• 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.

• Journal of the Korean Society of Costume
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• v.19
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• pp.157-173
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• 1992

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.212-223
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• 2012

Pigments used paintings, ornaments, weapons and various objects have been recognised as important elements to ascertain the history, manufacturing technique and cultural migration. Since the understanding of composition of pigments by analysis began in 1963, its technique and methodology has much advanced in recent years; recent study used the portable X-ray Fluorescence as non-destructive analysis has been practiced in particular. However the study on pigments necessitates overall and systematic research because it is difficult to understand periodical and regional use of pigments. by fractional studies. Therefore this research investigates the coloring materials and painting techniques of the scroll painting depicting preaching scene of Sakyamuni Buddha in Daeungjeon Hall, a main hall of Bulguk temple, through scientific analysis and comparison of various pigments which had been applied to the buddhist paintings of Joseon Dynasty. Consequently, it is confirmed that the scroll painting used pigments of white lead[$2PbCO_3{\cdot}Pb(OH)_2$] for ground layer and used mixture of different pigments such as cinnabar (HgS) minium($Pb_3O_4$) malachite($2CuO{\cdot}CO_2{\cdot}H_2O$) hematite($Fe_2O_3$) gold(Ag) for presenting various colors on the painting layer. It has been also believed that mineral pigments were applied to the scroll painting, yet it is difficult to confirm whether it is natural or synthetic pigments because the crystal structures of pigments were not analyzed. The results of this study, however, provide useful reference data for the understanding of the components of pigments and manufacturing techniques of buddhist scroll paintings, in particular, of Joseon Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.1 s.149
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• pp.94-105
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• 2006

This study is focused on the man's costumes of Sadangpae(the troupe of performers) shown in Gamrotaenghwa (감로탱화) during the late Chosun dynasty. Originally Gamrotaenghwa was used as a painting for a Buddhist praying ceremony, 또Young-ga-cheon-do-je(영가천도제). It shows us the lives of the commoners in those days. Gamrotaenghwa reflects the changes of costume style in the late Chosun period. The early styles of po(포, coat) for male performers in the 17th century were changeui(창의) and dopo(도포), which had the front panels(seop) overlapped deeply and sleeves that got wider as time passed. After the 18th century, Male performers wore a simpler coat such as sochangeui(소창의), which had narrow sleeves and long slits on the both sides. Especially the coats of acrobats were fastened on the center front with buttons. Heuklip(흑립: black hat), somoja(소모자: small cap) and jeonlip(전립: wool hat) were used as hats for the male performers. Originally, heuklip was the hat that represented the noble status: yangban(양반). However, it was popularized among the commoners in the late Chosun period. As time passed on, the heuklip became more popular and its shape also changed. Somoja and jeonlip were shown throughout the entire Gamrotaenghwa. Unlike heuklip, those were common hats for Sadangpae. The costumes of entertainers shown in Gamrotaenghwa were very similar to those of the commoners. However, it seems that there were some differences of the costumes depending on the roles they performed.

• Journal of Conservation Science
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• v.28 no.4
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• pp.297-303
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• 2012

Samsebul, the altar portrait behind the statue of Buddha in the main building of Bonghwang temple in Andong, has been designated as Tangible Cultural Property No. 406. These alter portraits have significance as the standard of the research of Samsebul in Joseon period. In this study, fibre of the ground textile is identified using microscopic examination, solubility test, ATR-FT-IR, SEM, XRD. Two samples from Yaksabul(A, B), one sample from Seokgabul(C), and one sample from Amitabul(D), which were collected during the conservation process, were prepared for this study. In previous record, above samples were documented as hemp. Due to severe deterioration and accumulated dust layers on these samples, it was hard to recognize them with naked eyes, but through this study, we could identify that all samples except one from Yaksabul(A) are silk.

• The Korean Publising Journal, Monthly
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• s.154
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• pp.2-3
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• 1994

이 책은 선사유물, 불상이나 탱화, 고분벽호, 토우, 장숭, 탈 무속화에 표현된 얼굴과, 외국인이 본 우리의 얼굴 등에서 '역사 속의 얼굴'을 찾고 있다. 하지만 책을 뒤적이다 보면, 그 표현법이 다를 뿐 각 양식에 나타난 얼굴들은 분명 우리의 얼굴이라는 사실을 깨닫게 된다. "우리는 어떤 얼굴을 가진 민족인가?" 이 질문에 현답을 제시하고 있다.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.45-63
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• 2014

