• (The) Research of the performance art and culture
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• no.23
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• pp.347-368
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• 2011

This article is a review of the composition pattern of Suryukjae, which is one of the Buddhist ceremonies, and a consideration of the performance process. As one of the ceremonies leading the dead to heaven performed in the Buddhist circle, Suryukjae had been performed in Buddhist temples nationwide, but currently, it remains only in several Buddhist temples. Suryukjae is composed as follows. First, the early part of Suryukjae is a stage of preparing Suryukjae and ensuring legitimacy; thus, it has no detailed Jaecha except for Gwanyok. It is made up of Onghoge and Dage, has no Somun, and is centered on Yojabbara. The middle part of Suryukjae is a part in which Suryukjae is performed on a full-scale, which wishes the achievement of the goal of Suryukjae. It is made up of Geobul, Dage, and Somun, and is centered on Sadaranibara. Furthermore, this part delineates the flow of the Jaecha concerned as it contains detailed Jaecha. Meanwhile, in the middle part of Suryukjae, there is only detailed Jaecha called Sajadanman Bongsong (sending off), and the rest parts including Orodan, upper part, middle part, and lower part, in which there is no detailed Jaecha called Bongsong. The fact that there is no Bongsong in this part means all Bongsong is made in Heuihyang Bongsong, which is the last Jaecha. This implies that Saja, which is enshrined in Sajadan, is the essence of the achievement of the goal of Suryukjae. Only when there is Saja, Muju, Yuju, and Gohon (the meaning of all spirits) can be led to heaven. Also, from a rough perspective, this part is connected to other Chundojae (ceremony for sending off the dead to heaven) in Korea. There is a geori(Jaecha) that calls in Saja also in Jinogigut (exorcism) of Seoul. Then, although various gods from the otherworld are coming in in succession, to which Saja enters clearly shows a process in that Saja returns to the next world with the dead through . Just as demonstrates a process in that Saja returns to the next world with the dead in Jinogigut, also in Suryukjae, Saja needs to return to the next world with Gohon; therefore, at least Sajadan has detailed Jaecha called Bongsong. That is, this means that although Suryukjae of Buddhism is different from other Chundojae in terms of the composition of Jaecha, its notion about Saja is the same.

• (The)Study of the Eastern Classic
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• no.73
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• pp.119-151
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• 2018

This paper is a study of the historical significance of The water and land ceremony performed by Bongeunsa temple in the Joseon Dynasty. The Bongeunsa temple was originally a hermitage named Geungseongam, which was located in the Hakdang-dong, Gwangju County, Gyeonggi Province. After that, Geungseongam was named as Geungseongsa temple. Geungseongsa temple was left in that position and acted as the Temples belonging to Royal Tombs(陵寢寺, TRT) of the King Sungjong, later the name of the temple was changed to Bongeunsa Temple. As a result of movement of the royal tomb of the Joongjong(靖陵) next to the royal tomb of Sungjong, the Bongeunsa was also used as a TRT of the Seonjeongneung royal tomb. After that, the grandson of the King Joongjong, crown prince Soonhoe early passed away, Buddhist shrine (願堂) was set in Bongeunsa temple. Bongeunsa temple remained as a royal prayer place, serving as a Buddhist shrine for crown prince Soonhoe and serving as a Jopo temples for Seonjeongneung royal tomb until the end of the Joseon Dynasty. From the time when it was called Geungseongam to the time after when it was renamed as Bongeunsa Temple, this temple performed The water and land ceremony. But the characters changed little by little. From the King Sejo to King Sungjong, The water and land ceremony characterized Consolation ceremony for the spirit of the dead for prince Gwangpyeong, King Sejong, Queen Soehan and served as the Buddhist memorial praying for the well being of the royal family and people. From the time of the King Yonsan to the time of King Myeongjong, The water and land ceremony had strong characters for Consolation ceremony for the spirit of the dead for King. In the late Joseon Dynasty, Bongeunsa Temple served as the royal party of The water and land ceremony. On the other hand, after the Manchu war of 1636, Bongeunsa Temple also served as the national water and land ceremony for the victims who were killed in the mountains of Namhan. In the Joseon dynasty, The water and land ceremony performed by Bongeunsa Temple was strongly directed for Consolation ceremony for the spirit of the dead for royal family members, and Bongeunsa Temple was maintained as a royal prayer throughout the Joseon Dynasty.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.38-53
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• 2012

