• (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.

• Cross-Cultural Studies
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• v.22
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• pp.151-175
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• 2011

In this article, I have analyzed the signification of the death of Don Quijote from the oriental religious and philosophical point of view, comparing with the novels of Kim, DongRi. We are able to read Cervantes' hope for his absolute ideal to be lasting forever via the death of Don Quijote, in the base of a strong will named of Gukyeong's life. In the same time, we can also discovery death as lasting of life in the basis of buddhist idea and death as the unification with nature via the meeting between the living and the dead in the Montesinos Cave. Montesinos Cave symbolizes a unclassified and chaotic space, which the Shamanist can meet the dead with a extatic ceremony and both supernatural life and daily life coexist. Therefore, the symbolic death of Don Quijote in Montesinos Cave is abe to be explained by approaching to absolute freedom named of Hatal, in other words, voluntary and conscious death to escape from the yugo of being. Considering the fact that Kim, Dongri emphasized on the unification of sky, earth and human being, keeping a racial identification in the face of the stream of occidental materialism in the time of Japanese conquest, we can look for the similarity with Cervantes' ideal. Contrary to the religious dogmatic ideal, Cervantes treated to recover the human nature and vitality, transcending the occidental rationalism and religious ideology in the time of Counter-reformation.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.668-677
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• 2021

In this paper, the characteristics and structural meaning of the Palyupsimryeon mandala, which represent the high spiritual world among Korean traditional cultural relics, are analyzed and visualized. Various studies on foreign mandalas are being introduced, but there is a lack of systematic analysis of the meaning of existing Korean mandalas. In this paper, we visualize the seeds of the Palyupsimryeon mandala in Korea by matching them with the image of the mandala, which is based on the shape of the mandala. Through this process, it shows that Korea's unique seed mandala has a form of mandala that combines the existing the Diamond World Mandala and the Matrix Mandala. Applications include Mandara's characterization, digital storytelling, and games.

• Journal of the Korean Society of Food Culture
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• v.9 no.2
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• pp.111-118
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• 1994

The purpose of this study was to understand dietaty culture of the Buddhist priesthood in Seoul and Kyungnam. This survey was carried out through questionnaries and the subjects were 26 temples and hermitages. The results of this study can be summarized as follow: 1. Most of the Buddhist priesthood takes meal three times for a day regularly. The substitution food was used mainly rice gruel, fruits, powder of roasted grain, kinds of cookie and confectionary, kinds of steamed dish and milk. 2. The seasoning substances were used necessarily soy sauce, soybean paste, salt and sesame, sesame oil, vegetable oil, and used rarely Jepi powder, red powder, chinese pepper and M.S.G. 3. Eating table was used chiefly for Buddhist priethood and a vistor, and tea and cookie, D'ock, noodle were used often. Event and party foods of temple were used Bibimbab, Ogokbab, Yagbab, D'ockguk, soybean of noodle. 4. Offering food to Buddha was used to Five-offered to Buddha(香, 燈, 茶, 果, 米) primarily and religious food was used scarcely. 5. Special food was used D'ock, hand made cookie and confectionaries, kinds of chinish medicine tea and pine needle tea. Injulmi and Julpyun were prepared most frequently, and used to mixed rice flour with mugwort now and then. Coating and filling powders for D'ock were used to red bean, mung bean and soy bean. Kinds of hand made cookie were Yagkwa, Kangjeong, Dasik, Jungkwa and Yangeng. Beverages were thick hot beverage, kinds of leaf tea, chilled beverage, Yaksu mixed with soy sauce and bamboo salt, kinds of chinese medicine tea, milk and milk products and pine needles tea. 6. Preserved foods were used edible mountain herbs and seaweeds in drying and frying.

