• Journal of architectural history
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• v.11 no.4 s.32
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• pp.129-142
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• 2002

The Kyeongbok Palace was completely renewed during the reign of King Sejong, the fourth King of the Joseon Dynasty(1392-1910). The repair was done for the two main purpose; one was to obtain the dignity of the main palace of the dynasty, the other was to make the palace suitable for the performing of the various ritual ceremonies. It was under the reign of King Sejong that every detail of the procedure of the royal ritual ceremony. The procedure of ritual ceremony changed the buildings of the palace. The quarter of Sajeong-jeon, King's office, was changed remarkably from the original form as the building became the beginning and ending point of King's moving during the ritual ceremonies. The site of the palace had ill reputation from the point of geomancy since its establishment. King Sejong ignored the rumor and kept the palace as usual. In his later year's, Sejong had tried to build a detached quarter and a Buddhist shrine in the palace. But he had to give up his plan because of the retainer's strong opposition. The original layout of the Kyeongbok Palace could be remained as the King renounced his controversial personal wish. King Sejong deserves a full credit for the establishment of the Kyeongbok Palace as the main palace of the Joseon Dynasty.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.223-284
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• 2005

Gwaebul, created during late Joseon dynasty, especially from 1885 to 1926, now exist 18 ones. And 12 of them are owned by Buddhist temples located in Seoul city and Gyeonggido province. Royal Tomb praised and Royal household praised Buddhist temples in early Joseon dynasty were supported by Royal Family. As a renovation of Buddhist temples by king Taejong's reign(1400-1418), they became impoverished with reduced Buddhist ceremony. But they maintained their lives in intimate connection with royal family, and went prosperous from late 18th century. At that times, a new trend in Gwaebul appeared, which have popular idea for wishing peace of the dead, the nation and the royal family. The new composition of painting expressed in Gwaebul starts in Amitabha-Triad paintings which carved in first volume of ${\ll}$Amita-yohaegyeong${\gg}$ made of wooden plate. And Gi-heoh(A.D. 1820-1872) carved it in 1853 at Naewonam Buddhist hermitage of Samgaksan mountain And a return of Suwolgwaneumdo which had been popularized in late Goryo dynasty is worth noticing as a new issue of late Joseon dynasty. It is related with a composition of Gwaebul that expressed 'a leading the dead to the good', a Buddhist consciousness of falsehood and fancy. The saturated and blurred style of painting, the fact that centralization-powered lineage of painter who used composition of multi-used basic pattern, are characteristics of this period.

• Journal of architectural history
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• v.23 no.2
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• pp.81-90
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• 2014

This study aims to comprehend architectural peculiarity of the hermitage as the one of Buddhist architectural type in Korea. Although it has not defined properly, it has been demanded the architectural respondence according to the environment of times since the introduction from other countries. Gimryong-sa temple, founded in 1635, and the hermitages are the most appropriate objects for analysis because there are many documents still remained. It is possible to find out that there are some architectural peculiarity after review of the document and the field survey about Geumseon-am(金仙庵=金仙臺), Hwajang-am(華藏庵), Daeseong-am(大成庵), Yangjin-am(養眞庵). In the late of Joseon Dynasty, the group of buddhist proceeded the economical development and the extension of authority based on the family culture. The hermitage functioned for the self-discipline, the meeting of family, the enshrinement of portraits, the memorial ceremony of family at this point. In response to that, the architectural space which had combined residence and rite became preferred such as Inbeopdang(因法堂). And a Large Ondol room called Daejungbang(大重房) was applied and Ru(樓)-Maru was added as the place for rest.

• (The) Research of the performance art and culture
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• no.35
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• pp.93-123
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• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.

• The Journal of Korean Philosophical History
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• no.43
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• pp.81-105
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• 2014

For a lack of books on tea ceremony, 'Dongdasong (東茶頌)' by Buddhist priest Choui occupies a prominent position. Along with 'Dabu (茶賦)' by Yi Mok (李穆: 1471~1498) and 'Gida (記茶)' by Yi Deok-ri (李德履: 1728~ ?), Dongdasong forms the three peaks of tea work. These books are all based on Tea Classic (茶經) by Ryukwoo (陸羽). Assuming that Tea Classic serves as introduction (起), Dabu is development (承), Gida for turn (轉) and Dongdasong for conclusion (結). Dongdasong is inextricable from Dasinjeon (茶神傳). Dasinjeon is the abstract of Jangwon's Darok (茶錄). The keyword of Dasinjeon is 'tea deity (茶神).' Extracting key concepts of Darok as his perspective, Choui established his own philosophy on tea ceremony. In the process of making into his philosophy, he reorganized the system by introducing the principle of 'subtle combination (妙合),' one of traditions in Korean thought, which is characterized by not separating spirit and material. It is 'subtle combination' that does not make a division between spirit and material, which are undeniably different things. Subtle combination is a relation of two things' being one and one thing's being two. Choui's philosophy on tea ceremony can be assessed as valuable inheritance from traditions of Korean thought.

• 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.

• 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) 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.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

• The Journal of the Korea Contents Association
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• v.11 no.8
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• pp.438-447
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• 2011

With the development of tourism the desire for a variety of tours for visitors was occurred. Accordingly, to meet the needs of tourists for the development of various tourism products is necessary. In addition to the occurrence of environmental problems needs to develop enviromental tourism products. In this study refocus on rapidly developed templestay and difference of life quality between before experienced templestay and after experienced templestay as product development of low-carbon green was to explore the possibilities. The findings were as follows. First, the increase of age, they satisfacted temples experience like meditation, tea ceremony and Buddhist cultural experience. 11 questions of life quality, 9 items showing significant differences in the quality of life in it will be useful temple stay was used.