• The Southeast Asian review
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• v.20 no.3
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• pp.223-262
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• 2010

This paper has been written to find facts about the image of earth goddess broadly found in the Southeast Asia. The research findings are as follows: Firstly, the image of earth goddess wringing her hair is phenomenally discovered in both Buddhist temple murals and independent shrines in Thailand. This phenomenon is common in other Indochinese Buddhist countries such as Myanmar, Laos and Cambodia. Secondly, the life of Buddha including the story of the victory over Mara is found in such Buddhist canons as Mahavastu, Buddhacarita, Lalitavistara, Nidanakatha and Patamasambodhi. Among the canons, the story of the victory over Mara is described in differently ways. Earth becomes personified as the goddess in later version. The main cause to expel Mara's army also changes from sound to water. Patamasambodhi is most closely associated with the iconography of the earth goddess of Southeast Asia. Thirdly, Vessantara Jataka and Indian ancient customs tell us that a merit maker performs a rite of pouring water on the earth as an evidence for merit-making. This rite is a key to understanding the meaning of the scene where the earth goddess expels Mara's army into the flood by wringing her hair. The earth goddess is personified from the earth upon which the merit water is poured. Water soaked in her hair is the very holy water poured by the Buddha whenever he made a merit in his former lives. The amount of water flowed from the hair of the earth goddess representing the amount of his merit making was so huge and enough to defeat the Mara's army and for the Buddha to reach the Enlightenment. This legend explains the significance of the notion of merit in the Theravada Buddhist countries such as Thailand and Myanmar where the water pouring rites still take place and the images of the hair wringing earth goddess are commonly discovered. Fourthly, the first image of the earth goddess as the witness of merits for the Buddha appeared in some Gandharan Buddhist sculptures in the form of devotional gesture with her both hands pressed together and the upper half of her body above the ground. The appearance is in accordance with the description of her in the Lalitavistara canon. In later periods, the form changed into various types and finally the image of the earth goddess wringing her hair appeared in Southeast Asia around 11 century C.E. Some researchers argue this image form of the earth goddess shows the influence from China or India. However, the arguments are considered to be hypothetical as they have no strong evidence to prove. Finally, the modern image of earth goddess shows richer and more dynamic expression compared with its predecessors. Especially, outstanding is the standing earth goddess images found in the scene of the victory over Mara in many temple murals of central region of Thailand. The earth goddess in her voluptuous body shape is usually depicted as wringing her hair with her arms wide open in a posture of S curve. This appearance strongly reminds us of the postures of Salabhanjika and Tribhanga originated from Indian art. The adoption presumably has been made to signify her fertile and affluent characteristics.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.78-99
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• 2020

The Buddha triad and 16 Arhat statues carved on the rock surface at Seongbulsa temple is the only domestic remaining example of all 16 Arhats, so its academic value is very high. However, it is severely damaged and so required a stability evaluation through study of digital documentation and precise diagnosis for the purpose of comprehensive conservation. This process established that the Buddha statues were of similar scale, while the Arhats showed a wide variety of sizes, and the two kith and kin in the volume were larger than the Arhats. It was estimated that the statues of food for Buddha are similar to the Arhat statues, and most of the statues are well-formed. The rock used to carve the Buddha statues is banded gneiss with distinct foliation, alternating between white bands of quartz and feldspar and black bands composed of biotite. The Buddha statues have been damaged by physical weathering, discoloration, and biological contamination. In damage evaluations, joint (3.6 crack index), peeling (5.2%), exfoliation (1.7%), and falling off (0.1%) were observed on the rock surface of the Buddha statues. In particular, due to severe biological weathering, stage 9 and 10 biological coverage of the rock surface accounted for 57.5% of the total area, and stages 5 to 8 also accounted for a high share at 22.3%. The discoloration factors were shown to be dark brown and white with Fe, Ca, and S, and a large amount of C detected in the blackened contaminants, and the damage weight high in all areas. Discontinuities in different directions were identified in the rock surface. Analysis of potential rock failure types indicated that there is a possibility of plane and toppling failure, but wedge failure is unlikely to occur. The mean ultrasonic velocity of the main rock surface was 2,463m/sec, the lower part of the left side with a large number of joints was relatively low, and the highly weathered (HW) type to the completely weathered (CW) type concentrated distribution, showing weak properties. For the Buddha statues, conservation treatment is required for about 14.9% of micro cracks and 58.9% of exfoliation cracks. In addition, in order to improve the conservation environment of the Buddha statues, maintenance of drainage and ground preparations for the rock surface gradient and plants are necessary, and protection facilities should be reviewed for long-term conservation and management purposes.

