• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.2
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• pp.272-291
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• 2022

The purpose of this study is to analyze the external characteristics of the clothes formed from the culture and worldview of Goryeo women and to identify the aesthetic characteristics. This paper posits the following: First, that the practice of Buddhism contributed to gender equality between Goryeo women and men; second, that Goryeo had a worldview of unified as in with the East and Korea differentiating from the dichotomous thinking of the West; and third, that the aesthetic characteristics of Goryeo women's clothing included (a) color contrast and an emphasis on patterns based on Pure Land Buddhism and Esoteric Buddhism; (b) The beauty of unitary convergence is the beauty of freedom as an expression of various cultural exchanges and the free and open ways of thinking of Goryeo women; (c) an expression of rhythmical beauty, with the shape of line led to straight to curve line and the change of line through human body's movements; and (d) a perfect balance of proportion and symmetry based on Pure Land Buddhism.

• 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.

• Journal of architectural history
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• v.30 no.4
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• pp.53-66
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• 2021

In the study of Buddhist architecture before the Goryeo Dynasty, the analysis of sectarian viewpoints is one of the effective means. In the study of Buddhist architecture before the Goryeo Dynasty, analyzing from the point of view of a Buddhism sect is one of the effective means. Until now, compared to the importance of the Beopsang school before the Goryeo period in the field of research on the history of Buddhist architecture, research on its temples was the least compared to those of other denominations. In this study, as one of the studies on Beopsang school temples, Geumsansa(金山寺), Beopjusa(法住寺), and Donghwasa(桐華寺), which were built as the Jinpyo's Beopsang school temple in the late 8th century and maintained until the Goryeo Dynasty, were targeted. And I tried a rudimentary analysis on the building composition of those temples from the viewpoint of the beliefs and teachings of Beopsang school. This study is meaningful in that it is the first attempted study in the field of architectural history on the Buddhist temple of the Beopsang school, which led non-Zen sects of Buddhism along with the Hwaeom school until the Goryeo Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• Asian review of World Histories
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• v.2 no.2
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• pp.169-195
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• 2014

This paper presents an investigation into cross-cultural transfiguration of Buddhist faith in Goryeo Dynasty, with a focus on $\acute{S}\bar{u}$raṃgama-s$\bar{u}$tra that used to be in vogue in East Asia. There are three major types of $\acute{S}\bar{u}$raṃgama-s$\bar{u}$tra faith in Goryeo: the first one was concerned about the scripture itself including its citation and publication and the compilation of its annotation books; the second one involved establishing Buddhist rituals related to the scripture; and the final one was to create Dh$\bar{a}$ran$\bar{i}$ stone poles with Dafoding Dh$\bar{a}$ran$\bar{i}$ in Volume 7 of the scripture engraved in stone. While it was the common practice to engrave Zunsheng Dh$\bar{a}$ran$\bar{i}$ in China, the number of stone poles on which Dafoding Dh$\bar{a}$ran$\bar{i}$ was engraved was overwhelmingly large. There are a couple of reasons behind the difference: first, there was a tendency of Zunsheng Dh$\bar{a}$ran$\bar{i}$ being worshiped at the national level in Goryeo, which probably explains why the percentage of Zunsheng Dh$\bar{a}$ran$\bar{i}$ stone poles designed to pray for a personal mass for the dead by engraving Dh$\bar{a}$ran$\bar{i}$ on a stone pole was considerably low. In addition, there were esoteric sects in Goryeo, and it is estimated that they must have got involved in the establishment of Dafoding Dh$\bar{a}$ran$\bar{i}$ stone poles in the former half of Goryeo. Furthermore, the Zen sects had a deep non-Zen understanding of Esoteric Buddhism and tended to practice Dh$\bar{a}$ran$\bar{i}$ in Goryeo. It is estimated that Dafoding Dh$\bar{a}$ran$\bar{i}$ stone poles were set up in large numbers in Goryeo as the prevalence of $\acute{S}\bar{u}$raṃgama-s$\bar{u}$tra faith that continued on since the former half of Goryeo was combined with the Zen sects' active position about Dh$\bar{a}$ran$\bar{i}$.

