• Title/Summary/Keyword: 약사여래상

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A Study on the Modern Implication and Religious Value of Medicine Buddha Faith (약사여래 신앙의 현대적 의미와 신앙적 가치 고찰)

  • Kim, Jung-Suk
    • The Journal of the Korea Contents Association
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    • v.22 no.6
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    • pp.428-438
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    • 2022
  • The purpose of this study was to examine the modern implication and religious value of the Medicine Buddha faith. Accordingly, the theoretical background of Medicine Buddha faith was reviewed based on various literature, including Bhaisajyaguru Sutra, a representative literature on Medicine Buddha, and the two key goals of Medicine Buddha faith were set up and analyzed. As a result of this study, the modern implication and religious value of the Medicine Buddha faith were presented as follows. First of all, it is the modern implication of the Medicine Buddha faith. First, the Medicine Buddha faith promotes a shift in the perspective that disease is the subject of healing, not treatment. Second, the Medicine Buddha faith expands diseases not only to medical diseases but also to disabilities and makes them an object of healing. Third, the Medicine Buddha faith promotes healing through performance that strengthens the positivity of the mind. Next is the religious value of the Medicine Buddha faith. First of all, the Medicine Buddha faith has strong religious acceptance. Second, the Medicine Buddha faith is characterized by being accepted by modern people beyond religion and sect. Based on the results of this study, this study made suggestions to improve the quality of life of modern people suffering from pain in their daily lives due to diseases and unnatural death.

A Study on the Concept and Value of Master Jin Bodhi's Method of Asceticism Related to Practicing Medicine Buddha (진푸티 상사의 약사여래 신행 수행법의 개념과 가치 고찰)

  • Kim, Jung-Suk
    • The Journal of the Korea Contents Association
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    • v.22 no.6
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    • pp.557-566
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    • 2022
  • The purpose of this study is to understand the correlation between Master Jin Bodhi and practicing Medicine Buddha, and to examine the concept and value of the method of asceticism related to practicing Medicine Buddha. Accordingly, as a result of collecting and analyzing a wide range of literature data on Master Jin Bodhi, Master Jin Bodhi was able to capture and present various historical sources of using various method of asceticism based on practicing Medicine Buddha. In addition, the concept and value of the method of asceticism about The Method of Great Illuminated Asceticism, Throwing Five Parts of the Body, and Energy Bagua were considered and presented as representative practices among the various practices taught to modern people in physical and mental weaknesses across the world. This study is of academic significance in that it clearly distinguishes the concepts and unique values of each of the The Method of Great Illuminated Asceticism, Throwing Five Parts of the Body, and Energy Bagua based on the results of the correlation between Master Jin Bodhi and practicing Medicine Buddha. Nevertheless, this study did not fully reveal the historical causality of the process of expanding Master Jin Bodhi's method of asceticism related to practicing Medicine Buddha, and has limitations in not considering the concept and value of the method of asceticism other than the The Method of Great Illuminated Asceticism, Throwing Five Parts of the Body, and Energy Bagua. Specific methods for further research were suggested.

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.

An Inquiry into the Iron Seated Buddha Excavated from Pocheon in the National Museum of Korea (국립중앙박물관 소장 포천 출토 철조여래좌상에 대한 소고)

  • Kang, Kunwoo
    • 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.

A Study of the Removal of the Seated Medicine Buddha from the Samneung Valley at Namsan, Gyeongju during the Japanese Colonial Era (일제강점기 경주 남산 삼릉계 약사여래좌상 반출 경위에 대한 고찰)

