• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.151-165
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• 2020

In this study, the pattern of texture was developed by applying the pattern shown in the Amita Yeoraebul and the Avalokitesvara with symbolism suitable for children's clothing. In addition, the design and the manufacturing of a children's wearable Hanbok were attempted, and the results are as follows: Amitha Yeoraebul is a Buddha who oversees paradise in Buddhism, and Avalokitesvara controls both paradise and the real world and provides mercy. Applying the various patterns in the Buddhist paintings, four daily hanboks for children were produced using patterns featuring symbolic the meanings of large round original patterns chrysanthemums, turtles, and lotus patterns. The lotus symbol represents love, nobility, and wealth, while the turtle symbol represents longevity, the chrysanthemum pattern symbolizes auspiciousness, and the large round original pattern means a constant continuation. To maintain the traditional hanbok form but allow convenient wear it in daily life, it is made in the jeogori + shorts, vest + long pants, and one-piece + jacket style. Currently, the daily dress of Hanbok and the modernization of traditional Korean clothes are being promoted. At this point, the study developed Hanbok fashion products that contain symbolic stories suitable for children are trying to maintain the image of traditional culture as much as possible.

• International Journal of Costume and Fashion
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• v.10 no.2
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• pp.37-49
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• 2010

The Samguk-yusa(三國遺事) is one of the two classics of Korean ancient history together with the Samguk-sagi(三國史記); however there has not been any positive attempt to analyse clothing culture centering on the Samguk-yusa until now. Thereupon, this study aims to find the records related to fabrics, color and fashion appearing in the Samguk-yusa, and to analyse the fashion culture of the three kingdoms projected in the Samguk-yusa, referring to the Samguk-sagi and ancient Chinese reference books. According to the records in the book, the fabrics used for clothing of those days included Jikgeum-wimun(織錦爲紋), Geum(錦), Chaebaek(彩帛), Osaek-geumchae(五色錦彩), Geumbaek(錦帛), Geumsam(錦衫), Ma(麻), Neung(綾), Geum-su-neung-ra(錦繡綾羅), Poh(布), Daecho, Bira-geumjeom(緋羅金點), Gyeon(絹). Japchoe(雜綵), Robtyeom(羅緋染). Chimilpoh(緻密布), Gi(綺) and Whan(紈), and they had colors such as brown black(緇), black(黑), purple(紫), yellow(黃), blue(碧), clear white(素), white(白), five colors(五色). There is substantial amoung of report on Buddhism, and the terms used for Buddhist clothing included Beobeui(法衣), Nabeui(衲衣), Bangpoh(方袍), Gasa(袈裟) and Yueui(由衣). It is also ascertained that Gasa had a variety of Bira-geumjeom-gasa(緋羅點袈裟), Manap-gasa(摩納袈裟) and Geumra-gasa(金羅袈裟).

• (The)Study of the Eastern Classic
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• no.32
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• pp.391-424
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• 2008

A Buddhist relic deposit was discovered from the three storied stone pagoda which was called as Seokgatap of Bulguksa temple in Gyeongju in 1966. In this relic deposit, several clumped papers written in ink which were found from the pagoda. These manuscripts are one of the most valuable materials for understanding Korean Buddhism and Buddhist Art History. In this paper, I examined several terms for pagoda subsidiaries found in these manuscripts, which have not been known to us up to recently. In addition, I compared these terms to the real pagodas or pagoda images in Korea. The manuscripts from Seokgatap pagdoa were composed of three different kinds of records; (1) "Record for the Repair of Mugujeonggwangtap Pagoda (無垢淨光塔重修記, 1024)"; (2)"Record for the Reconstruction of West Pagoda (西石塔重修形止記, 1038); (3)"Lists of Donors for the Reconstruction of the Pagoda in Bulguksa temple (佛國寺塔重修布施名公衆僧小名記, 1038). The terminology describing pagoda was appeared in the first and the second records. In the "Record for the Repair of Mugujeonggwangtap Pagoda", there are more than ten terms, which are presumed to be the words describing some upper decorative parts of a stone pagoda. However, in the "Record for the Reconstruction of West Pagoda", there are fifteen terms which would describe the body and base parts of the Seokgatap pagoda. These new terms for pagoda subsidiaries appeared in the manuscripts of Seokgatap Pagoda are very significant materials in understanding Korean Buddhist Art, because they show the practical terms which were used in the eleventh century Buddhism of Korea, but never known to the modern academic world. The manuscripts of Seokgatap Pagoda have not been deciphered perfectly yet, so they have to be examined with more precise as well as with wider view of Buddist and Art History.