• Journal of architectural history
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• v.17 no.6
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• pp.45-65
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• 2008

Hoe-amsa temple was renewed by Zen priest Na-ong(1320-76) in the later Goryeo dynasty(918-1392), and he introduced the institution of Zen Buddhism temple of Yuan dynasty(1271-1368) in China. And in 13-14 century, many Zen Buddhism temple were built in east Asia, like China, Japan, Korea and so on. Hoe-amsa temple became to be ruined in the middle years of Joseon dynasty(1392-1910), and the ruin was excavated recently. The purpose of this study is to make a searching examination the history of Hoe-amsa temple by analyzing the historic records and excavation relics, and to clarify the function of Jeongcheong, east Bang-jang and west Bang-jang of Hoe-amsa temple, by comparative analysis with Bang-jang architecture of Zen Buddhism temple of Yuan dynasty. As the result of this study it can be said like follow. Hoe-amsa temple maintained the form made by priest Na-ong in spite of several times of repair in Joseon dynasty, and it was reflected in excavation relics of now. The Jeongcheon of Hoe-amsa temple was the space called Chimdang where the chief priest performed lectures and ceremony, the west Bang-jang was the living space of chief priest, and the east Bang-jang was lodging for honored guest. The architecture composed by Jeongcheong, east Bang-jang and west Bang-jang was the adaptation of institution of Bang-jang architecture of Zen Buddhism temple in Yuan dynasty, on the base of general architecture form of Goryeo dynasty.

• Journal of architectural history
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• v.19 no.4
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• pp.109-123
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• 2010

The main functions of a Buddhist temples are as a place for Buddhist services and a place for sermons and each ancient Buddhist temple was equipped with a main and separate building. After Zen Buddhism was first introduced, there was a tendency to change the terms to Buddhist sanctuary and altar, as set forth in the Zen Buddhism code of conduct called 'Cheonggyu(淸規)'. As such, it was thought that the division between Buddhist service space and preaching space were relatively firm until the Goryeo Dynasty. However in the period from the end of the Goryeo to the beginning of the Joseon Dynasty there was an increasing tendency of integration of the two buildings. It can be seen that, in cases where both buildings remained, statues of Buddha were enshrined in these buildings without any distinction. Eventually it is led to the tradition of duo-Buddhist sanctums.

• Journal of the Korean Geographical Society
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• v.44 no.1
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• pp.77-88
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• 2009

In Korean history, Fengshui and Buddhism were closely connected in a harmonious and interrelated manner, together influencing the location and function of Buddhist temples, the forming of social and spatial ideologies, the spread of Fengshui, the development of Buddhist Bibo-Fengshui, ete. The interaction between Fengshui and Buddhism, which began after the introduction of Zen Buddhism in the late-Silla period, acted as a spatial ideology that empowered the powerful local gentries to trigger a social upheaval in the late-Silla period and was used by the government leaders for political purposes throughout the Goryeo period. In the Joseon period, the link between Buddhism and Fengshui weakened and was felt only at a grass-roots level.

• Journal of architectural history
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• v.27 no.1
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• pp.7-16
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• 2018

Meoricho of Dancheong is a pattern that placed at the end of each elements. We call Dancheong which has Meoricho Moro-dancheong. Meorico is the pattern comes from the metal ornaments of ancient architecture. The most primitive forms of Meoricho is Saw-toothed Design. Since the influence of Buddhism in the Northern Wei dynasties Saw-toothed Design have changed Tied lotus Design. Tied lotus Design of the Unified Silla it becames Gak-yeop Design and Yeo-ui-doo Design Meoricho in Goryeo Dynasty. Since Goryeo Dynasty there's been great and small variations in the internal composition of Meoricho, but the outline has maintained as it was. Therefore the completed form of the outline of Meoricho could be regarded as the one that was formed in Goryeo Dynasty.

• Acta Via Serica
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• v.4 no.2
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• pp.61-77
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• 2019

Following the introduction of Buddhism to China by Xuanzang (玄奘 602-664), the visual tradition of an itinerant monk became a popular subject. This theme developed into a Buddhist figure with an accompanying tiger, especially in Korea where tigers were an object of worship and ritual. This paper examines Korean examples of post-itinerant monk Buddhist figures accompanied by tigers, in particular the portrayal of itinerant monks as arhats and sansins. The supernatural powers of arhats were diverse, and they often tamed the tigers who then accompanied them on their journeys. The arhat, who was introduced during the Unified Silla period and gained popularity during the Goryeo period, was loved by the general public during the Joseon Dynasty as a familiar presence that brought good fortune. Special portraits of monks accompanied by a tiger, known as sansindo (山神圖), form a unique Korean genre. Sansin religious beliefs formed through a fusion of the newly introduced Buddhism and the age-old indigenous worship of sacred mountains and tigers. Most Buddhist temples include a sansin shrine containing on altar with sansin statues and portraits. Tigers in the portraits of itinerant monks and the stories of Buddhist monks who tamed tigers became famous and widely accepted in Korea, a nation already rich in tiger lore. Folklore and indigenous shamanism contributed to the establishment of Buddhism in Korea, and tigers played a central role in this.