• Journal of the Korean Society of Costume
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• v.50 no.8
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• pp.75-86
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• 2000

This paper examined the contemporary kasaya of each country in Asia, focussing on the Kasaya Kongyang ceremony and kasaya varieties. As well, the countries in Asia were divided into the southern Buddhist countries, northern Buddhist countries, and Tibetan buddhist countries, and were comparatively analyzed. 1. In terms of the Kasaya Kongyang ceremony, now days the southern Buddhist countries perform the Katina ceremony, passed down from the time of the Buddha. In the northern Buddhist countries, namely China, the kasaya is bestowed to the monk at the end of the precepts ceremony, while in Korea, the kasaya is bestowed to the monk at the end of the ceremony of "opening the eye" of an image. There is no Kasaya Kongyang ceremony in Japan and Tibetan Buddhist countries. 2. In terms of the varieties of kasaya, because the Katina ceremony is performed with 5 jo in southern Buddhist countries, their kasayas are made up of 5 jo, with the exception of Myanmar's sungari. In Taiwan and Korea, which are of the Zen order and part of the northern Buddhist countries, there are 5-25 jo. In Japan, which is of the Kyo, or doctrinal order, it is made up of 5-9 jo. The Tibetan Buddhist countries have only jo that are 7 and 23. In conclusion, when Buddhism was transmitted from the southern Buddhist countries to the northern Buddhist countries, we can see that the Kasaya Kongyang ceremony and the from of the kasaya itself changed from practical robes to majestic ones, in accord with the Mahayana doctrine of saving all sentient being. Therefore, the kasaya simbolizes the Buddhist philosophy that Mahayana claims the existence of many Buddhas at one and the same time.same time.

• Journal of architectural history
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• v.12 no.2 s.34
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• pp.7-20
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• 2003

The main buildings of the important Buddhist temples - the pagoda, the Buddhist sanctum, the lecture hall - was surrounded by the cloister until Koryo Dynasty. And the Buddhist sanctum was located the center. It meant that the Buddhist sanctum was important building. It is very important thing that we understand the usage of the interior space because the architectural space consists of the unified space by the organic function of the interior space and the exterior space. But there is not so much the study on the interior space of the Buddhist sanctum. So, the purpose of this study is to understand of the interior space of the Buddhist sanctum in Ancient and Medieval Times. Till now, it was impossible that the Buddhist monk or the General public entered the Buddhist sanctum in Ancient and Medieval Times because they regarded the Buddhist sanctum as the place of sacrosanctity and the floor was finished by bricks. But, we saw that they could enter the Buddhist sanctum. Of course the floor of the Buddhist sanctum was finished by bricks, but they spread mats on the floor, took off his shoes in the interior space and used the furniture for sitting on. The plan of the Buddhist sanctum was designed by the process of the ceremony and the way of the enshrinement of the Buddhist statues because it is the place to enshrine the Buddhist statues. They performed the ceremony like as pray, worship, offer food to Buddha, HaengDo - an act to turn round an object of worship - and so on in the interior space of the Buddhist sanctum.

• Journal of the Korean Society of Costume
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• v.19
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• (The)Study of the Eastern Classic
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• no.73
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• pp.119-151
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• 2018

This paper is a study of the historical significance of The water and land ceremony performed by Bongeunsa temple in the Joseon Dynasty. The Bongeunsa temple was originally a hermitage named Geungseongam, which was located in the Hakdang-dong, Gwangju County, Gyeonggi Province. After that, Geungseongam was named as Geungseongsa temple. Geungseongsa temple was left in that position and acted as the Temples belonging to Royal Tombs(陵寢寺, TRT) of the King Sungjong, later the name of the temple was changed to Bongeunsa Temple. As a result of movement of the royal tomb of the Joongjong(靖陵) next to the royal tomb of Sungjong, the Bongeunsa was also used as a TRT of the Seonjeongneung royal tomb. After that, the grandson of the King Joongjong, crown prince Soonhoe early passed away, Buddhist shrine (願堂) was set in Bongeunsa temple. Bongeunsa temple remained as a royal prayer place, serving as a Buddhist shrine for crown prince Soonhoe and serving as a Jopo temples for Seonjeongneung royal tomb until the end of the Joseon Dynasty. From the time when it was called Geungseongam to the time after when it was renamed as Bongeunsa Temple, this temple performed The water and land ceremony. But the characters changed little by little. From the King Sejo to King Sungjong, The water and land ceremony characterized Consolation ceremony for the spirit of the dead for prince Gwangpyeong, King Sejong, Queen Soehan and served as the Buddhist memorial praying for the well being of the royal family and people. From the time of the King Yonsan to the time of King Myeongjong, The water and land ceremony had strong characters for Consolation ceremony for the spirit of the dead for King. In the late Joseon Dynasty, Bongeunsa Temple served as the royal party of The water and land ceremony. On the other hand, after the Manchu war of 1636, Bongeunsa Temple also served as the national water and land ceremony for the victims who were killed in the mountains of Namhan. In the Joseon dynasty, The water and land ceremony performed by Bongeunsa Temple was strongly directed for Consolation ceremony for the spirit of the dead for royal family members, and Bongeunsa Temple was maintained as a royal prayer throughout the Joseon Dynasty.