• (The)Study of the Eastern Classic
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• no.70
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• pp.407-434
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• 2018

This study took a look at the crossing the border into Liadong in the early Joseon Dynasty, which has nearly not been paid attention to in the history of the Buddhism in Korea, and the Chinese, Buddhist whereabouts of Monk Mangong and Jeokhyu, the periodical, Buddhist priests. Regarding the large-scale, Buddhist oppression measures of King Taejong in the beginning of the Joseon Dynasty and King Sejong, the Buddhist circle did not not respond helplessly, but, rather, it had made the resistance on its own way. Especially, the Naonghyegeum of Jogyeseonjong and the disciple affiliates of Taegobowu had stood out. The disciples of Bowu had mainly hit the Sinmungo or had advocated the self-purification of Buddhism. And the disciple affiliates of Naong either had reorganized the Buddhist circle with Muhak in the center or had opposed the suppression. And, by receiving the help of the Emperor of the Ming Dynasty, they had intended to protect the Buddhist circle, or they, also, crossed the border into Liadong. Although, while attempting the crossing the border into another territory, they were arrested like the sea ships, like Mangong of King Taejong and Jeokhyu of King Sejong, they succeeded in crossing the border into another territory, and they left the clear whereabouts in the Chinese, Buddhist circle. Mangong was one Buddhist monk among the 11 Buddhist monks who crossed the border into Liadong during the King Taejong. After crossing the border, Mangong had moved again from Beijing on a sea route and had settled for after going into a mountain in the Zen sect at the Tienchieh temple in Nanjing. Meanwhile, he had been close to the Joseon Dynasty, and he relocated to Mount Taishan, where there had been the history, thereby rebuilding the Chikurin Temple and the Buchauchan temple and widely publicizing the Buddhism. During the time of King Sejong, by crossing the border into Liadong together with a total of 10 Monks, including the Buddhist monks Shinnae, Shinhyu, Shindam, Hyeseon, Hongjeok, Haebi, Shinyeon, Honghye, Shinwun, etc., under the protection by the Emperor of the Ming Dynasty in Beijing, Jeokhyu went through Shanhaiguan and had moved to the Tienchieh Temple in Nanjing. Although their whereabouts can not be known, on the Guji Mountain in Beijing, Jeokhyu founded the Banyaseonsa Temple nearby the Ryeongamseonsa Temple, where the clergy and the laity of the Goryeo Dynasty had resided and, especially, where Naong and the disciples of Muhak etc. had stayed. As such, the Buddhist monks in the beginning of the Joseon Dynasty had either resisted the suppression by the country or crossed the border into another territory. Mangong and Jeokhyu of the times of King Taejong and King Sejong had led the Chinese, Buddhism circle, had rebuilt the Buddhist temples, and had contributed to the development of the Chinese Buddhism.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

• 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.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.126-147
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• 2018

The compositions and iconographies of the three Illustrations of the Sixteen Contemplations produced in the early Joseon Dynasty effectively manifest the transitional period of Joseon society as well as the Joseon people's perception of the Pure Land. In particular, the painting at titled Chionji (知恩寺) dated 1435 and another painting at titled Chion' in (知恩院) from 1465, which were commissioned by the Joseon royal family and high-ranking monk, embody the Pure Land faith of the Tiantai School of Buddhism (天台宗) which thrived during the late Goryeo period. This indicates that the Joseon royal court continued to favor the Pure Land faith that emphasized salvation through "self-power" (自力), which was popular among both the royal family and the nobility of Goryeo. On the other hand, in the painting at titled $H{\bar{o}}rinji$ (法輪寺), which is presumed to have been made in the sixteenth century, the compositions and iconographies shown in late Goryeo examples of the Illustrations of the Sixteen Contemplations are disassembled. Moreover, a new iconographical motif, i.e. "welcoming the dragon boat" (龍船接引), emerged with this painting. This motif symbolizes the idea that the souls of the deceased are guided by Amitabha Buddha to rebirth in the Pure Land of Extreme Bliss, which is based on the "other-power" of the Pure Land faith that emphasizes the power of Amitabha Buddha in attaining salvation rather than the educational "self-power" of the Pure Land faith. The emergence of this motif demonstrates the transformation of the Pure Land belief into a faith that relied on the "other-power" of Amitabha in Joseon's Confucian society.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.22-49
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• 2021

