• SUVANNABHUMI
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• v.5 no.1
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• pp.59-105
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• 2013

발리는 '신들의 섬', '세계의 아침', '지상의 마지막 낙원' 등의 이름을 갖고 있는 세계적으로 유명한 관광지이다. 본 논문의 목적은 이러한 세계적으로 유명한 여행목적지인 발리 관광을 통해 한국인은 동남아에 대해 어떤 인상을 갖게 되는가를 연구하고자했다. 최근 한국과 동남아 사이에 인간의 이동이 빈번해짐에 따라 문화교류 및 교차가 발생할 것을 전제로 하여 '한국 속 동남아현상'의 원인과 경로, 결과 등을 연구하는 배경 가운데, 특히 초국가적 단기이동으로서 관광을 통해 문화교류 및 교차에 대한 이해를 높이고자 한 것이다. 우선 관광목적지로 유인하는 요인에는 사회적, 지리적, 생태환경적, 문화적, 심리적 등등 다양한 요인들이 있고, 이러한 유인요인들을 매력적인 관광상품으로 개발하여 세계인들을 더 많이 유치하는 데는 관광정책에 달려있다. 무엇보다 민주화 이후 발리관광정책은 천해의 자연 및 지리조건은 물론 발리가 보유하고 있는 독특한 힌두문화, 그리고 발리를 신, 인간, 자연의 조화와 그 속에서의 평화를 체험할 수 있는 공간으로서 그 목적을 갖고 있다. 이러한 관광전략을 '지속가능한 그리고 공동체에 기초한 발전' 전략이라고 볼 수 있다. 설문지 경험분석을 통해 한국인이 발리에 도착하기 전까지 발리를 관광지로 선택하는데 영향을 준 미디어는 TV 드라마가 제일 크고, 인터넷, 여행정보지 그리고 지인 등의 순으로 나타나고, 한국인이 발리를 관광지로 선택하는 가장 큰 요인은 뜨거운 태양과 해변, 아름다운 자연환경임을 알 수 있었다. 또한 발리에 도착하여 발리에 대한 매력으로 느끼는 요소는 첫째가 역시 자연환경에서 주는 만족도가 제일 높고, 흥미로운 특징으로 볼 수 있는 것은 두 번째 요소가 편리한 숙박시설 즉, 잘 갖춰진 호텔에 대한 만족도가 2순위, 쇼핑이 3순위 그리고 다양한 문화와 예술이 4순위이다. 그리고 마지막으로 발리에 대한 이미지도 역시 자연환경에 대한 이미지가 가장 많은 영향을 차지하고 있고, 평화로움 그리고 신비로움 등이 발리에 대한 이미지로 자리잡고 있음을 알 수 있었다. 결국 초국가적 단기이동으로 한국인 발리행 관광을 통해 동남아적 자연환경과 문화에 대한 체험은 갖게 되지만, 단기이동의 한계로서 문화교류와 교차가 실질적으로 발생하는 것은 아니라고 볼 수 있다. 그러나 발리는 초국가적 문화의 장으로서 한국인을 포함하여 세계인과 함께 문화교류 및 교차의 장으로서 기능하고 있다고 볼 수 있다.

• SUVANNABHUMI
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• v.2 no.2
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• pp.69-82
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• 2010

이 글은 미얀마의 고대 도시에서 축조된 방어장벽의 건축물에 나타나는 신앙문화에 관한 연구이며, 여러 고대 도시, 특히 쀼족(Pyu)의 도시였던 베잇따노(Beikthano), 하링(Halin), 떠예킷떠야(Thayehkittaya, Srikshetra) 등지에서 발굴된 유물, 유적을 분석하였다. 이와 함께, 미얀마의 고대 도시에 형성된 전통적 신앙세계를 해명하는데 중점을 두고자 한다. 미얀마에서는 성문, 성벽, 요새, 또는 파고다를 건축할 때에 신앙적 요소가 반드시 개입되었다. 건축물의 축조 토지의 선택에 있어서나 건축물 용도에 따른 재앙의 예방의 목적을 구현하기 위하여 신앙체계가 적용되었다. 특히, 방어 장벽(예를 들어, 성벽, 성문 등)에서 나타나는 불교경전이나 쇠못이 박힌 철판 및 각종 힌두신과 낫(정령)의 조상(彫像)은 그러한 신앙적 차원에서 도입되었던 것이다. 결론적으로 미얀마의 고대 도시에 있어서 방어 장벽의 구조물에서도 전통신앙과 힌두교 및 불교가 혼합된 신앙체계가 엿보이며, 나아가 쀼 왕국에 형성된 여러 고대 도시에서 서로 유사한 물질문화와 신앙체계가 널리 존재하고 있음이 밝혀졌다.