  • Jun, Araki
    • Korean Journal of Heritage: History & Science
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    • v.53 no.4
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    • pp.150-169
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    • 2020
  • Surveys of Buddhist ruins at Namsan in Gyeongju began in earnest during the Japanese colonial era, undertaken by Japanese scholars. These surveys of Buddhist remains in Namsan made during the colonial period should be seen as previous research which cannot be ignored in any in-depth study of Buddhist ruins in Gyeongju. Full-scale surveys of Buddhist ruins at Namsan began in the 1920s. Previous surveys conducted around the time of the Japanese annexation of Korea in 1910 are generally viewed as only representing preliminary investigations and, thus, have not received much attention. However, these early surveys are significant in that they led to the Buddhist ruins on Namsan becoming widely known in the 1910s and served as the foundations for later studies. The removal of the Seated Medicine Buddha from Samneung Valley in Gyeongju in 1915 and its subsequent exhibition at the Joseon Local Products Expo, which marked the fifth anniversary of the Japanese administration of Korea, was especially important in garnering attention for Namsan's wealth of Buddhist artifacts, as the statue was placed in the main hall of the art museum and attracted a great deal of interest from visitors. It is typically thought that this Seated Medicine Buddha was exhibited in 1915 because it was the most beautiful and well-preserved statue from Namsan. However, the removal of this statue was closely related to the proposed move of the Seokguram statue to Seoul around the time of Korea's annexation. The plan to move Seokguram to Seoul was primarily devised by Terauchi Masatake, and the plan, based on Ilseontongjo-ron ('日鮮同祖論'), a historical theory that prehistoric Korean and Japanese people were of the same blood, and Joseon Jeongcheasoeng-ron ('朝鮮停滯性論'), a historical theory arguing that development had stagnated in Korea, was intended to be a visual demonstration of a new era for Korea. This new era was to proceed under the rule of the Japanese Empire through the dissolution of Gyeongbokgung, the symbol of the Joseon Dynasty, which would be replaced with past glories as symbolized by the statue of Buddha. However, as the plan floundered, the replacement for Seokguram in Seoul ended up being none other than the Seated Medicine Buddha of Samneung Valley. Surveys of the Seated Medicine Buddha began in 1911, administered by Sekino Tadashi, but he likely learned of the statue's location from Moroga Hideo or Kodaira Ryozo, Japanese residents of Gyeongju. It is also probable that these Japanese residents received a request from the Japanese Government General of Korea to find a Buddha statue that was worthy of being displayed at exhibitions. In this way, we can say that the transfer of the Seated Medicine Buddha to Seoul was the result of close cooperation between the Government General, Sekino Tadashi, and Japanese residents of Gyeongju. This also had the effect of removing the magical veil which had shrouded the Buddhist ruins of Namsan. In other words, while the early surveys of Buddhist ruins on Namsan are significant, it is difficult to argue that the surveys were undertaken for purely academic purposes, as they were deeply related to the imperial ambitions of Governor-General Terauchi which encompassed the plans to move Seokguram to Seoul and the successful hosting of the 1915 Expo. It should also be pointed out that the failure of the plan to move Seokguram to Seoul and the preservation of the Seated Stone Buddha of Mireuggok at Namsan was in no small part due to resistance from Korean residents in Gyeongju. Although it is not described in detail in the paper, research is needed which shows that the Korean residents of Gyeongju were not simple bystanders, but agents of history.

Manufacturing Techniques and Provenance of Gilt-bronze Seated Bhaisajyaguru (Medicine Buddha) Statue of Cheongyang Janggoksa Temple, Korea (보물 제337호 청양 장곡사 금동약사여래좌상의 제작기법 및 납 원료 산지연구)

  • Bae, Go Woon;Lee, Sang Ok;Beom, Dae Geon;Chung, Kwang Yong
    • Journal of Conservation Science
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    • v.34 no.1
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    • pp.59-67
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    • 2018
  • This study investigated manufacturing technique and provenance of the Gilt-bronze Seated Bhaisajyaguru (Medicine Buddha) Statue of Janggoksa Temple. The statue had the following : Cu(68.8%)-Sn(10.4%)-Pb(17.1%), it is similar to other medium or large Buddha statue. As results of comparison lead isotope ratio of sample with the provenance data were plotted in zone 3 of the South Korean galena map. According to this result of Bronze Buddha could be made into galena of the located in same area the temple. The results of this study were compared with the Bronze Bodhisattva statue of Goseongsa Temple. The manufacturing techniques were different based on the characteristics of Buddha statues and thus could be made into galena of the located in same area the temple.

