamanism. Lastly, it should be determined whether or not Jeungsan's religious activities and system of thought should be identified within a shamanistic worldview. Through this review, Lee and Cha can be shown to have different opinions on the academic approach to research on religion. Accordingly, this study concludes that Lee's method of only interpreting Jeungsan's religious thought via a shamanic worldview is incompatible with academic methodology. A scholar of religious studies should discuss Jeungsan on his own merits rather than just imply that Jeungsan thoroughly reflects the worldview of shamanism, doctrinal studies of Buddhism, and Daoist thought as well as other theologies. In other words, if certain tangible and intangible elements found in shamanism, Buddhism, Confucianism, Daoism, and Christianity are also observed in Jeungsan's religious thought, it is necessary to comprehend how different or similar those elements are or whether they are re-interpreted in any manner. In the case of Lee, her method of overemphasizing similarities is now criticized as outdated. Nowadays, it is necessary to demonstrate awareness of modern religious studies tendency to pay equal attention to similarities and differences.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• The Journal of Korean Philosophical History
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• no.35
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• pp.165-188
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• 2012

The purpose of this study is to examine the historical consciousness and view of the three religions (Buddhism, Taoism, and Confucianism) of Won Cheon Seok who lived a period of historical transition from the end of the Goryeo Dynasty to the early Joseon Dynasty. Actively speaking for the public in his time and having the same attitude as the Neo-Confucian scholars in the end of Goryeo Dynasty, he kept criticizing the abuse of the power by powerful families who made the people fall into a state of distress and misery. He believed the dispatch of troops to conquer the Yodong region as a great opportunity to boost the valiant spirit of his country; however, the reality was quite opposite to his expectation as Lee Seong Gye had withdrawn the army troops at the Wihwado causing a great risk to his country. He took a very hard line stance against what Lee Seong Gye did. Although he was a Confucian scholar, he did not ignore Buddhism and Taoism and understood that after all the three religions were based on the same principle. His deep understanding of Buddhism and Taoism as well as Confucianism helped him to make sense of Confucianism even further. He was able to sublimate the worldly anguish coming from the Confucian thinking system by indulging himself deeply into the world view of Buddhism and Taoism. In the end, his view on the three religions was based on the idea that they taught the same principle. His view of the three religions with transactional features has a huge implication for the contemporary society in which various values and multiple cultures coexist and have more common grounds.