This paper investigated the construction year of 'Jeongnimsa(定林寺)temple in Buyeo(扶餘) through the recent archaeological records. First, the composition of land for the construction of temple was linked with Gwanbukri(官北里) sites which is estimated as palace. The composition of land for the palace was formed at late 6th century. Second, the several furnace sites was discovered under the foundation soil layers for the construction of temple. Reference to the pottery excavated from the previous surface indicates that the workshops having been operated a period of time after the transfer of the capital to Sabi(泗?). These workshops having been operated before the construction of roof-tile buildings which were followed by the large-scale composition of land for the palace at Gwanbukri sites adjacent to the north of 'Jeongnimsa. The pottery, roof-tiles and chinese porcelain which were included in the earth laid on the ground for the construction of temple also indicates that the construction year of temple do not go up to shortly after the transfer of the capital to Sabi. This is related with that wooden pagoda would have been present before stone pagoda and the foundation of the wooden pagoda would have soared into the ground. Last, the building layout of temple is familiar to Iksan(益山) Mireuksa(彌勒寺址) temple site than the temples of Buyeo such as Wangheungsa(王興寺址) temple site. This imply that Jeongnimsa temple was not constructed shortly after the transfer of the capital to Sabi like the opinion of the existing. Jeongnimsa temple was probably constructed at late 6th century when composition of the Sabi city was actively made.

• Journal of architectural history
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• v.18 no.1
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• pp.51-65
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• 2009

The inner gate(The last gate inside a temple, facing the main hall) is not a well-known part in the temple construction of Joseon. This study is focused on seeking truth about the inner gate arrangement of the existing temples as well as proving that it has changed while maintaining a certain relationship with the gate-pavilion arrangement. The inner gate is related to the Cheondo ritual which is letting the dead people's spirits go to heaven, mainly performed in Buddhism, and it has been demonstrated that the inner gate has gradually disappeared as the importance of gate-pavilions has been emphasized along with the changes of the ritual. The inner gate was a common construction before the 18th Century but since that time, it has gradually disappeared and finally it faced the main hall as the gate-pavilion and made the 4 halls-centered arrangement with the temple dormitories on both sides.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.170-193
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• 2021

In this article, I examine the transformation of the Iksan Royal Palace into a temple. And it was considered to mean a change in the way Iksan was managed by Baekje. The Iksan Royal Palace was converted into a temple between the establishment of Mireuksa Temple and Stone Pagoda. As a result, the transfer of the capital to Iksan was not achieved, and Iksan was transformed into a temple-centered city. In connection with this, the need to re-establishment the urban system in Sabi was increased, as it suffered a great flood in the Muwang era. As a result, the scope of the royal palace was expanded, the secondary palace was built, and the urban district was expanded throughout the capital city. It is presumed that King Mu gave a divine nature to Iksan and discriminated against Sabi. Accordingly, it is believed that the King Mu or King Uija stopped developing the city in Iksan and focused on the rearrangement of Sabi.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.180-195
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• 2016

Since being designated as an important Intangible Cultural Property, Yeongsanjae has become recognized as a unique representation of Buddhist rituals in Korea. Following vigorous research in recent years, however, Suryukjae(水陸齋) was found to have been performed for a longer period and on a larger scale than Yeongsanjae, and under state leadership. This allowed researchers to move beyond the previous perspective that Yeongsanjae(靈山齋) lay at the center of many rituals. This study aims first to examine the origin and development of Yeongsanjae in Korea based on the literature, and then to discuss the meaning it holds today. Yeongsanjae was recorded as a ritual in Jineongwongong -published in 1496 during the early Joseon Dynasty- and also appeared in Yeongsandaehoejakbeopjeolcha -published in 1634(the 12th year of Injo's reign) in the mid-Joseon Dynasty and it was called Yeongsandaehoejakbeopjeolcha. It continued into the late Joseon Dynasty and it was called Yeongsanjakbeop or Yeongsandaehoejakbeop in the Ojongbeomeum collections(1661), CheonjimyeongyangSuryukjaeuiBeomeumsanbo collections(1721), and Jakbeobguigam(1826). In modern times, it has been called Yeongsanje in newspaper articles of TongnipSinmun (The Independent) and Yeongsanjae in Seokmunuibeom(1935). Nevertheless, the difference between the early Joseon Dynasty and subsequent periods is whether mourning of the spirit(唱魂) is added. In this regard, Yeongsanhoe in the early Joseon Dynasty mainly concerned Buddhist teachings realized through rituals such as sermon scenes of the Buddha. On the other hand, it was combined with Buddhist masses for the dead(追薦) from the mid-Joseon Dynasty and performed alongside with Buddhist teachings and prayers for the dead. Taking into account the seven-day Suryukjae, however, Yeongsanjae was performed daily during the day and mainly dealt with Buddhist teachings, while Buddhist masses for the dead were included when Yeongsanjae was performed independently.