• Industry Promotion Research
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• v.9 no.2
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• pp.137-151
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• 2024

This study analyzes the feng shui characteristics of the location of Seon-un Temple in Do-sol Mountain, Gochang from a metaphysical and selfish perspective through field research and literature review.A characteristic element of feng shui was that it prioritized harmony with nature and made it a reference point for selecting a location through a reasonable method. In the Silla Dynasty, adherent monks studied in the Gangseo area, where the Hyeongsepungsu first appeared, and this Hyeongsepungsu of the Gangseo District Law flowed into Korea and played a leading role in selecting the location of the temple and arranging Garam. Seon-un Temple was located under Do-sol Mountain and had no choice but to have great significance, and it was a practice of the desire to achieve Buddhist perfection through Do-sol Stream and Do-sol Small Temple, which enter the kingdom of Buddha. A s a result, the location of Seon-un Temple under Do-sol Mountain in Gochang reflected a variety of feng shui characteristics. In particular, the location of Sun-un Temple in Do-sol Mountain logically used the characteristics and meanings of feng shui and practiced becoming one with nature, which is aimed at spreading Buddhist doctrine and ideology, which has the holiest meaning of Buddhism.

• Journal of architectural history
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• v.27 no.2
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• pp.63-78
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• 2018

Pagodas in Myanmar can be largely divided into Zedi and Pato. Zedi is a developed form of the early domed pagodas in India and Sri Lanka, which can be found in the introduction of Buddhism in Myanmar and the comparison of early pagodas in India, Sri Lanka and Myanmar. On the other hand, Pato is where statues of Buddha were enshrined, which is why many scholars referred to it as a temple. However, this study proposes that Pato shall be referred to as a temple-style pagoda in a form unique to Myanmar, based on the origin of Pato, definition of pagodas, and Sarira Enrichment Record of Pato. Moreover, it seems more appropriate to name this type of structure Stupa Temple(塔殿) or Stupa Shrine(塔堂) rather than a Buddhist temple(佛殿) or Buddhist shrine(佛堂) for clear distinction. Pato, or temple-style pagodas, has a ${\acute{S}}ikhara-style$ structure at the center like Ananda Pato upon entering the Pagan (Bagan) kingdom period, on which Zedi-style structures are built. As a result of examining the integration of various Buddhist schools and religions focused on Theravada during the period of King Anawrahta and King Kyanzittha, the ${\acute{S}}ikhara-style$ structure is a symbolic representation of the fact that Theravada embraced Hinduism. The common features shared by pagodas in Myanmar are the centrality of place and the verticality of $y{\check{a}}ngti{\bar{a}}n$ (looking up to the sky) in terms of shape. All temples are placed at the most important and central space, and their forms represent strong religious $y{\check{a}}ngti{\bar{a}}n$ and verticality. These are the features that stand out most among various pagodas in Buddhist countries.

• Journal of Conservation Science
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• v.27 no.1
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• pp.101-114
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• 2011

