• Title/Summary/Keyword: 불사(佛事)

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Collaboration Between the Buhyu Monk Clan and the Uigyeom School of Monk Artists in the Late Joseon Dynasty: Buddhist Paintings for Songgwangsa Temple in Suncheon (조선(朝鮮) 후기(後期) 부휴문중(浮休門中)의 불사(佛事)와 의겸파(義謙派) 불화(佛畫) -순천(順天) 송광사(松廣寺) 불화(佛畫) 조성(造成) 불사(佛事)를 중심으로-)

  • Kim, Dayoung
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.98
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    • pp.154-175
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    • 2020

  • Most Korean Buddhist paintings from the late Joseon period were produced through collaborative projects (bulsa) between clans of Buddhist monks and monk artists (hwaseung), in which the monk clans would select themes and iconography for works that would then be produced by the artists and their school. Thus, any attempt to understand the Buddhist paintings of this period must consider not only the stylistic characteristics of the monk artists, but also the conditions at the respective temple at the time of production. Applying this methodology, this paper examines the collaboration between the Buhyu monk clan and the monk artist Uigyeom and his fellow artists (hereinafter, the "Uigyeom School") that took place in Honam (湖南) and surrounding areas in the eighteenth century. In particular, the paper reveals the strong influence that the Buhyu clan exerted on paintings that the Uigyeom School produced in 1724 and 1725 at Songgwangsa Temple, the clan's main temple. Following the paintings for Songgwangsa Temple, the Uigyeom School actively participated in similar projects at regional temples under the auspices of the Buhyu clan in Honam, Hoseo (湖西), and Yeongnam (嶺南). Consequently, the Buhyu clan granted Uigyeom several honorable titles-including "Hoseon" (毫仙), "Jonsuk" (尊宿), and "Daejeonggyeong" (大正經)-that were rarely conferred to a monk artist. Such acclaim helped Uigyeom's style of Buddhist painting to become widespread throughout the three southern provinces of Korea. The paintings for Songgwangsa Temple exemplify how the Buhyu clan and Uigyeom School collaborated to visualize the thoughts and philosophies of the Buhyu clan. For the Uigyeom School, this project served as the foundation for building the reputation and esteem of Uigyeom, who became one of the most esteemed and influential monk artists of the late Joseon period. As such, the paintings created for Songgwangsa Temple in 1724 and 1725 have great significance not only for Korean Buddhism, but also for art history in general.

  • https://doi.org/10.22790/artjournal.2020.98.154175 인용 PDF

Rock Weathering Characteristics of the Stone Buddha statue in the Gulbulsa temple site at Mt. Sogeumgang in Gyeongju-Si, Southeastern Korea (경주시 소금강산 굴불사지석불상의 풍화 특성)

  • Yoon, Soon-Ock;Park, Kyunggeun;Hwang, Sangill
    • Journal of the Korean Geographical Society
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    • v.47 no.6
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    • pp.809-824
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    • 2012

  • Stone cultural heritages quantitatively as well as qualitatively occupy a large proportion in the designated heritages in Korea. The Stone Buddha statue in the Gulbulsa temple site, designated as the No. 121 treasure in 1935, is located in the southwestern slope of Mt. Sogeumgang, Dongcheon-dong, Gyeongju-si, Gyeongbuk Province and Buddhist images are sculptured on four sides of a 3.5m-tall gigantic rock. The damage states result from the weathering degree and indicate high correlation with the water contents. The water contents in the Stone Buddha of Gulbulsa temple site are highest at the east side and then decrease in order of north, south and west sides. These are proportional to the durations of sunshine. Moreover, the Stone Buddha of Gulbulsa temple site with dense joints, repaired areas and vegetated areas by lichens shows high water contents and damage states.

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The language world of dystopia : focusing on the "Fuji-no-shima" and "Gentoshi" of Yoko Tawada. (디스토피아의 언어세계 - 다와다 요코의 「불사의 섬」과 「헌등사」를 중심으로 -)

  • Nam, Sang-wook
    • Cross-Cultural Studies
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    • v.51
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    • pp.213-233
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    • 2018

  • Representing the future of language is a very difficult but important issue, because it signifies a world of language different from the present; at the same time it secures the identity of the present language between the future changed language and the present one. This paper examines the linguistic world of dystopia, focusing on the "Fuji-no-shima" and "Gentoshi" of Yoko Tawada. First of all, "Fuji-no-shima" shows that, for Yoko Tawada, who was crossing the border between German and Japanese as a bilingual writer, the accidental Fukushima nuclear power generation in 2011 was accepted as the destruction of verbal order between signifiant and $signifi{\acute{e}}$, due to physical changes caused by radiation leaks. "Gentoshi" tells that human ties can be maintained through language activities that can capture multiple meanings, even in a world where traditional language order is destroyed through a policy of seclusion. From the above discussion, the novel Distopia, can actually be called Utopia as long as humans rely on the power of various languages to sustain it.