• Korean Journal of Heritage: History & Science
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• v.33
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• pp.182-208
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• 2000

Kwan-gyongdo is a pictorial presentation of a $s{\bar{u}}tra$ that teaches the Buddhist way for a person to be reincarnated in the paradise of $Amit{\bar{a}}bha$ Buddha. It consists of a preface (Kwan-gyong sobun pyonsangdo) and 16 scenes of $S{\bar{a}}kyamuni$ preaching. The preface, a painting illustrating the motivation behind the production of tile kwan-gyongdo, illustrates the "Legend of King $Aj{\bar{a}}tasatru$", a tragic story in which the prince of India's Magadha kingdom murders his father, the king, to usurp the throne. The 16 subsequent scenes show $S{\bar{a}}kyamuni$ teaching the distressed queen how a person can be reborn in paradise through meditation and praying. In the kwan-gyongdo in the Mogao Cave No. 17 in Dunhuang, China, painted during the Tang dynasty (618-907), the preface and the 16 scenes are presented in one painting, whereas they are presented in two paintings in those painted in Korea during the Koryo period (918-1392). The difference is attributed to the stylistic disparity of the two periods. Despite the temporal gap between the Koryo paintings and the Mogao Cave paintings, a comparison of the two can show the characteristic development of kwan-gyongdo. Kwan-gyongdo of the Koryo period do not have the "enmity created in the previous life" scene featuring a heavenly figure and a hare, a result that shows the influence of the Tang school that deleted the scene. The scene of $S{\bar{a}}kyamuni$ preaching on the Mountain of Spirit is included in kwan-gyongdo of both the Koryo period and the Mogao Cave, but the scene of $S{\bar{a}}kyamuni$ emerging from the earth to the Magadha palace is not included in Koryo kwan-gyongdo. Kwan-gyongdo of Koryo are generally a simpler but more faithful rendering of the $s{\bar{u}}tra$.

• The Southeast Asian review
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• v.28 no.3
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• pp.43-74
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• 2018

There was few research dealing with the cultural property or the arts of Southeast Asia before, however many articles and books on the arts of Southeast Asia were published since 2008. There are more than 50 papers dealing Southeast Asian art during the period. It was Vietnamese ceramics and the Buddhist relics of Indonesia which paid attention among those articles. This was relevant to the launching of the Humanities Korea (HK) project by the National Research Foundation in 2007. A study on Southeast Asian arts from each of eleven countries is difficult to achieve outstanding results in a short period of time. Since art historical approach is quite a professional field, the growth of research is limited. Since art historical approach is a professional field, the growth of research is limited. At this point we can say the research on Southeast Asian art are developed in an unbalanced extent in the limited area focused on ceramics and sculptures. Over the past decade, the research on Southeast Asian art has developed, but we still need more experts in specific regions and fields. For establishing the art history as a field of regional studies, it is imperative to cultivate specialists in each region for the profound and balanced understanding the value of Southeast Asian art.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.803-812
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• 2022

The purpose of this study is to examine whether non-self perspective(NSP) reduces the negative effects of life stress experienced by middle-aged adults. an online survey was conducted using a sample of 207 adult men and women in their 40s and 50s, and a hierarchical regression analysis and simple slope analysis were performed. As a result, it was found that NSP modulates the negative effects of life stress on perceived stress and subjective well-being. Specifically, NSP reduced the positive effect of life event stress on perceived stress and reduced the negative effect on subjective well-being. The results of this study suggest that eastern and Buddhist self-view, NSP, has a buffering effect on life stress experienced by middle-aged adults. This study suggests that NSP should be considered as an important factor for coping with stress in middle-aged adults in counseling and clinical settings, and is expected to promote subsequent empirical research on the Buddhist concept of non-self. Finally, limitations and future studies are suggested.

• Korean Journal of Culture and Social Issue
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• v.24 no.2
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• pp.193-220
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• 2018

This study aims to analyze qualitatively the people's dysfunctional religiosity for well-being. The participants of this study were 6 the clergy and 6 believers (devotes). The clergy included three pastors of Protestant churches, two Buddhist monks (male and females), and one Won-Buddihst monk. Six devotes included two Protestants, two Catholics, and two Buddhist. There were one female in the clergy and three females in devotes. Data gathered from narrative interviews were analyzed with techniques based on Giorgi's phenomenological strategies and procedures. Twenty two topics derived from their assertions and statements, nine main meanings were classified based on those topics. Main meaning were reward-seeking religiosity, authority oriented religiosity, selfish religiosity, blind or unconditional religiosity, asocial religiosity, inactive religiosity, inexperienced religiosity, emotionally problematic religiosity, and cognitively problematic religiosity. Based on derived topics and main meaning, suggestions for further studies, for example the scale development, and information of strategies for promoting well-being of religious persons were discussed.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.184-205
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• 2019