Bowonsa Temple (普願寺) is located to the north of Gayasan Mountain in Unsan-myeon, Seosan-si, Chungcheongnam-do Province. The cultural properties it enshrines were produced during the late Unified Silla and early Goryeo periods, and include an Iron Seated Buddha. The Japanese Government-General of Korea Museum planned a survey on historical remains in Chungcheongnam-do Province during the early Japanese colonial era, and a field survey was conducted at the Bowonsa Temple site in 1916 (Taishō 5). During this survey, the sculpture of the Iron Seated Buddha (knee: width 212 cm x thickness 167 cm) was found enshrined in a hut. The sculpture was moved to Gyeongbokgung Palace in the following year. However, it is clear that the colossal Iron Seated Buddha was being housed at the Bowonsa Temple site at the start of the Japanese colonial era. This Iron Seated Buddha is presumed to have been produced in 955 by State Preceptor Beopin Tanmun (法印國師 坦文, 900-975). Tanmun was born into an influential family that produced many high officials. He became a leading figure in the Hwaeom (Flower Garland) school of Buddhism under the patronage of King Taejo. He also led Buddhist events at the Goryeo royal court during the reigns of King Hyejong (惠宗, r. 943-945) and King Jeongjong (定宗, r. 945-949). With the emergence of Gyunyeo (均如, 923-973), who was sponsored by Queen Daemok (大穆王后, dates unknown) of the Hwangbo clan (皇甫氏), Tanmun was transferred to Bowonsa Temple far from Kaesong. However, even while there Tanmun strengthened his ties with his supporters under the patronage of the Chungju Yu clan. He appears to have produced this colossal sculpture of Iron Seated Buddha as a prayer for longevity and a happy life for King Gwangjong (光宗, r. 949-975). The inscription on the Stele of State Preceptor Beopin at Bowonsa Temple Site that reads "[I] created a Buddha triad in gold" also suggests the Iron Seated Buddha was produced at Bowonsa Temple. This Iron Seated Buddha is thought to have been enshrined originally in a hall at Building Site No. 3 within the Bowonsa Temple precinct. Since excavations at the temple site have revealed that the temple's main hall was erected in the Joseon period, the Iron Seated Buddha might have been enshrined in a different hall at the time of its creation. It is likely that the sculpture was placed in a hall at Building Site No. 3 since Goryeo-era roof tiles and porcelain have been frequently excavated there and the remains of a square Buddhist altar have survived at the site. At the time of its creation, the Iron Seated Buddha was likely enshrined in a Goryeo-era hall at Building Site No. 3 but was transferred to the main hall during a rebuilding project undertaken at Bowonsa Temple in the Joseon period.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.190-205
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• 2016

Buddhist stupas, which are a symbolic architecture of Buddhism and enshrine the Jinsinsari of Buddha, were reinvented as stone stupas appropriate for the natural soil of Korea from existing wooden stupas around the 7th century after the introduction of Buddhism. Later, the construction of a stone stupa was expanded to local areas from the central area around the 9th century; thus, stone stupas of more diverse local colors were built in a nationwide scale, and today it is called a "country of stone stupas". While focusing on the stylistic interchanges between stone stupas, which were established in each region in accordance with the localization of the establishment of stone stupas that was begun actively from the 9th century, this paper selected several cases of stone stupas among about 50 stone stupas in the Gangwondo-region. First, the study compared the stone stupas and Buddhist priest tower of Seollimwonji, Jinjeonsaji, and Geodonsaji, which are located at the same temple site as the current Buddhist priest tower, from among typical Silla style stupas that match the 9 stone stupas in the Gangwon-do region. This is because stylistic interchanges were possible while there were mutually organic relationships between Buddhist statues such as stone stupas, Buddhist priest towers, stone lanterns, and Buddhist pedestals, which used the same stone material along with the expansion of Buddhism to local areas in accordance with the spread of Zen Buddhism in the 9th century. Second, a comparison was made of the stylistic similarities between the Woljeongsa Palgakgucheong (eight sides nine-storied) stone stupa and the Sinboksaji Samcheung (three-storied) stone stupa, which are totally different in regard to the number of stories and the flat form. These two stone stupas are representative Goryeo stone stupas. The Woljeongsa stone stupa is a Goguryeo-oriented stone stupa with many sided multiple stories whereas the Sinboksaji stone stupa has been known as an early case of the insertion of the support of Tapsin in each story. Although the two stone stupas may look very different, but through close investigation it was confirmed that there were many stylistic interchanges between them and not only the seated stone Buddha statue in the cylinder jewel case in front of the stupa but also the stone stupa established by the same master. Consequently, this paper aimed not merely to mention the simple patterns of stone stupas, but, further, to trace the interchange in patterns in accordance with the construction period based on those patterns.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.32-46
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• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.