• The Southeast Asian review
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• v.21 no.2
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• pp.43-75
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• 2011

The article focuses on the impact and Acceptance of Hindu culture in Modern Southeast Asian Buddhism. The purpose of this study is to examine critically the influential epic Ramayana on Siam culture, Thai Ramayana version 'Ramakien', reveal instances of Buddhist Modification. The Ramayana by the great sage Valmiki is considered by Indians to be the first great literary work to be produced in India. The influence of this work is to be seen not only through centuries but even in other countries, such as Thailand where there are modified modern versions. In this paper, I have three objectives : (1) I may discuss the epic Ramayana of India gave birth to the Ramakien of Thailand. In modern times Valmiki's epic was made to fit the spiritual trends current in the new Chakri dynasty, which were themselves based on Brahmanic tradition and Theravada buddhism. With regarding to the structure of the Traibhumi cosmography, and the relationship between merit and power implied by this cosmography ranks all beings from demons to deities in a hierarchy of merit which accrues according to karma the actions of past lives. (2) I analyze how to have attempted to dissect the Hindi and Thai version of the Ramayana. The Hindu concept of kingship is also depicted in the life of Rama. The Hindus see in Rama the norm of a true Hindu life characterized by the Caste and Dharma. In Thai transformed version, it does not preach Hindu values of personal or social life. The Ramakien emphasized that the Buddhism were higher than all other laws, and that the King is regarded as the incarnation of Phra Ram, and thus is also the narration of the righteous buddhist ruler. (3) I discuss how cultural or social contexts can influence the structure of the royal Wat. The whole epic was painted by the order of Rama I in the galleries of the Wat Phra Keo. In other words, it is the very centre of the dynastic cult enshrining the Emerald Buddha, the most iconic expression of the Ramakien tradition were officially amalgamated. Rama I was continued the process of elaborating and stabilizing the complex religious pattern, with Buddhism at the pinnacle. My finding will support the idea that the Ramakien is particularly appealing to the Thai people because it presents the image of an ideal king, Rama, who symbolizes the force of virtue or dharma while Thotsakan represents the force of evil. Eventually the force of good prevails. Being Buddhists, the Thai poets bring into the story the Buddhist philosophy(especially, the law of cause and effect, karma). This paper examines the role of the Hindu epic Ramayana in the historical and cultural contact between Hindu India and Buddhist Southeast Asia. It should now be possible to evaluate what elements of Hindu culture were transmitted into Thai through the Rama story.

• (The) Research of the performance art and culture
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• no.39
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• pp.637-667
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• 2019

I have researched in the field the religious and performance culture of Indonesia through the musical iconography of Borobudur. There are many kinds of musical instruments which belong to India or Indonesia, performers being either court or folk musicians. Contemporary south-east Asian Indonesia has a broad religious heritage. Most of the population is Muslim, but the culture and customs are rooted in Indian Ramayana. I discovered, for example, the same percussion instruments played on a person's knees. I also came across similar string instruments with long and elliptical resonance casks on the iconography of the Incense Burner and Byam temple stone pagoda of Beakje dynasty in Korea and in Borobudur in Indonesia. The two musical instruments can not be found in other countries, such as Silla, Koguryŏ, China or the silk road area, but only Indonesia or India. This suggests that Beakje Buddhism is from the southern regions rather than China. I also discovered the same dancing motion with the court performers on the iconography of Borobudur, and the same musical instrument and performance in the Gamelan in today's Indonesian performance. Despite a disjuncture between the people and their past, the Shailendra Buddhism is alive in people's life and culture in the present day. So we can discover some familiarities between Indonesia's Gamelan and the percussional performance in Korean Buddhist rituals.

• Journal of International Area Studies (JIAS)
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• v.15 no.1
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• pp.155-180
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• 2011

This paper aims at comparing the metanarrative and East Timor's local narrative in Indonesia during the Suharto's regime. Although these history writings have different political goals, the patterns of writings are ironically similar. Both of the history writings show strong nationalistic history writing patterns. Yet, in the writings, these histories place different interpretations on the historical events. In the metanarrative, local dynamics are seen through the diagrams of the nation and nationhood. This narrative finds the roots of the "ethnie" from some kingdoms in Java and Sumatra. These kingdoms, which throve based on the Hindu-Buddhist culture, achieved a territorial unity to a degree, covering some parts of Java and Sumatra. The glorious past disappeared with the advent of the colonial rule. The metanarrative then emphasizes the unity of the ethnic groups in the archipelago, which fiercely resisted against the colonial exploitation and oppression. By this, these ethnic groups were defined as "the masses," the collective identity, which had a same goal to achieve the national independence. In addition, some local histories, which took positive attitudes toward the European forces, were simply left out from the metanarrative. All the separatist movements taking place in the republic were also described as the anti-unifying forces. On the other hand, the goal of the history-writing in East Timor was to enhance the sense of nationalism and create the perception of the "East Timorese." The fundamental aim was the separation from Indonesia. In the narrative, the nationalist politicians overcame the problem of the non-existence of any memories of the glorious past with the awakening of the idea of "the imagined gloriousness of the past if there was no colonial rule." In addition, the narrative overemphasizes the memory of the colonial rule for 450 years under the Portuguese rule in order to stress the fact that it was the colony of Portugal, not of the Netherlands. Finally, the narrative shows how the East Timorese collectively fell to the status of slaves. By this, the political leaders of East Timor evoked the notion that it was recolonized by Indonesia, under which the East Timorese were demoted to the status of slaves. This notion of "slave-master" relationship then became the motives for the independence struggles in East Timor.