The rock-carved Buddha statue at Dosolam (Korea Treasure No. 1200) of the Seonunsa temple in Gochang is unique style sculptured on natural rock cliff of 13.0m height. The Buddha statue is composed of volcanic complex with tuff, dacitic tuff breccia, tuff bereccia and lithic tuff. Especially, the Buddha statue is characterized by hydrothermal alteration and fragmentation on the upper and lower part. As a result of damage diagnosis, exfoliation and detachment of physical weathering are high of 11.3% and 9.3%, respectively. Infrared thermography analysis, exfoliation and micro-cracks occurred in the measuring parts that have not been confirmed by naked eyes. Chemical index of alteration and weathering potential index of host rock for the Buddha statue are 55.16 to 64.01 and 6.14 to 9.92 which are represented within highly weathering degree. In surface, dark black, reddish brown and white discoloration are observed prominently in the lower. Brown discoloration 6.9% is highest. According to the P-XRF measurements, high concentration of Fe in common, in part of dark black discoloration was Mn, white and brown discoloration in part of S and Ca content were higher. Biological weathering that yellowish brown and dark gray crustoes lichenes appeared by 20.8% and 13.3%, respectively. Therefore, comprehensive deterioration rate of Buddha statue show physical damage by 21.2%, discoloration for inorganic contaminants by 10.8% and biological damage by 39.4%. Ultrasonic velocity measurement carried out of Buddha statue on the surface by 555 points. Measured value of ultrasonic velocity was about 2,273m/s(1,067 to 3,215m/s, and weathering coefficient is 0.5(0.4 to 0.8) that progress on MW(moderately weathered) to HW(highly weathered) grade of rocks.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.1
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• pp.49-62
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• 2022

The embroidered Kasaya is the twenty-five column Kasaya of Triratna: Buddha, Dharma, and Sangha. Even though it is a representative artifact of embroidery, the method of manufacturing heavily depends on the collector's reports. This study focuses on the prayer's recorder: Gonmyeong Park, born in Muja, and Ven. Haebung, who acted as a historical investigator of embroidered Kasaya. The beginning of Haebung's public record was in 1815, and his entrance into nirvana in 1826. The birth year of prayer in Muja was 1768. Therefore, the embroidered Kasaya was manufactured at the end of the 18th century or the early 19th century. Haebung appears to have played a critical role in historical investigation, and consequently the 125 icons of Triratna are almost identical in three treasures: the Kasaya at Seonamsa Temple, the embroidered Kasaya, and the painting of the embroidered Kasaya at Cheongnyongsa Temple. The embroidered Kasaya was particularly affected by the religion of a thousand Buddhas and by Triratna in the late Joseon era. Unlike the Kasaya of a thousand Buddhas in the Ming and Qing Dynasties, the embroidered Kasaya shows the Triratna in detail, suggesting that the icons of Triratna were newly created.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.15-21
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• 2021

This study studied the value of the spatial organization of the temple and the form of the garden located in the Seojang area in the southwestern regions of China. The value of the Lama temple was looked into by examining the relationship between Lamaism and Lama temple through the spatial organiz ation, building arrangement, and garden of temples that served as the center of history, culture, and politics of the time in the process of converging Buddhism introduced through China's central districts and India with folk beliefs in Seojang through the poor environment. To this end, the value of the space and garden of the Lama temple was derived through the representative Lama temples, Potala Temple, Norbulingka Temple, and Dazhao Temple. First, due to the unique environment in which ice caps and green areas coexist, the representative Lama temples in Seojang, Potala Temple, Norbulingka Temple, and Dazhao Temple, are widely distributed in the form of leaning against valleys and mountain ranges based on folk beliefs and Buddhism's Jatabuli(自他不二) and mandala. the target sites are largely divided into upper and lower spaces. Second, the target sites are largely divided into upper and lower spaces. Buildings for worship are located in the upper space, and spaces for practice and garden are located in the lower space. The garden existed in two main forms. Third, the garden existed in two main forms. Located in the center of the practice space, the garden had an ideal structure to plant bo tree to escape from the two false obsession and go to a world of truth that is with the Buddha behind the world through practice like Sakyamuni, and there was a garden around the temple where meditation and exchange took place. Evergreen coniferous forests are mainly planted in the forests.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.104-121
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• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.10
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• pp.3982-3987
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• 2010

`Sansinkak' is the building which contains the picture or statue of mountain god(=Sansin). It is also an expression of respect for the mountain god. This building is usually very small, so a few person can enter inside it. Because people pray to mountain god for personal purpose, sometime this wishes are exclusive and egoistic, so narrow space is more suitable. Sansin is not the original god of Buddhism, it is the god of folk belief of traditional Korea, so every Sansinkak is located in the back slope of the temples, away from Buddha's building, the center area. Sansinkak is not only the pathway of vital force from back mountains to the temple, but also the exit to the infinite nature as an extension of Buddhist belief.