• Journal of the East Asian Society of Dietary Life
• /
• v.5 no.2
• /
• pp.1-10
• /
• 1995

Nanboroku is Japanese book of tea written by Mr. Nanb -s kei who was the ablest pupil of Mr. Sennorikyu(1522~1591) and is said to be completed in 1593. In this study, Sennorikyu's opinion concerning meals served in the Japanese tea-ceremony was interpreted and the origin of the meals was clarified. The meal of the tea-ceremony is to be given not the extent of starvation, but in conformity with the manner of daily life in the Buddhism temple. It means not the plain foods, but it is to be served by understanding taste for the simple and quiet, that is Wabi and Sabi traditionally known in jpan. Also, the meals of forty-seven times served in the tea-ceremony given by Mr. sennoriku in a certain year between 1582-~1588, which are recorded in the volume No2, and classified according to the kind and frequency of the menu and foods. Therefore the origin of the meals of tea-ceremony in the present age was clarified.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.43 no.4
• /
• pp.50-61
• /
• 2015

This study investigates how Abies holophylla was planted as a tree sacred to the gods by Japan during the late Chosun and Japanese colonial periods. This study surveyed the current conditions of old Abies holophylla geological information, year planted, and the relationship between Abies holophylla and traditional Japanese values. The reasons that Abies holophylla was considered a tree sacred to the gods are as follows. Firstly, trees are planted on the spaces between Iljumun and Numun in Buddhist temples of Korea in the same way as trees are planted on the roads for worship in traditional temples of Japan. Secondly, tree diameter at breast height ranged from 60cm to 100cm. This means that the Abies holophylla trees range in age from 70 years to 138 years, showing that the trees were planted at the period between the beginning of Japanese Buddhism(1877) and the Japanese Colonial Period (1945). Thirdly, conclusions regarding why the Abies holophylla were planted in Korean temples at the beginning of Japanese Buddhism will be drawn based on the records that Jingu-Kogo's Conquest of Silla was taken care of the Suwataisha as a tree sacred to the gods in Japanese tradition. The reason for which Abies holophylla was planted in Korean temples should be evaluated through the remnants of Japan in the past. The issue of the old Abies holophylla in Korean temples should be investigated and further discussed in depth.

• The Journal of Korean-Japanese National Studies
• /
• no.34
• /
• pp.5-40
• /
• 2018

This paper is to take note of national, social and economic movement, social & economic publicness of religion surrounding Yeonggwang, Joennam around 1910s. At first I would like to look at this period because regional society was in the middle of change of large transition before and after Japan's forced occupation of Korea in 1910s and March 1st Independence Movement in 1919. In particular we focus on spatially Yeonggwang in Joennam because this area is not only called as advent area of Buddhism earlier but also is unique regional culture and ideological topology where Donghak, Protestantism, Catholic, Institute of Won Buddhism and etc. Through casting light upon the above, it is expected to offer one clue for the question of internalizing value to be sought for in the national and social and economic movement by Korean religion around 1910 and public goods in the strategy and tactics to be selected and further publicness and practice lying in their awareness and behavior. In particular it is thought to have advanced the accumulation of case study of Yeonggwang in Joennam with representative 'place-ness' related to this. Along with this it is considered that our challenge is to restore and casting light again on common foundation of existence shape and publicness of various religions in the middle of national and social movement and economic movement in Yeonggwang of Joennam area. In other words, we expect that religions will continue individual efforts and common practices to urge social justice for historic and public value based on common good encompassing historic value, in other words, individual responsibility and social justice among social and economic conditions originated from Japanese colonial era.

