• Title/Summary/Keyword: Buddhist Culture

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A Study on the 'Youngsan(靈山)' recorded in 『Songnamjabji(松南雜識)』 (『송남잡지(松南雜識)』에 기록된 '영산(靈山)'에 관한 연구)

  • Cho, Seog-Yeon
    • (The) Research of the performance art and culture
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    • no.40
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    • pp.269-305
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    • 2020
  • Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.

A Study on the Culture of Incense in the Period of T'ang (당대 향문화 연구)

  • Chun Hea-Sook;Lee Ae-Ryun
    • Journal of the Korea Fashion and Costume Design Association
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    • v.7 no.3
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    • pp.113-127
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    • 2005
  • From the ancient times, incense was used for various usages including a means of beauty expression with flavor, a medicine for disease treatment and a device for religious event or ritual. The period of T'ang was the times when cultural and material exchanges with foreign countries were very actively made under the political openness of the Chinese nation. Here the exchanges were made mainly through inland trade, called Silk Road(絲綢之路) and marine trade routes, Incense Road(香料之路). This indicates that incense was one of the main items actively traded at that time. In addition, literatures of the T'ang period show that in the Chinese nation, a wide range of classes from the imperial family to the public used incense for many different purposes. This suggests that the culture of incense was deeply prevailed and very socially significant in T'ang. This study investigated social factors that promoted the incense culture of T'ang and the applications and types of incense widely used in the period of T'ang. First, influential religions and the openness of sex culture were main social factors that made incense culture flourish in the period of T'ang. Above all, two main religions of the Chinese nation, Buddhism and Taoism became secularized under political protection by the imperial family. As Buddhism was popularized, the Buddhist ritual of incense burning made a contribution to making public incense culture. Providing its doctrines of eternal youth and eternal life, Taoism necessarily used incense to form a Taoistic climate. The flourishment of the foresaid religion in T'ang added more fuel to that of incense culture in the Chinese nation. The openness of sex culture brought about the Inauguration of the empress, improvement in female position and free relationships between man and woman. It was accelerated by sexology as a method of eternal youth provided by Taoism. The opened culture also developed the culture of kibang where female entertainers called kinyeo consumed lots of incense for decoration and sexual desire stimulation. These open climates of T'ang society made a great contribution to making incense culture, especially for decoration, prevailed throughout the Chinese nation. Second, types of incense prevailed and widely used in the period of T'ang included olive incense, germander(廣藿香), olibnum(乳香), myrrh Resinoid(沒藥), jia Xiang(甲香), clove(丁香) and Shen xian(沈香), all of which were imported from foreign nations and had various applications. Specifically, olive incense, germander(廣藿香), olibnum(乳香) and myrrh Resinoid(沒藥) were used for religious purposes while, jia Xiang(甲香), clove(丁香) and Shen xian(沈香) for the purposes of religion and decoration. In conclusion, a number of social factors including political, religious and medical purposes and the openness of sex culture set fundamentals on which the culture of incense was extensively developed and established as a social trend in T'ang. In the Chinese nation, incense culture was not just an option for taste, but a part of life style social members needed to know. People of T'ang not only enjoyed incense mainly for purposes of religion, pleasure and make-up, but also had the wisdom to know various effects of incense, curiosity about such new things and the will to imitate and pursue alien culture, resultantly flourishing incense culture. Thus the culture of incense represented many social aspects of T'ang.

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Study on Origin and Creative Design of Korean Folding Stool (한국 호상(胡床)의 시원(始原)과 조형에 관한 연구)

  • Hong, Sun Aa
    • Journal of the Korea Furniture Society
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    • v.24 no.2
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    • pp.156-182
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    • 2013
  • In this paper, the origin, development and features of a Korean folding stool are studied. A folding stool is a piece of collapsible seating furniture with its legs crossed in the form of the letter "X" and no back attached. In China, the folding stool was introduced from the West around the second century A.D. The folding stool of Korea was influenced by that of China. It is known from the records that the king used the folding stool from the Three Kingdom period. During the Koryo period, Chosun period and the modern period, the folding stool was used to show the authority of the king and nobleman. The folding stool was also used at outside places such as a hunting ground, a ceremonial walk, a battlefield, a garden etc. due to its portableness. Buddha worship policy of Koryo period supported the usage of the folding stool for shanding (禪定) by ascetics of Buddhist temple, or aristocrats. In a contemporary period, the folding stool is continuously produced and used as one kind of a folding chair due to its functionality, movability, storability and efficient space utilization. This research will serve as a momentum to investigate the origin and development of the East Asian seating furniture culture, and contribute to the further study and manufacturing of Korean seating furniture.