Buddhism was introduced to Gyeonggi-Do early on and thus created various types of Buddhist culture there. Since the introduction of Buddhism into Gyeonggi-do, the there has been continuous construction of stone stupas. More stone stupas were built in southern Gyeonggi than in northern Gyeonggi-do. In particular, Anseong, Icheon, Yongin, and Yeoju were centers of construction. Looking at the characteristics of each period, stone stupas remain from the Unified Shilla Period to Joseon, indicating that stone stupas were steadily built during this period. The stone stupa corresponding to the Unified Shilla Period is meaningful in that it shows the northern limit of Shilla Buddhist culture. Since then, the stone stupas of the Goryeo Dynasty were actively constructed in the southern part of Gyeonggi-do in the early Goryeo Dynasty. By the late Goryeo Dynasty, the stupas were built throughout Gyeonggi-do, indicating that the construction of the stupa was active. In the Joseon Dynasty, stone stupas were built in temples near Hanyang and deeply related to the royal family. Stone pagodas were erected mainly on major traffic routes. Stone stupas built in Gyeonggi-do have a variety of artistic and historical significance.

• Journal of the Daesoon Academy of Sciences
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• v.46
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• pp.33-68
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• 2023

Simwudo (尋牛圖), known as Ox Seeking Pictures, originated in the 11th-12th century and have consistently played a guiding role in the teachings of various religions in East Asia. Some Korean religions that emerged during modern times conveyed their teachings through depictions of ox seeking or herding. Among them, Daesoon Jinrihoe stands out as a representative religion. The belief system of this particular religion elucidates its distinct doctrine and worldview by reimagining Simwudo, into a new set of six panels (seven or nine panels in some variations). The Simwudo of Daesoon Jinrihoe differs from that of Buddhism, particularly in its treatment of meditation (禪), both in terms of context and significance. While they share similarities in the aspect of ox-seeking, the Buddhist Simwudo symbolizes human nature, whereas the Simwudo of Daesoon Jinrihoe represents the great Dao of Heaven and Earth propagated by Kang Jeungsan and brought into completion by Jo Jeongsan. In the Buddhist context, the subject of the search is the Ox, signifying the restoration of a deluded human's pure nature in order to achieve personal salvation and in some version of Simwudo, reenter society to perform salvific actions for others. On the other hand, in the Simwudo of Daesoon Jinrihoe depicts the process of a human attaining immortality and following the teachings of Jeungsan and Jeongsan. This culminates in the final image which is the redemption of the world. The final phase of the Buddhist Simwudo, depending on the version, is either enlightenment (personal salvation) or reentering society to perform salvific actions (as a bodhisattva), whereas the Simwudo of Daesoon Jinrihoe show the simultaneous achievement of the perfection of humanity and the redemption of the world. This distinction highlights the fundamental differences between the Simwudo of these two distinctly different religious traditions. These differences arise from the contrasting purposes pursued by Buddhism and Daesoon Jinrihoe.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.116-133
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• 2014

The memorial stones of Sumanotap were known to have been sequentially produced in 1719, 1773, 1874, 1653, 1874. However, after examining the chronological era (年號) and sexagesimal cycle (干支), it was found that the second and fourth memorial stones were both recorded in 1713. The reason why the records of the same period were divided into two is assumed that since the subject to repair was divided into main structure and flagpole of the temple, and it was recorded per each monk in charge and donator. On the fifth tablet of the memorial stone of Sumanotap contains all the names of monks who were in charge of repairing Sumanotap as well as the names of common donators. These people are not verified in detail though, through comparing the Buddhist names on the third memorial stone with Buddhist paintings and painting records, 12 monks were identified to be in the same names. Generally, they were active in Gangwon province, Gyeongsang province, Seoul and Gyeonggi province in the late 19th century and even after the Sumanotap repair, they took up other duties of various temples. The most notable name among the donators recorded in the memorial stones of Sumanotap was Kim Jwageun. He was the donator for the chest of gold and silver that was enshrined in the pagoda in 1874. His name was recorded with Mrs. Yang from Cheongsin and, at that time, was known just as a donator. However, actually, the donator was not Kim Jwageun but his mistress Mrs. Yang who used to be a gisaeng, called Na-hap and was from Naju. Kim Jwageun deceased in 1869 already. It is exceptional that Mrs. Yang who were the mistress of the prime minister Kim Jwageun personally participated in the Buddhist event in which king, queen, mothers of king and queen, noblewoman participated. Besides, the event of Sumanotap repair was carried out by royal family in order to celebrate the hundredth day of the prince, Sunjong and his grandfather, Heungseon Daewongun did not participate for political reason. In this situation, the domination of Mrs. Yang is considered remarkable. Meanwhile, the temples that frequently appeared among the 10 temples recorded in the memorial stone of Sumanotap are Gakhwa-sa temple in Bonghwa-gun, Gyeongsangbuk-do and Bodeok-sa temple in Yeongwolgun, Gangwon-do. Gakhwa-sa temple was a temple where the historical achievements were kept so was under the government's control. Bodeok-sa temple was the buddhist temple praying for the soul of the Danjong buried in the tomb and was managed by the government. Therefore, the face these two temples participated in the Sumanotap repair proves that Sumanotap was repaired by the supports form these two temples and the stature of Sumanotap at that time was as high as the temples where the historical achievements are store or the royal buddhist temples for praying for ancestors' souls.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.24-55
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• 2010