• Journal of Conservation Science
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• v.18 s.18
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• pp.51-62
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• 2006

This study, in order to do a nondestructive research on the mural walls kept in the protective house in Muwisa Temple, Kangjin, took four examinations; particle size analysis, XRD analysis, ultrasonic investigation, and thermo-infrared investigation. Component ratio of mural wall varied; clay of wall bodies consisted of gravel of 1.78 g, sand of 5.39 g, silt of 4.91 g and clay of 6.26 g. Ultrasonic velocity and one-axis compression strength tests done with eight mural-painted walls yield results as follows; the value of ultrasonic velocity ranged between 71.63 and 3610.11 m/s with the average of 417.44 m/s and on-axis compression strength ranged between 70.34 and $533.28kg/cm^2$ with the average of $83.23kg/cm^2$. The value increased in the order of Bosaldo(No.6)

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.32-75
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• 2013

도성은 왕권이 존재하는 것뿐만 아니라 왕권을 지지하는 지배계층이 모여 거주하는 곳이다. 그리고 중앙집권적 통일지배를 실현하기 위한 정치 의례의 장으로서 전근대 동아시아 세계에 공통적으로 건설되었다. 그 기원은 중국에서 유래하며, 일본은 율령제(律令制)를 바탕으로 하는 천황제 고대국가가 실현되는 7세기 말 '藤原京(후지와라쿄)'에서 처음으로 지상에 출현한다. 7세기 말부터 거의 1세기 간 복도제(複都制)가 채택되었기에 '등원경(藤原京)' 이후 도성은 여러 곳에 건설되었고, 때로는 천도되었다. 그러나 8세기 말 '長岡京(나가오카쿄)'에서는 복도제(複都制)를 지양했고, '平安京(헤이안쿄)'에 도읍을 정한 이후, 중세 근세를 거쳐 근대에 이르기까지 헤이안쿄-교토에는 1100년에 걸쳐 왕권이 지속적으로 존재하여 지금의 '京都市'(교토시)에 이르게 된다. '등원경(藤原京)'가 고대 일본 최초의 도성이었다면, '평안경(平安京)'는 마지막 도성임과 동시에 중세 도시로 변모해 가는 전환점에 위치하고 있다. '등원경(藤原京)'이래 남북축선에 대한 선대칭 구조를 의식해 도성이 축조 되었고, '평안경(平安京)'에서는 이러한 구조가 가장 강하게 표현되었지만, 9세기 초 천황과 관인들의 의식 정무의 동선이나 좌석 배치에 있어서 동서방향이 채용되게 되었고, 이에 더해 9세기 말에는 천황의 거소가 도성의 축선에서 벗어나게 된다. 또한 10세기 중반 경 '平安宮(헤이안큐)'에서는 '內裏(다이리)'를 중심으로 한 잦은 화재가 발생해 천황은 궁외로 거소를 옮기게 되었다. 이후 천황이 궁 바깥에 거주하는 것이 일반화 되었고, '평안궁(平安宮)'는 의식을 행하는 장소로서 한정적으로 유지 수리가 될 뿐이었으나 결국에는 그것마저 어려워져 폐쇄에 이르게 된다. 한편 귀족의 저택도 7세기 이래의 남북축선에 대해서 동서의 선대칭 구조로 부터, '寢殿造(신덴즈쿠리)'라고 불리는 건물배치도 공간구성도 비대칭인 건물양식이 주류를 이루어 갔다. 이상과 같이 일본의 고대 도성의 특징을 잘 가지고 있었던 최후의 도성 '평안경(平安京)'는 남북을 축선으로 하는 선대칭 구조가 가장 뚜렷하게 나타났으나, 9세기 '평안궁(平安宮)'의 변화를 시작으로 11~12세기에 크게 변모해갔다. 이처럼 고대국가의 도성이 가지고 있었던 남북을 축으로 하는 구조를 버리고 동서방향으로 동선을 취한 움직임은 고대국가의 이념을 탈피하여 다음 시대로 전환하는 중요한 한 걸음이었다고 생각된다.