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The Research of Costume on Shin, Yun-Bok's Painting in Late Chosun Dynasty

  • Lee, Young-Jae
    • Journal of Fashion Business
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    • v.14 no.3
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    • pp.52-63
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    • 2010
  • The Hanryu(韓流) phenomenon in and around Asia looks like slowing down lately. At that time, the research about contents that can inform the high traditional culture of Korea is useful. The references which can make a study about cultural clothes, especially paintings, let us to infer the life of the people of that period. In this research, I try to study the characteristics of customs, symbol and costumes by analyzing the paintings of Shin, Yun-Bok who was genre painter of the late Chosun. The mens are wearing dopo(道袍) and are putting sejodae(細條帶) around their waists and gat(黑笠). Also, We can see many different types of job such police, official man, a buddhist priest, a barmair, kisaeng and shaman through the costume. Most of women in the paintings, They are wearing Deep blue skirts, banhwoejang pale tone jeogori and tress. We discussed the common lives of the people through genre painting. They have satire, humor, and symbolism. Also, we can look into the various lifestyles, customs of times and seasons, ceremonial occasions, civilian beliefs, and plays ransmitted from the past. The philosophy in Shin, Yun- Bok's genre painting, is close to Taoism not Confucianism.

The Meaning of Sengket Textile Design in Bali (발리의 송켓 직물 디자인에 관한 연구)

  • 문미영
    • Journal of the Korean Society of Clothing and Textiles
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    • v.21 no.7
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    • pp.1215-1226
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    • 1997
  • Textiles in Bali have traditionally played a vital role in the social economic and religious life of the people. Textiles defined the status of the individual in term of both costume and wealth. Use of the various textiles is in Balinese tradition dictated primarily by rules of the Hindu-Balinese faith. Cloths and clothing are employed in worship of God and the ancestors. Gold songket patterned textiles are perceived as symbol of wealth and prestige and provide a fitting display of affluence at important cerenlonial events. The specialized pieces of clothing, temple banners and hangings are unique to each tribal group ranging from weft -patterned textiles in Bali. The impact of Indian ideas and techniques was important in the field of textiles, and many of the characteristics in Bali's fabric design derived from Hindu-Buddhist mythology that has furnished subject-matter for songket textile art. The purpose of this study is to examine the background of Balinese culture and to define the characteristics of Hindu-Balinese textiles. The songket textile design also analyzes by examing the techniques of songket weaving and the meaning of design, pattern, and motif. Many design and motifs convey important messages significant only to those familiar with the particular social religious principle of people who have produced them. It is only by seeing cloths in their cultural context that we can begin to understand their true value and meaning.

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A Study on the Nu-A, a Member Piece of Ship's Hull Recorded in the Ennin's Diary (원인의 입당구법순례행기에 기록된 선체구성재 “누아” 대한 소고)

  • Hugh, Ihl; Cui, Yun-Feng
    • Proceedings of the Korean Institute of Navigation and Port Research Conference
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    • 2003.05a
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    • pp.11-15
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    • 2003
  • Ennin is a Japanese buddhist monk who traveled Tang from Jun. 13, 838 A D. to Dec. 14, 847 A D. in lunar's calender and wrote lengthy diary through the travel. This diary contained not only his wandering and triumphs but also politics, economy, social culture, religion, diplomatic policies, militaries, geography, transportations and administrations. Furthermore, the beginning of his diary dated Jun. 13, to July 3, 838 A. D. is recorded in the manner of ship's logbook entries. Many terms of navigation and naval architecture appears on it. It is very important to understand them for study ancient ship and its navigation skill. This Per aims to invest the meaning of “no-a” obviously refers to some part of hull of the ship upon first step to annotate the terms which are appeared in the diary.

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A Study on the Symbolism of Religious Costume of India (인도 종교복식의 상징성에 관한 연구)

  • 권영실;조우현
    • Journal of the Korean Society of Clothing and Textiles
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    • v.21 no.4
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    • pp.677-688
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    • 1997
  • The purpose of this study was to find out the symbolism of religious costume which has showed the religious belief system through costume practice and culture. Indian Religious costume each has its own mark was investigated in this study. In India, religion is a way of life. It is an integral part of the entire Indian tradition. The results were as follows; India's several main religions are Hinduism(About 80% of population) , Islam (About 11% of population) , Sikhism(less than 2% of population) , Jainism(less than 1% of population) , Buddhism(less than 1% of population) and Christianity(About 3% of population but excluding here) Religious faith system which symbolized Godhood, spiritualty, ascetics, restraint, chastity, sacred and dignity gave a certain shape to each color, ornaments, dressing and marking of religion costume. In connection with religion costumes, there were Hindu's Tika, sacred ash, long hair, knot and holy band (Yajnopavita) , Buddhist's kayysa and tonsures, Jams' no covering, Muslim's chador and skullcap, Sikh's turban (with no cutting hair) , comb, steel bracelet, drawers, sword or dagger. The characteristics, head especially of thebody and white in the colors were made much account for India religion costume. Traditional costume seems to be worn at the present times in India. But apparently these costume associated with religion costume because of Hindu more than 80% of population.