Jangmyeongdeung Lantern (貞陵長明燈) refers to the stone lantern placed in front of the royal tomb. It serves both symbolic and decorative purposes; symbolic because it is supposed to guard and illuminate the buried, and decorative because it is a work of sculpture that adorns the entire graveyard. The Jangmyeongdeung of Jeongneung was the earliest stone lantern to be produced during the Joseon period. Its square shape is unique among those from the early to mid-Joseon period. The three major parts of Jangmyeongdeung - the stand, the lantern, and the roof-shaped cover parts - are square in shape, differing from the octagonal shaped Jangmyeongdeung. The stand consists of three single stone blocks, the Hadaeseok(下臺石), Ganjuseok(竿柱石), and Sangdaeseok(上臺石). The Hwasaseok(火舍石), or the lantern part, is also a single stone block. Jangmyeongdeung of Jeongneung succeeds the style of those of Hyeon-neung and Jeongneung(玄正陵) of the Goryeo period and is of a better artistic quality. As the first Jangmyeongdeung lantern, it is a refined work of art that marks the foundation of the Joseon Kingdom. This paper tries to ascertain the stylistic origin of the square-shaped Jangmyeongdeung of Jeongneung and compare it with those of Buddhist temples. Consequently, similarities were found among the stone lanterns of Zen priests 'Jigong'(指空) and 'Nawong'(懶翁) in the Hweamsa Temple(檜巖寺) site from the late Goryeo period, those of Zen priest 'Muhak'(無學) of the Hweamsa Temple site, and those of national priest 'Bogak'(普覺) of Cheongnyongsa Temple(靑龍寺) from the early Joseon period. Primarily, this is because the three components(the stand, the lantern part, and the roof-shaped cover) are essentially square-shaped. Second, as the Ganjuseok(one of the components of the stand) became shorter, the stand took a more stable form. Third, the Hwasaseok(the lantern part) consists of two stone blocks joined together. Fourth, the roof-shaped cover is also in square in shape. Similarly, the Jangmyeongdeung of Jeongneung contains Buddhist elements as well. The three-bead pattern that decorates the Ganjuseok stand is an example. The three-bead pattern is one of the symbolic elements related to Tantric Buddhism. It is found on the diadems worn by Bodhisattvas from the Goryeo and early Joseon periods. The Jangmyeongdeung of Jeongneung in early Joseon directly influenced the production of the square-shaped stone lanterns used to decorate the tombs during the Joseon period. After the latter half of the 15th century, however, the octagonal-shaped Jangmyeongdeung style began to prevail. The Jangmyeongdeung of Jeongneung reflects the succession of the tradition of royal tombs from Goryeo to Joseon, the introduction of square-shaped stone lanterns to Buddhist temples, and the influence of the Buddhist philosophy of the time. It is a living testimony to various elements of each time and corresponding cultural trends.

• Acta Via Serica
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• v.8 no.1
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• pp.55-70
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• 2023

Carpets are a useful tool for highlighting the cultural uniqueness of a region because their characteristic usage often reveals distinctive natural features of the place or the unique cultural identity of a group. Investigating anecdotes and associated patterns found in three medieval trans-Eurasian travelogues, this paper focuses on observations made by the Chinese Buddhist monk, Faxian, the Sunni pilgrim and scholar, Ibn Battuta, and Marco Polo, the Venetian merchant examining their thoughts, observations, and perspectives on carpet-related customs in their experienced contexts. In particular, this manuscript touches on the controversies, impacts, and narratives associated with carpet practices observed in each travel writer's context respectively, concluding that each traveler shows several things in common rather than showing different patterns depending on the characteristics of their religion. Overall, they observed the uses of carpets according to their jobs and travel purposes and appropriately detailed related episodes if the intended purpose and context matched the uses.

• SUVANNABHUMI
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• v.3 no.1
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• pp.67-86
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• 2011

수완나부미(Suvannabhumi, 황금의 땅)는 인도상인, 황금탐험가, 모험가, 선교사, 그리고 여러 나라에서 온 사람들이 자주 드나들었던 매우 오래된 지역이었다. 그러나 현재의 수완나부미는 잊혀진 존재이다. 그로 인해, 이 지역이 어디서 번성했는지, 언제 생겨났는지, 역사적으로 얼마나 오래 존재했는지에 대해서 정확하게 아는 사람은 없다. 따라서 현대인에게 이 지역은 여전히 알 수 없는 수수께끼 같은 곳이다. 이 논문은 다양한 문학적 문헌(빨리문헌과 해제, 옛 인도의 논문, 근대 인도학자들의 글, Dvipavansa와 Mahavansa라 불리는 두 가지의 유명한 신할라족 연대기, 일부 중국측 기록과 번역본, 일부 아랍상인과 작가들의 기록, 미얀마의 전통적 연대기와 근대 미얀마 학자들의 주장)에서 발췌한 수완나부미에 대한 여러 내용들을 소개하기 위한 하나의 노력이다. 이러한 자료의 검토와 더불어 필자의 소견을 결론부분에 덧붙였다.