• (The) Research of the performance art and culture
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• no.20
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• pp.163-204
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• 2010

"Nectar of Immortality", also known as Suryukwha, is a painting which is hung on the wall during Suryukjae, a rite to console the spirits residing on both land and water. The Suryukwha at Bonyung Temple in the Ming Dynasty consisted of 139 scrolls depicting separate scenes. In Korea, however, Nectar of Immortality combines all the scenes into one large painting. The lower part of Nectar of Immortality describes pain, disasters, and the frailty of human life in this world. This is intended to inspire people to embrace Buddhism and be delivered from their worldly existence. However, it reflects the social realities of that time as well. The scenes at the bottom of the painting of nomadic troupes of entertainers and their performances are part of this reflection. In this section, various scenes of traditional Korean performance are illustrated, such as double and single tightrope walking, Sotdaetagi (performing atop a pole), Ssangjulbaegi (one form of Sotdaetagi), tumbling, bell juggling, mask dramas, dish spinning, puppet shows, the dance of Sadang, and sword dancing. Among these performances, some, such as Sotdaetagi, Ssangjulbaegi, double tightrope walking, bell juggling and sword dancing (Punggakjaengipae), have since ceased to exist. The troupes of entertainers depicted in Nectar of Immortality are Sadangpae, Namsadangpae, Sotdaejaengipae, Choranipae, Punggakjaenipae, Gutjungpae, and circus troupes. When, after itinerant lives, these entertainers die, they become forlorn wandering spirits with no descendants to perform their memorial services. The entertainers in the performance scenes are the embodiment of souls who are the subjects of salvation through Suryukjae. Among these entertainers, Sotdaejaengipae, Sadangpae, Choranipae, Punggakjaenipae and Gutjungpae no longer exist. In sum, Nectar of Immortality provides insight into the vanished content of numerous historic forms of performance and the activities of nomadic troupes of entertainers.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.68-84
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• 2014

The royal tombs of Baekje(백제), after the transfer of the capital to the Geumgang(riv)(금강) basin, changed to Songsanri(송산리) style(stone chamber) ${\rightarrow}$ Southern dynastic(남조) style(brick chamber) ${\rightarrow}$ Neungsanri(능산리) style(stone chamber). The most special feature of this process is the change of the ceiling structure. The ceiling had been changed from dome(Songsanri style) ${\rightarrow}$ tunnel ceiling(transition period of brick tombs and Neungsanri style) ${\rightarrow}$ a roof style(is Neungsanri style of three imitate type, trapezoid, triangle, flattened ceiling). The most special feature among this process is Neungsanri style(stone chamber), created especially in Baekje. The royal tombs of Baekje didn't lay stress on the mound, so the mound is not noticeable. It is result that they more stressed on basin of the boundary than showed off individual tomb, and this is count as an element of China Southern dynasty. Boundary of the royal tomb of Baekje, after the transfer of the capital to south, were changed from royal family's boundary to single independent's. Those are Songsanri's and Neungsanri's, these are the pair tombs(쌍릉) of Iksan(익산). That is influence of the Southern dynasty, reflect the theory of divination based on topography completely, this is influence of the China Sui(수) and the early Tang(당) dynasty's system of boundary of the royal tomb. Besides the royal tomb, they also buried a closely related person, in the boundary of the royal tomb. And facilities for memorial ceremony were existed too. An altar was equipped in Songsanri's boundary of the royal tomb, it was seen a kind of character of a sanctuary for progenitor. Neungsanri's boundary of the royal tomb were equipped with an open-aired altar that performed memorial ceremony about communal royal tombs, and also equipped a temple, was needed to pray for the happiness of the dead. This structure and arrangement are very similar to Seoakdong(서악동) of Silla(신라).