• The International Journal of Costume Culture
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• v.13 no.2
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• pp.154-159
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• 2010

Various decorative patterns and sculptures found in antique architectures like palace architecture and temple architecture are not only valuable assets of our culture but have religious meaning at the same time and show aesthetic aspiration and desire of Korean people. In this study, potential application of patterns in textile industry is suggested based on the reconstructed and patternized geometric patterns of window grids, a decorative element in architecture, and stair and stair somaetdol, a architectural element in Buddhist temples, using Photoshop and Illustrator program of Adobe INC AND Tex-pro program of Youngwoo CNI INC. All around the world today, efforts to reinterpret unique and antique architectures and cultural assets in a modern way has been increasing. Decorative patterns displayed in Buddhist temple architectures which are antique Korean architectures have excellent geometric aesthetic value. And the development potential of patternizing these elements into modern designs is high. Therefore, it is thought to be possible to develop high value-added fabric and to develop various fashion items including apparel and interior decoration based on modern reinterpretation of patterns of window grid and decorative elements of stairs and stair somaetol that are part of our antique architectures.

• Journal of architectural history
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• v.20 no.1
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• pp.41-60
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• 2011

As Overturned-bowl Stupa of India, the origin of Stupa, is accepted by neighboring countries, pure form and local characteristics combined to bring change in unique style for each country. Such change is established as new style through combination with contemporary tradition in China. In this thesis, pattern of Stupa shown in Longmen Grottoes' Relief-Stupa relieves. Since study on how Indian Stupa was introduced into China has been partially undertaken, this study focuses on the pattern of Stupas from that perspective. 40 Stupas were explored during field work with naked eyes, among about 50 stupas reported on the research data by Longmen Grottoes Institute. Relief-Stupa relieves of Longmen Grottoes are as important as Yungang Grottoes. While Yungang Grottoes were built during a period when Gandhara style and Occidental expression were adopted and integrated with Chinese culture and Buddhism, building of Longmen Grottoes can be called a starting point of 'Chinese' style of Buddhist culture and Stupa, fully integrated with Chinese culture.

• (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.

• The Journal of Korean Philosophical History
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• no.59
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• pp.241-260
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• 2018

The purpose of this paper is to explore Buddhist interpretation of Jeong Mong-joo, a Confucian scholar of the late Goryeo Dynasty. Buddhism in the latter part of the Goryeo Dynasty was no longer able to exercise the social purity of the national spirit and culture. In this situation, Neo-Confucian was gradually accepted. Thus, a change of ideology was made from Buddhism to Confucianism. Jeong Mong-joo's academic world was based on the fundamental scriptures of Confucianism. Jeong Mong-joo was especially well versed on the Book of Changes in the fundamental scriptures of Confucianism. Jeong Mong-joo emphasized the Book of Changes as the basis of the Buddhist interpretation. Jeong Mong-joo met the doctrines through various Buddhist scriptures. He was interested in Buddhism. There were not a few meetings and social gatherings with Buddhist monks. For this reason, Jeong Mong-joo cannot ignore his connection with Buddhism. On the other hand, Jeong Mong-joo is characterized by his understanding of Buddhism and his critical consciousness as Confucianist.

• Fashion & Textile Research Journal
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• v.9 no.2
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• pp.176-187
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• 2007

Buddhist paintings in the late Joseon dynasty are characterized by diversification and subdivision of subject matters. Buddhist paintings rapidly declined since 19th century, being miniaturized and showing complicated composition. Figures that identified the shape of shoes in Buddhist paintings of late Joseon dynasty included sacheonwang that were placed in the left and right bottom of Buddhist paintings, sinjung, gwiwang and pan-gwan of siwangtaeng. Sacheonwang, an Indian folk god, was depicted as a noble person in "ahamgyeong", an early sutra, but was depicted as an armored warrior in Mahayana Buddhism world. The style of shoes sacheonwang in Korea were different depending on the times. The shoes of the sacheonwang sculpture in Seogguram of Shilla dynasty are sandal type. The sacheonwang that was drawn on Jijangbosaldo in Goryeo dynasty wears non-showy armor and red yi(履). The sacheonwang that was expressed on Buddhist paintings in Joseon dynasty wears showy armor and decorated hwa. Comparing the yi of Goryeo Jijangbosaldo sacheonwang with the yi of Bodhisattva on the Dunhuang yeolbanbyeonsangdo, Jijangbosaldo sacheonwang's shoes are Korean style in which the sole is flat and the front part has no decoration, but in the shoes of Bodhisattva on the Dunhuang yeolbanbyeonsangdo the sole is not flat, the front part is lifted. The style of shoes of pan-gwan, who is depicted on Siwangtaeng, is hwa. However, unlike the decorative hwa of sacheonwang, its front is not lifted and it has no decoration. It is assumed that the shoes of sacheonwang or pan-gwan represented obangsaek based on the idea of eumyang-ohaeng. Depiction of shoes shown in Buddhist paintings reflected the phases of the social life. In addition, the sandals of Shilla sacheonwang implies that sourthern culture in addition to Buddhism was introduced. Having expressed the shoes of Goryeo sacheonwang with conventional yi implies that Buddhism governed the inner world of the people, and the shape and material of the shoes reveals aristocracy. It is assumed that that an armored warrior wore yi, not hwa implies that the then society was stable. Also, it is assumed that that the shoes of sacheonwang on Buddhist paintings in Joseon dynasty were hwa implies that the role of tutelary god was stressed in the disordered society.