• The Journal of Korean Philosophical History
• /
• no.52
• /
• pp.185-211
• /
• 2017

Lee Neung Hwa is a scholar of the late Joseon Dynasty, renowned for his studies of Korean studies. In this thesis, the study of Confucianism and Buddhism removed the research and teachings of Confucianism as a traditional study of Confucianism. Lee Neung Hwa criticized the social functioning of Confucian texts during the late Joseon Dynasty. His criticisms reflect the historical consciousness of the late Joseon Dynasty. Lee Neung Hwa is also known as the Buddhist religion. The History of Chosun Buddhism is his masterpiece. He pointed out the differences between the Buddhist scriptures of the Joseon Dynasty and the Japanese Buddhist scriptures. Moreover, the Joseon Dynasty felt more integrated into the Japanese Buddhist kingdom than in Japan. And ineunghwa also studied the mythology of Korea. He established a universal cultural phenomenon as a universal cultural phenomenon, which belongs to any ethnic Koreans. He insisted that the Sin Gyo of Dan Gun is the identity of Korean culture. His Founding Myth was not a matter of historical fact. His Founding Myth was a tool of ideological struggle to fight against Japanese imperialism.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.3
• /
• pp.45-53
• /
• 2013

The purpose of this thesis is to identify the gardening method of Mus${\bar{o}}$ Soseki by looking into his works. Through this research, life and religious values of Soseki were studied, which gave a better understanding of the garden architect as an individual and seeker of religious truth. Among his works, the most widely known-four ponds, Eiho-ji, Erin-ji, Saiho-ji and Tenryu-ji were studied. The research found that based on the Zen of Buddhism, Soseki symbolized various philosophical ideas into space structures. In addition, through two gardening components, stone buildings and tributaries, he specifically materialized related themes. An absolute religious aesthetics of the creator could be found in the stone buildings that expresses the world of Buddhism and the Chinese letter 'Sim'(heart)-shaped tributaries. By experimenting new method away from a Chinese-style Japanese garden which was widely popular during his time, Soseki devised a garden as residential quarters of a high priest that can be set aside entirely for Zen-study, which became to represent Japanese garden style. If Soseki's gardening method had not been adopted, Japanese gardens could not have been developed as a personal garden that contains symbolic concepts. Unfortunately, in this study, to think of another Zen monk and Mus${\bar{o}}$ Soseki did not study is to compare. also the study on how another Zen monk and Mus${\bar{o}}$ Soseki's compare has to be continued.

• Journal of Urban Science
• /
• v.7 no.1
• /
• pp.1-4
• /
• 2018

Due to the strong relationship between Baekje, one of the ancient Korean Kingdom and Japan through the same religion, Buddhism, it is possible to find many similarities in remains, such as temples, and pagodas, and in many relics, in both cities. However, from the point view of urban planning, Buyeo, originally designed as the fortress city, has a different city planning strategies from that of Kyoto which is a straight-lined city. After Buyeo was destroyed by Silla, one of the Three Kingdoms in Korea, it got deemphasized in Korean history. Later, Buyeo's recent city planning was directly affected and implanted in Japanese Imperialism period (1910-1945) one which emphasizes the layout of Japanese temple which serves as the center of the ceremonies for their ancestors. Thus, it is possible to find cultural interrelation in urban planning between two cities throughout the history of Korea and Japan.