Study on the Characteristics of Materials and Production Techniques of Clay Seated Vairocana Buddha Triad of Seonunsa Temple, Gochang (보물 제1752호 고창 선운사 소조비로자나삼불좌상 재질특성 및 제작기법 연구(1): 소조불상 주요 구성재료 분석)

  • Lee, Hwa Soo;Lee, Han Hyoung;Han, Gyu-Seong
    • Journal of Conservation Science
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    • v.36 no.6
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    • pp.562-577
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    • 2020
  • In this study, to conserve the clay seated Vairocana Buddha triad in Seonunsa temple, Gochang (Treasure 1752), the primary materials employed for creating the clay Buddha statues were scientifically analyzed. By analyzing the soil layer constituting the Buddha statues, it is observed that the said layer comprises sand having particle size greater than that of medium sand and soil having particle size smaller than that of fine sand, which were used in a ratio of 7:3, along with the bast fibers of paper mulberry (Broussonetia kazinoki). Hence, the aforementioned soil layer is composed of a mixture of sand and weathered soil, along with bast fibers to prevent scattering. By analyzing the tree species, it is found that the wooden materials constituting the bottom board and the interior of Buddha's sleeves of the Amitabha Buddha statue, Vairocana Buddha statue, and Medicine Buddha statue are hard pines (Pinus spp.). Additionally, three layers are found in the cross section of the gold layer. Furthermore, each of the hair sections of the Buddha statues is composed of earthy materials such as quartz, albite, microcline, mica, and magnetite, and the hair surface was painted by incorporating black materials containing magnetite.

Characteristics and Significance of the Huirang Daesa Sculpture at Haeinsa Temple in Hapcheon (합천(陜川) 해인사(海印寺) 희랑대사상(希朗大師像)의 특징과 제작 의미)

  • Jeong, Eunwoo
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.98
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    • pp.54-77
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    • 2020
  • Produced during the Goryeo period (718-1392), the statue of the monk Huirang Daesa at Haeinsa Temple in Hapcheon is almost life-size, with a height of 82.4 cm, a width of 66.6 cm at the knees, and a maximum width of 44 cm at the torso (front and back). Notably, it is the only known example of an East Asian Buddhist sculpture made from wood and dry lacquer that was formed by joining the front and back halves. However, a similar technique was used on a dry lacquer statue of the Medicine Buddha at Cheongnyangsa Temple in Bonghwa, which is estimated to date from the late Goryeo or early Joseon period. As such, this technique is thought to represent this particular time period. In an eighteenth-century travelogue about a trip to Mt. Gayasan, the author describes a sculpture that is believed to be the statue of Huirang Daesa at Haeinsa Temple, based on various unique features that closely correspond to the sculpture's current appearance. For example, the sculpture is said to have a hole in the chest and rough, knobby tendons and bones, two features that can still be seen today. Another sculpture of a Buddhist monk who was active in the western regions during the third and fourth century also has a hole in the chest, which is said to be a symbol of spiritual strength. The travelogue also states that the statue was lacquered black at the time, which means that it must have been painted with its present colors some time in the nineteenth century. Over time, the sculpture has been enshrined in various halls of Haeinsa Temple, including Haehaengdang, Jinsangjeon, and later Josajeon (Hall of the Patriarchs), and Bojangjeon. Records show that images of Buddhist monks, or "seungsang," were produced in Korea as early as the Three Kingdoms period (18 BCE-660 CE), but few of these works have survived. At present, only four such sculptures are extant, including the images of Huirang Daesa from the Goryeo period, and those of Monk Naong and Uisang Daesa from the Joseon period. Of these, the sculpture of Huirang Daesa has special significance for its early production date (i.e., CE. tenth century), outstanding production techniques, and superb artistic quality, realistically capturing both the external appearance and internal character of the subject. The tradition of producing, sanctifying, and worshipping statues of monks was prevalent not only in Korea, but also in China and Japan. However, each country developed its own preferred materials and techniques for producing these unique images. For example, while China has a large number of mummified Buddhist images (yuksinbul), Japan produced diverse images with various materials (e.g., dry lacquer, wood, clay) according to period. But despite the differences in materials and techniques, the three nations shared the same fundamental purpose of expressing and honoring the inherent spirituality of the monks.