• Journal of architectural history
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• v.25 no.3
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• pp.63-70
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• 2016

This paper aimed to identify a main-path remains in the Hwangnyongsa temple site based on studying published the excavation survey report and researching relics related to the path in the ancient temple site. Hwngnyongsa temple, there were three type's paved footway, straight path to the central axis line of the layout, outside path around the main buildings and the front square of the lecture hall. These remains were expected that installed for some purposes, such as marches, touring, sort of a Buddhist ceremony been performed at the time of Silla. Straight path shows there were two rows of the main access inside the roofed corridor. A row consisted of the 2~3 pieces processed stone(Jangdaeseok) altogether with 92cm width and combined with square stone and stepping stone on the end of the road. It is regarded as very characteristic form and one of the architectural elements of Hwangnyongsa temple in Unified Silla period.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• SUVANNABHUMI
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• v.4 no.2
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• pp.1-16
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• 2012

In 2010, nearly thirteen hundred Buddhist monks from all over the world converged on to the small Indonesian resort town of Berastagi to celebrate the inauguration of the Taman AlamLumbini, a replica of Myanmar's most iconic Theravada Buddhist temple, the ShwedagonPaya. Nestled on Christian lands within a predominantly Muslim country, the building of the Taman AlamLumbini marked several years of negotiation amongst various religious communities, local government mediators, and patrons. This study makes a preliminary assessment of the ways in which cultural and historical discourses were used by participants to evoke a sense of transnational connectedness outside the realm of formal bilateral diplomacy. Through particular Buddhist ceremonies, rituals, and imagery, Myanmar sponsors and Indonesian patrons promoted a sense of broad pan-Asianism that linked monks, state officials, and local lay practitioners into a single community. A brief examination of the key speeches during the opening ceremony reveals that national interest and identity were still very much in play.

• Korean journal of food and cookery science
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• v.23 no.1 s.97
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• pp.140-149
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• 2007

This study investigated the thoughts of undergraduate students in Seoul about the birth rites and wedding ceremony and their foods. Among 524 students who were surveyed, 299 students answered that the meaning of the first birthday rites was for special memory, followed by the child's future and family's harmonies. 248 desired birth rites to remain unchanged and 150 desired extravagance and waste to be reduced. Regarding wedding ceremony, 328 answered that changes are necessary in wedding ceremony gifts. Next, process in wedding ceremony and bridegroom's gift box should be changed, Most of the students didn't know clearly the foods of the one hundredth birthday and the first birthday; nevertheless they considered the birth rites to be necessary. Regarding wedding ceremony, half of the students knew the process and half didn't. Two hundred students answered they knew ordinarily about the foods of wedding ceremony. There were no significant differences in hometown about foods of wedding ceremony. In parent's religions, there were no differences about gifts & foods offered by the bride. The Buddhist students knew well about the birth rites' foods and considered birth rites to be necessary. The correlation of parents' work and student's major and passage rites showed that professional parents knew well about birth rites' foods but religious believers didn't know well. Students majoring in natural science were not concerned with birth rites and thought that they were unnecessary and they didn't know about wedding ceremony process and foods. Knowledge about birth rites increased with increasing number of siblings. Large families were interested in birth rites and knew well about the wedding process, wedding ceremony foods and gift & foods offered by the bride.

• Korean Journal of Human Ecology
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• v.12 no.4
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• pp.509-518
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• 2003

Gasa was a surplice of Buddhist monk. It was usually worn in the religious ceremony. Gasa was such a religious cloth that was ruled strongly by Buddha's Commandments, and a kind of cloth that was also reflected by historical, cultural, and ideological factors of each nation. Korean Gasa had various features comparing to the Original Gasa or to that of South Asia which is the birthplace of Buddhism. One of them was 天 王 embroideries that we could find upon the regular square base in the four comers of Korean Gasa. These figures symbolized the Four Devas which were believed guarding Buddhist sanctum. These Devas appeared from the era of the Three Kingdoms when Buddhism imported. Buddhism as a alien religion had been developed through conflicting and fusing with Korean traditional religious characteristics into type of 'Faith to Three Treasures' (Buddha, Buddhist Commandments, Buddhist monk). They believed that embroidering 天 王 figures upon the regular square bases in the four corners were able to protect Buddhist monk by the help of Four Devas. We might say this as a kind of Faith to Buddhist monk.

• International Journal of Advanced Culture Technology
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• v.8 no.2
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• pp.34-41
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• 2020

This study proposes the development of 'Mandala 37', a puzzle game based content that learns the principles of 37 Honored Ones within the Diamond World Mandala. The proposed game is a new type of learning content that combines the development process of 37 Honored Ones with the characteristics of the puzzle game. It aims to increase the understanding of Buddhist content by inducing learners' interest and increasing their concentration. Learners can learn and understand the principles of the emergence of 37 Honored Ones naturally through the rules of the game. This study introduces the implementation process of the proposed game and explains how learners perceive the principle of 37 Honored Ones within the Diamond World Mandala through the game.