• SUVANNABHUMI
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• v.4 no.1
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• pp.57-90
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• 2012

This essay is for a study on the survey of buddhist cultural literary document about the Southeast Asia by Nanqishu(南齊書), Liangshu(梁書), Chiu T'angshu(舊唐書), Hsin T'ang shu(新唐書) which are included in the Chinese Official History and Jí-shénzhōu-sānbăo-găntōng-lù(集神州三寶感通錄), Weioshu Shilao Ji (魏書 釋老志). These documents allows us to imagine next some historical states. First, these documents are recording this area, especially Funan, as a plentiful diggings of gold, silver, tin, copper, etc. These are important materials for gilt bronze sculptures. Further, this local produced gold called 'Yangmai(楊邁)' is recognized as same as Zĭmòjīn(紫磨金) in china, and these documents explains the process of producing the bronze images and golden ornaments in Southeast Asia. Specially, this plentiful materials leads them to make a 10 wei(圍) tall golden-silver image which worshiped as hindu god or sometimes buddhist images. Second, Vietnam and Funan in Northern and Southern Dynasty periods were in antagonistic relationship not only in the political but also in religious between Vietnamese Hinduism and Funan's Buddhism. Under this situation, the monk Nagaxian(那伽仙) who had came from India was accredited to Southern Qi court as a delegate to build a good relationship by the common religion Buddhism. It means the Buddhism of Southeast Asia also took a role of diplomacy. Third, these documents proved the active Southeast Asian cultural exchange in early 3th century. At this time, Funan delegate Suwu(蘇物) visited the court of Kushan Dynasty in India and he is seemed to travel the city of Pātaliputra. It oppressed us to extend our outlook which have been restricted in the relationship between Southern india and Southeast Asia to more broaden area. In addition, the buddhist art of Southern India and Bodhgaya temple was imported to Southeast Asia directly to send to Southern China. For example, the wooden buddha image, Bodhgaya stupa image, and Sri Lanka style's buddha images are looked be introduced to Southern China at this time throughout the Southeast Asia. At last, we got to know that the court music of Kucha in the northern silk route was imported to the Southeast Asia in early middle age. Even it may be introduced by China, but this document is very important to make the surmise is not unreasonable that the buddhist culture of northern silk route imported to the Southeast Asia accompanied with Kucha music. The buddha images in Gandharan style which are excavated from some site of Southeast Asia may demonstrate this literary sources is authentic.

• (The) Research of the performance art and culture
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• no.43
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• pp.441-483
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• 2021

The introduction of dongbal[bara] is in line with Buddhism which was transmitted from India through China. Therefore, this paper tracked down the records of dongbal in Indian and Chinese Buddhism, and especially in scriptures and in ritual texts of Korean Buddhism, and studied the functionality and the use of dongbal, and the attributes of Baramu. Among the scriptures that record dongbal, 『Myobeopyeon hwagyeong(妙法蓮華經)』(A.D.406) is the earliest to be translated. The records of bara in the scriptures were written as dongbal(銅鈸) mostly, and that it was used as ritual tool(法具), instrumental offering, and religious ornament(莊嚴物). The oldest record which can verify that dongbal was used in Korea is 『Seodaesajajaeryugijang(西大寺資財流記帳)』(A.D.780). The oldest cymbals-like relic remaining today, the reliquary from the temple Gameunsa built in A.D.628, dates back to the early period of Unified Silla. This indicates that dongbal has been used at Korean temples by the 7th century at least. The records of dongbal(銅鈸) written in cheong-gyu(淸規, buddhist monastic rules) and ritual texts are classified as myeongbal(鳴鈸) and dongbal(動鈸). The letter 'myeong(鳴)' of myeongbal means to make a sound, and thus myeongbal refers to clash and make the sound of the bara. It is verified that myeongbal had certain established rules and methods. It appears that dongbal(動鈸) refers to Baramu(the cymbals dance) since the letter 'dong(動)' means movement or to move. Hence, the concept of movement was added to the signification of myeongbal, and became dongbal(動鈸), and then developed into baramu being transmitted until today. There are 8 types of Baramu transmitted in Korean Buddhist rituals, and they could be classified into purifying ritual, inviting ritual, protecting ritual, offering ritual, bathing ritual, dressing ritual, saluting ritual, and praising ritual according to their attributes.

• The International Journal of Costume Culture
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• v.5 no.2
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• pp.42-52
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• 2002

The purpose of this research is to survey minpo(the nations pojagi), especially supo(the embroidered pojagi), of the Yi Chosun of Korea during the nineteenth century. This study explores the history and background of minpo, its characteristics, including forms, designs, materials, and how they related to women's daily life during the Yi Chosun in social and cultural aspects. There were minpos for use in everyday life as well as for special occasions such as weddings, funerals and religions rites, including Buddhist and other services. The research undertaken here is done by classifying minpos according to composition, design, pattern and motif.

• Journal of the Korean Society of Food Culture
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• v.5 no.1
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• pp.101-106
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• 1990

The findings of the historical study of the proprieties of Korean traditional tea ritual, based on documents, are as follows. 1. The proprieties of tea ritual for the Imperial Sanctuary and the Buddhist proprieties of tea ritual for Buddha was celebrated during the Silla dynasty. 2. The proprieties of tea ritual during the Koryo dynasty developed in various types, such as the propreieties of tea ritual for the Imperial government, Buddha, Confucians.

• Journal of the Korean Society of Food Culture
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• v.5 no.1
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• pp.107-111
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• 1990

During the Chosun dynasty there were royal proprieties of tea ritual mainly for the purpose of serving envoys from neighboring countries and offering of a new product to the Deity. There were Buddhist proprieties of tea ritual representing religious ideals of each sect of Buddhism. And Confucian tea rituals were performed in accordance with the book entitled Kare (a family code of decorum) written by Chuja. Besides these there, were Taoist proprieties of the ritual.