In the Taenghwa(Buddhist paintings), the clothing habits of the times can be observed since it depicts the lives of people from all walks of life. These 16th century Taenghwas were drawn based on the understanding of the ritual costumes of early Joseon dynasty appearing in works such as oryeui Se-jong-sil-lok; Sejong chronicles and Gyong-guk-Dae-jon. It shows the perception of various types of clothing such as the Myeon-Bok(King's Full Dress), Won-yu-gwan-bok(King's Ceremonial Dress), and Gon-ryong-po(royal robe at work), and describes the early King's Won-yu-gwan-bok in the early Joseon dynasty that equips Bang-sim-gok-ryong(Round Neck Band). Various officials' uniforms and various men's coats are described. From it, one can visually verify the records of Joong-jong-sil-lok; Joongjong chronicles that describes the appearances of various hats and coats. They also tell us that Chang-ot(light outer coat) was worn prior to the 17th century. It also shows us that the ritual costume of women in Koryo was passed down to early Joseon. Also, in regards to the Buddhist priest costumes, the jang-sam's gray color and ga-sa's red color has been passed down until today. The most representative characteristic for clothing materials were horsehair, silk, ramie, hemp, and cotton.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.8
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• pp.1190-1201
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• 2007

This study is to review the costumes of female Shamans through Gamrotaenghwa(甘露幀畵) in the late Joseon Dynasty of the 18th and 19th centuries. The picture of Mudangnaeryeok(巫堂來歷) showing Shamanic performances which is kept in Kyujanggak, Seoul National University was the only one thing enabling to compare with the Shamanic costumes shown in Gamrotaenghwa. The earlier Gamrotaenghwa doesn't show the Shamanic features but that of the later part of 18th century shows specific costumes so that the scene of Shamanic performance can be guessed. The Shamanic costumes are classified into 5 types. Type A is considered to have followed the figures shown commonly in earlier Gamrotaenghwa of the 16th and 17th centuries, rather than the traditional costumes. Types B through E show the costumes of the Joseon dynasty. With the basic costumes of skirt and Chogori(a kind of jacket, Type B), the variable costumes worn for each type of Shamanic performances are Mongduri(蒙頭里, Type C), Jeonbok(戰服, Type D) and Cheolrik(天翼, Type E). Reviewing the general style of those costumes, the upper part was tight and the lower part was silhouette of big volume, and the length of Chogori was a little long in the early of 18th century but it became shorter with narrower sleeves from the later part of the same century. According to the general literatures about the outer collars were not overlapped and its side parts were open, with half or no sleeves. In case that the target of Shamanic performance is male god, the Shaman wore the male costumes represented by Cheolrik and Jeonbok. Because these Cheolrik and Jeonbok which were worn during the Shamanic performance have the symbolic meaning to correspond with the male god, they didn't function as ordinary costumes.

• The Journal of the Korea Contents Association
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• v.20 no.4
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• pp.530-539
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• 2020

In this paper, we implement a digital content that visualizes the ten kings of Hell kings appearing in Buddhist myths according to their keyword. The ten kings of Hell are called ShiWang, and can be found in ordinary temples as tangible cultural Heritage such as paintings of the Buddha. ShiWang is a great king who controls the underworld and has been passed on in various forms in shamanism and Buddhist culture. We analyze the ShiWang, who appears in ancient literature, analyzes its features by hell and categorizes keywords. When the public chooses keywords of interest from implemented digital content, digital content represents the ShiWang and Hell image and descriptions associated with the selected keywords. Applications of the digital content are as follows; development of games and cultural characters, digital storytelling using traditional culture, teaching Buddhist culture and doctrines, games, etc.

• 보존과학연구
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• s.24
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• pp.131-152
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• 2003

In ancient times, many kinds of different inorganic pigments were used as colorants for making objects. These pigments are still evidentin well known objects such as Danchung, mural painting and Buddhist painting. This study discusses the results obtained from an analysis of the pigments used on the Buddha pigments. The results can be briefly summarized as below; Firstly, the microcrystalline structures revealed on the cross section of analyzed pigments, samples of which were taken from various parts of Buddha pigments show that different sizes and shapes of pigment particle were used for different purposes such as coloring, toning of the pigments. The arrangement of pigments and their usages are varied according to the owner temples and the place where it was created. Secondly, a result of the analysis on the composition and structure of the pigments shows that the main components in their composition are: Red pigments - Red lead($Pb_3O_4$) and Cinnabar(HgS)Green pigments - Malachite[$CuCO_3$.$Cu(OH)_2$] and Prussian Blue[$Fe4(Fe(CN)_6)_2$]Gold pigments - pure gold(Au)Yellow pigments - Orpiment($A_s2S_3)White pigments - Lead Cyanamide[$Pb_3(CO_3)_2(OH)_2]Ultramarine pigments - Azulite[$Cu_3(CO_3)_2(OH)_2]Especially, we knew that pigments used on the Ssanggye temple not repaired to the artificial synthetic pigment