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.77-106
• /
• 2021

The history of The Korean Buddhist music dates back to as early as the 2nd year of Goguryeo King Sosoorim's reign (372) when Buddhism was introduced to the land for the first time and should cover the entire development to this date, which spans over 1,600 years. The extensive scope of research is overwhelming and research efforts are limited at best. Against this backdrop, this study aims to examine how the historical development of The Korean Buddhist music has unfolded over such a long period of time and to understand how the Buddhist music is supposed to further develop in this land in and after the 21st century. Since the Three Kingdoms period, followed by Goryeo and Joseon Dynasty period, Japanese colonial period, and to this date, the history of the Buddhist music has unfolded in line with the 'ups and downs of the history of Buddhism'. The Buddhist music is characterized by various development paths based on historical peculiarities over different periods, including protection by the royal family during the Three Kingdoms period, aspect of Buddhist music during the Goryeo Dynasty period, policy to worship Confucianism and suppress Buddhism during the Joseon Dynasty period, harsh repression of Buddhism during the Japanese colonial period, and the present Buddhist music seeking new ways of proliferating Buddhism among the public, which requires an effort to understand the different characteristics of different periods by identifying key perspectives and tasks of Buddhist music in different periods. In this vein, this article includes not only the history of 'Beompae(Buddhist Chant)', a collective term for Buddhist music in a narrow sense but also all Buddhist music characterized by with Buddhism that is communicated in this land and extends its coverage even to Chanbulga(Buddhist hymn)讚佛歌 music created in and after the 20th century. It also examines the historical development of Buddhism related music in this land. Another task of this article is to understand the Myeongching-gagok 名稱歌曲 sung by monks in the early Joseon Dynasty period, music created for public mission work during the Joseon Dynasty period, the meaning of the existence of 'Hwacheong' 和請, and the traces of Buddhist music existing in the music of the Joseon Dynasty period.

• Journal of the Korean Society of Costume
• /
• v.54 no.3
• /
• pp.113-127
• /
• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• Journal of the Daesoon Academy of Sciences
• /
• v.24_2
• /
• pp.165-196
• /
• 2015

This research starts based on the purpose to investigate the evolution and nature of 48 divinity depends on Gu-Cheon-EungWon-Nweh-Seong-Bo-Hwa-Cheon-Jon(九天應元雷聲普化天尊, Highest ruling Entity and Majesty of Heaven by lightning and thunder raising and ruling all the universe which response to the Supreme) as well as to look at the iconography of that. Ogchugyeong(玉樞經) still exercise enormous influence on Korean folk belief neither in the late Joseon Dynasty and the Japanese colonial period nor till now. The reason for authority of Ogchugyeong(玉樞經) is because Ogchugyeong(玉樞經) was the sutras of being used in the original royal families 48 divinity depends on Gu-Cheon-Eung-Won-Nweh-Seong-Bo-Hwa-Cheon-Jon which appears in Ogchugyeong(玉樞經) is created in Korea. 48 divinity is finally approved at 1888, after it started from 41 at the beginning of the deity general theory(神將論) through developing 47. The figure of 48 seems the result of the syncretism with 48 wishes of Buddhism. Okuchugyong was originally China Taoist scripture, but Okuchugyong entered Korea and reproduced a different look. In China Okuchugyong has two volumes and 44 stature of the deity general(神將) but in Korea Okuchugyong changed to have three volumes and 48 stature.

• The Journal of Korean-Japanese National Studies
• /
• no.32
• /
• pp.35-68
• /
• 2017

The map where so-called 'New Religion' of Korea in the Colonial Era is entangled with 'Religion (Christianity, Buddhism, Shindo)' recognized by the Japanese Government General of Korea and nationalism. Accordingly positive research on how religious ideal and ideology in 'New Religion' in Korea was practically applied and practiced in the society is a crucial task. Meanwhile there is survey data representing the status in the long term from 1860s to early 1930s in regard to 'New Religion' of Korea in the Colonial Era. In other words it is 'Pseudo Religion in Joseon' by Murayama Jijun published in 1935. Most part of them are shown through statistics data. In particular he took a look at the distribution of 'Pseudo Religion', ups and downs of religious influence, faith consciousness, its impact and religious ideological movement and social movement. Therefore, if this statistical data could be utilized through quellenkritik, it is thought to have value of significant reference in research on Korea's 'New Religion'. This paper utilizes many statistics included in the survey data among critical review on recognition in Murayama's 'New Religion in Korea' as basic texts. During the procedure this paper seeks to look at the geology of Korean 'New Religion' and attempts basic consideration in the quantitative term related to trend and ups and downs of the groups. Through this basic research I hope that 'public concern of New Religion' in modern Korea and research on re-establishment will move forward.