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The Role of Fortunetelling in the Manners and Customs of Koreans and "Scripture of Fortunetelling(『占察經』)" (한국인의 점풍속(占風俗)과 『점찰경(占察經)』에 나타난 점(占)의 역할)

  • Lee, Hak-ju
    • Cross-Cultural Studies
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    • v.25
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    • pp.159-183
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    • 2011
  • This study is for the understanding of the role of fortunetelling and the "Scripture of Fortunetelling(占察經)" through the relationship between the manners and customs of Koreans and the Buddhist Scripture dealing with the fortunetelling. It is meaningful to understand how it is related with Buddhism. As a result, I perceived that Koreans have lived with fortunetelling and that the role of fortunetelling in from private person to the country. I saw there were four big roles; to clean the uncertainty of the future to fulfill the expectations, to confirm the justice of what he or she did, to cure, and to choice. Looking into "Memorabilia of the Three Kingdoms(三國遺事)", I see that the Scripture of Fortunetelling and the ceremony of fortunetelling was popular and those great monks such as Wongwang, Wonhyo, Jinpyo and Jihye presided these ceremonies. The structure of the "Scripture of Fortunetelling(占察經)" has the hierarchy of Fortunetelling, Penance, Practice, Awakening, and Salvation of the world. So fortunetelling motivated every stage of practice. The role of fortunetelling in "Scripture of Fortunetelling(占察經)" is to intermediate. For this purpose it divided the attitude for the fortunetelling into two categories; for the urgent real life and just for enjoying. But they seriously dealt with both results. They used the fortunetelling in order to accomplish the ultimate purpose of Buddhism. So the fortunetelling is a mean of propagation of Buddhism and a intermediary of awakening and salvation.

Perception and Trend Differences between Korea, China, and the US on Vegan Fashion -Using Big Data Analytics- (빅데이터를 이용한 비건 패션 쟁점의 분석 -한국, 중국, 미국을 중심으로-)

  • Jiwoon Jeong;Sojung Yun
    • Journal of the Korean Society of Clothing and Textiles
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    • v.47 no.5
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    • pp.804-821
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    • 2023
  • This study examines current trends and perceptions of veganism and vegan fashion in Korea, China, and the United States. Using big data tools Textom and Ucinet, we conducted cluster analysis between keywords. Further, frequency analysis using keyword extraction and CONCOR analysis obtained the following results. First, the nations' perceptions of veganism and vegan fashion differ significantly. Korea and the United States generally share a similar understanding of vegan fashion. Second, the industrial structures, such as products and businesses, impacted how Korea perceived veganism. Third, owing to its ongoing sociopolitical tensions, the United States views veganism as an ethical consumption method that ties into activism. In contrast, China views veganism as a healthy diet rather than a lifestyle and associates it with Buddhist vegetarianism. This perception is because of their religious history and culinary culture. Fundamentally, this study is meaningful for using big data to extract keywords related to vegan fashion in Korea, China, and the United States. This study deepens our understanding of vegan fashion by comparing perceptions across nations.

A Study on the Application of Traditional Music Elements by Tandun a Contemporary Chinese Composer (중국 현대 작곡가 탄둔의 전통음악 요소 활용 연구)

  • Hu, Xi;Ahn, Sung-Hie
    • The Journal of the Korea Contents Association
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    • v.22 no.6
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    • pp.283-294
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    • 2022
  • In this era of globalization, people's knowledge and cultural aesthetics are strongly influenced by the cultures of different countries, and diversified art forms have broken the traditional art framework, so how to stick to the essence of the country's traditional culture and make it inherited has became an important issue that cannot be ignored in the development of music today. Tan Dun, as one of the representative figures of Chinese contemporary music, has brought important inspirations to the development of Chinese music. With bold and free conceptions, innovative personality, unique Chinese tradition and international perspective. With a spirit of breaking down the barriers between tradition and modernity, East and West, and a concept of integrating multiple cultures into one, he has become a unique figure in the world of music. As researchers in composition, not only do we take on the responsibility of passing on Chinese culture, but we also need to explore the future development direction of Chinese music. Therefore, this paper takes Tan Dun's four traditional musical elements of organic music, Buddhist culture, witchcraft beliefs, folk songs and opera in his works and examines how Tan Dun perfectly blends traditional Chinese music culture with contemporary music language. And explore how the domestic traditional culture co-exists with modernity in today's diverse world.