• Journal of Hospice and Palliative Care
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• v.1 no.1
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• pp.1-5
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• 1998

Grief is the ordinarily self-limited complex of symptoms and processes that constitute the acute reaction to a significant loss. And it is the reaction of the dying as well as the bereaved. Every culture has had its own ways of grief and mourning. The definition of healthy grief and mourning, in terms of both emotional expression and the length of time it should continue, mostly depend upon the type of culture as well as the type of religion. So the manner of grief and mourning greatly differs from culture to culture. In the most of the Asian countries, influenced by Confucianism, Taoism, and Buddhism, death is traditionally considered the most significant life cycle transition. In Chinese culture, many rituals have evolved to help family members deal with their loss, over the past five thousand years. Confucianism taught the virtues of filial piety and righteousness. These rules and many customs added since the time of Cofucius, have been loyally followed and practiced by many Asian people. However, Buddhists have different ideas. They believe in karma and reincarnation and in predetermination of one's present life by good or bad deeds in the present life and past lives. Display of uncontrollable emotion is not encouraged. Continuity of family relations after death is very important. The ancient practice of the ancestor worship is still followed in many Asian households. Many Buddhist do not practice ancestor worship; family members honor the deceased by placing a memorial plate in the temple for continued chanting purposes. The mourning rituals have been dramatically curtailed in the past 50 years. For example, political, social and economic forces have shaped the current mourning practices of Chinese in different countries. There are many clinical implications in helping Asian to deal better with the emotional strains of the experience of loss. The therapiest must respect the cultural framework through which the client perceives family losses.

• Journal of the Korea Convergence Society
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• v.8 no.2
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• pp.127-135
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• 2017

So far, it has been a general opinion that 'Hunminjeongeum' creation was made only by King Sejong himself under Jiphyeonjeon scholars' help. However, this paper stresses that 'Hunminjeongeum' was made not only by King Sejong but also by Sinmi's positive effort on King Sejong's secret order, and examines the possibility of the culture-convergence contents related to these tales as well. To reveal the ground, the method of this research was proceeded particularly focusing on following texts: Sejongsillok, Munjongsillok, Hangukbulgyojeonseo, etc. The result was as followings. 1) King Sejong's absolute trust in Sinmi, 2) Sinmi's outstanding linguistic talent in Sanskrit. 3) King Sejong's donation of Amitaba-Triad Buddha images to Bokcheonsa Temple and Sejong's granting a respecting title of 'Wugukise Hyeogakjonja' to Sinmi. 4) Sinmi's vow to educate and spread 'Hunminjeongeum' based on Buddhism, and 5) Sejo's visit Sinmi at Bokcheonsa Temple. Furthermore, if the tales related to 'Hunminjeongeum' creation are activated into a type of national or regional events or festivals without remaining simply in a story level, it would be a good way to spread the excellence of convergence K-culture with various culture contents.

• Journal of the Daesoon Academy of Sciences
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• v.18
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• pp.53-79
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• 2004

This paper explores the relationship between Korean immigrants to the United States and their religious identity from the cultural point of view. Most scholarly studies on Korean immigrants in the United States have been dominated by sociological approach and ethnic studies in examining the social dimension of the Korean immigrant communities while neglecting issues concerning their religious identity and cultural heritage. Most Korean immigrants to America attend Korean churches regardless their religious affiliation before they came to America. One of the reasons for this phenomenon is the fact that Korean church has provided a necessary social service for the newly arrived immigrants. Korean churches have been able to play a key role in the life of Korean immigrants. Korean immigrants, however, have shown a unique aspect regarding their religious identity compared to other immigrants communities in the United States. America is a nation of immigrants, coming from different parts of the world. Each immigrant community has brought their unique cultural heritage and religious persuasion. Asian immigrants, for example, brought their own traditional religions such as Hinduism, Buddhism. People from the Middle Eastern countries brought Islamic faith while European Jews brought the Jewish tradition. In these immigrant communities, religious identity and cultural heritage were homo genously harmonized. Jewish people built synagogue and taught Hebrew, Jewish history, culture, and faith. In this case, synagogue was not only the house of worship for Jews but also the center for learning Jewish history, culture, faith, and language. In short, Jewish cultural history was intimately related to Jewish religious history; for Jewish immigrants, learning their social and political history was indeed identical with leaning of their religious history. The same can be said about the relationship between Indian community and Hinduism. Hindu temples serve as the center of Indian immigrantsin providing the social, cultural, and spiritual functions. Buddhist temples, for that matter, serve the same function to the people from the Asian countries. Chinese, Japanese, Vietnamese, Tibetans, and Thais have brought their respective Buddhist traditions to America and practice and maintain both their religious faith and cultural heritage. Middle Eastern people, for example, have brought Islamic faith to the United States, and Mosques have become the center for learning their language, practicing their faith, and maintaining their cultural heritage. Korean immigrants, unlike any other immigrant group, have brought Christianity, which is not a Korean traditional religion but a Western religion they received in 18th and 19th centuries from the West and America, back to the United States, and church has become the center of their lives in America. In this context, Koreans and Korean-Americans have a unique situation in which they practice Christianity as their religion but try to maintain their non-Christian cultural heritage. For the Korean immigrants, their religious identity and cultural identity are not the same. Although Korean church so far has provides the social and religious functions to fill the need of Korean immigrants, but it may not be able to become the most effective institution to provide and maintain Korean cultural heritage. In this respect, Korean churches must be able to open to traditional Korean religions or the religions of Korean origin to cultivate and nurture Korean cultural heritage.

• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.177-195
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• 1999

In this study, I tried to find out the diffusion and the receptive process of new culture with examining the costume of Ksitigrbha Bodhisattva Buddist drawings, which were drawn by our people in the Koryo dynasty. I classified each part of the costume of Ksitigarbha Bodhisattvas and found out overall characteristics and analyzed their meaning. The results are as follows ; First, because there were several ‘du-gun’ of peculiar types, Ksitigarbha Bodhisattvas were supposed to have ‘du-gun’ before Buddhism was diffused throughout China through the West. The type of ‘du-gun’ was deveoloed more and more through the West and appeared as the type of ‘du-gun’ of Ksitigarbha Bodhisattvas in ‘Ji-Jang Do’ in the Koryo dynasty. And the pecuilar type of du-gun was supposed to have been under the influence of the costume of Taoism in those days. Second, I think that the Buddhist defication of the costume in Ksitigarbha Bodhisattvas was a phenomenon in the process that belief in Ksitigarbha was united with popular belief and widely diffused and became to have its important meaning of its own. Third, the feminine tendency of the costume in Ksitigarbha meaning of the early goddess remained partly in the costume even though Ksitigarbha Bodhisattva was god in India. Fourth, Several found shape designs are supposed to be affected by the diplomatic relationship with the West. As mentioned above the costume ‘Ji-Jang Do’ in the Koryo dynasty was affected by china\`s, world-wide in that ga-sa was Gandira style based on Hellenistic art. Therefore, the reception if new culture was selective on the basis of the country\`s need and this new culture was changed into something peculiar to affect other countries simultaneously with reception.

• Journal of the Korean Society of Food Culture
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• v.34 no.3
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• pp.241-254
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• 2019

This study researched the food culture and bean economy of the Joseon dynasty during the 16th century and according to the primary lifestyle reference "Shaemirok (?尾錄)". The research analyzed the textual contents of the "Shaemirok (?尾錄)". It is clear that the people of the Joseon dynasty produced more beans than grain, at a ratio of 41 to 50, respectively. The soy bean sauce consumption was split into family consumption and non-family consumption. It was evident that there was more family consumption compared to that of non-family consumption at a ratio of 7 to 3, respectively. People of the Joseon dynasty annually recorded their way of making soy sauce from 1595 to 1600. The Joseon writers edited the record six times for making meju and four times for making soy sauce. The recorded ratio displays the ingredients of soy sauce, which were: 6 Du of Mal Jang and 2 Du of salt. Mal Jang and salt had a three to one ratio, respectively. The most mentioned food was Tofu during the mid-Joseon period with fifty six mentions. The Joseon people regarded making Tofu in a Buddhist temple as a family-bonding experience. Porridge was the second most prominent food next to Tofu, among the bean-related food. Porridge appears thirty five times. There were 3 types of porridge named: bean porridge, bean powder porridge and mung bean porridge.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.