• 고문화
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• 56호
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• pp.181-213
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• 2000

이 글은 하남지역에서 찾아진 많은 불교유적에 대한 최근까지의 조사와 연구성과를 소개한 것이다. 이제까지 찾아진 불교유적중 천왕사지와 신복선사지, 약정사지 등은 역사적으로 큰 의미를 시사하고 있다. 즉 삼국시대 불교가 수용된 이후에 많은 사찰과 불상이 조성되었으며, 조선시대까지도 불교는 그 역사적 맥을 이어왔다. 이러한 관점에서 볼 때 하남의 불교유적이 차지하는 비중은 결코 적지 않다. 특히 천왕사지를 비롯한 약정사지$\cdot$신복선사지 등의 절터는 최근 지표조사를 통해 발견되었고, 문헌기록에도 그 자취가 남아 있어 이 지역의 역사를 복원하는데 큰 도움을 주고 있다. 또한 각 절터에서 찾아지는 석물과 유물들을 통해서 사찰의 창건과 폐사시기를 짐작할 수 있게 되었다. 따라서 이 글은 하남지역의 중요한 불교유적을 바탕으로 하여 한강유역의 잃어버린 고대사와 불교의 역사를 복원하는 데 목적을 두었다.

• 한국주거학회:학술대회논문집
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• 한국주거학회 2003년도 정기총회 및 추계학술대회
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• pp.59-65
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• 2003

The present article has the purpose of evaluating subjective response of Won Buddhism sanctums by psychoacoustics experiment. Furthermore, basing on this experiment, the present article makes a suggestion of a physical sound-evaluating index. To achieve the purpose, I conducted an psychoacoustics experiment at 6 sanctuaries out of the representing 40 sanctuaries of Won Buddhism sanctums, which size is bigger than 1,000 m$^3$. I made a reanalysis with 3 Buddhist sanctums out of the subjects of psychoacoustics experiment which are generally rated superior. From the result, I can make each evaluation type into two types, sound clarity and space sense of sound. Also, I make various suggestions of physical parameter, with which I can evaluate the proper sound condition for Won Buddhism sanctums.

• 대순사상논총
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• 제24_2집
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• pp.117-164
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• 2015

Religion is not fixed and permanent and is constantly transforming and changing phenomenon. But in some religions, religious culture happens that emphasize the original and authentic teaching of the founder and removes the other accumulations among the accumulated religious tradition. So some religious communities advocate the original teaching of the founder and insist that they are the orthodox and the others are heresy and make the theory of true transmission etc. Jongtonglon(宗統論) of Daesoonjinrihoe(大巡眞理會) looks similar to the theory of true transmission on the surface. The aim of this paper is the contribution to the understanding of Daesoon thought and the religious culture of Daesoonjinrihoe by studying the characteristics of Jongtonglon. I want to highlight on the characteristics of Jongtonglon by comparing it to Bubmaeklon(法脈論) of Korean Buddhism. Bubmaek(法脈) of Korean Buddhism is well showed in the constitution of Jogaejong(曺溪宗) that represents Korean Buddhism. The constitution says that Jogaejong considers SakyaMuni the main Buddha and Doyi (道義) the founder of Jogaejong and BojoJinul(普照知訥)·TaegoBou (太古普愚) the restorer of tradition and also says that Jogaejong succeedes Cheongheo(淸虛) and Buhyu(浮休). Between SakyaMuni and Doyi, there are several monks of Seocheon(西天)-28Choseol (祖說) and China-6Choseol(祖說). Jinul is highly praised for enhancing the atmosphere of performance of Jogaejong and Bou was regarded as the founder of Jogaejong since late Joseon dynasty. In modern times there were conflicts between Bojojongjoseol(普照宗祖說) and Taegojongjoseol(太古宗祖說), but today's Bubmaek(法脈) of Korean Buddhism was erected after the conflicts was controled. Jongtong of Daesoonjinrihoe was erected by Jo Jengsan(趙鼎山) Doju(道主) who was received Heaven's will through divine revelation. Dojeon(都典) succeeded Jongtong by Doju's will and he didn't say a word when he went to Heaven. So the succession of Jongtong is ended. The first characteristic of Jongtonglon of Daesoonjinrihoe is that the succession of Jongtong was decided by Heaven and has been expected from long ago. The second, Jongtonglon has the sacred characteristic which is not shown in Bubmaeklon. The third, the distinction between Yeonwun(淵源) and Yeonun(緣運) is not appeared in Bubmaeklon. The fourth, Jongtonglon has more anti-syncretic feature than Bubmaeklon. The fifth, Yeonun(緣運) and Bubmaeklon are different in that feature. As Jongtonglon occupies a prominent place in Daesoonjinrihoe, the understanding of it can contribute to grasp the doctrine and culture of Daesoonjinrihoe.

• 복식
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• 제19권
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• pp.83-103
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• 1992

This thesis researched the ritual dress of Korean new religions such as Suungyo, Mirubulgyo, Taejonggyo and WonBuddhism, According to kind, color, cloth and shape this thesis analyzed the ritual dress of them on the basis of its literatures. I. The results of the ritual dress of them through its literatures are as follows: 1. In case of Suungyo, there are Songwansonbok, Togwandobok, Pulmogwan, Ch'onui, Chap'ae , Yukhwangang, Pobdae, Hakp'yo and Kyonjang in its kind. In its color there are Huk, Cha, Hoe, Chahwang, Hong, Paek, Hwang, ROk, and Nam. Chemical fiber with one layer is used in its cloth. Its shape is made by a comprise between the feature of Korean dress, chuui and that of the existing dress of Confucianim, Buddhism and Taoism. 2. In case of Mirukbulgyo, Inhwag-wan, Chongbok, P'oui, Tae, Moson, Yomju and tanju are systematized in its kind. In its color there are Paek, Huk, ch'ong,Chok, Ok and Rok, Kongdan and chemical fiber with one layer are used in its cloth. Its shape has a symbolic form of Yu'Pul and son based upon Korean dress, Chuui. In its symbol Inhwagwan symbolized Confucianism and Chongbok Taoism and P'oui Buddhism. 3. In case of Taejonggyo, there are Chusabok, Sjhobok, Yewonbok, Chusamo, Yewonmo, Tae and Hwa in its kind. In its color there are Paek(main one), Nam, Huk, Chaju, Chok, Hwang and Hoe. Kongdan with both sides is elaborately used in its cloth. Its shape thken from Korean dress means the succession of the national spirit of the white-clad folk. 4. In case of won Buddhism, there are kybok and Pobrak in its kind. In its color there are Paek, Huk and Hoe---especially, both Hwangt'o and Hwang are used in Pobrak, Anyone can use cloth at his will. In its shape Kyoblk for man is Yangbok and Kyobok for woman is Tongch'ima and Chogori, a style of Korean dress. Pobrak is a form Tanryong worm with Rakja.

• 복식
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• 제57권3호
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• pp.165-175
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• 2007

Religion affects all the dimension of human beings, and at the same time it forms one dimension of human beings. Costume Is considered as a result that reflects the phases of the time and the characteristics of a wearer. Costume, also, has been influenced by religion that has led one's belief, social spirit and culture for a long period of time. The Eastern aesthetics has expanded the area of thoughts with the concepts that originated from Buddhism, Taoism, and Confucianism. Among the concepts, Non-Dualistic Theory is the core idea of Buddhism.'rho theory contains the moaning that one should not lean to one side between existence and nonexistence and should not be obsessed with the center. It was the most powerful Buddhistic idea that had an influence on Asian aesthetics. Korean traditional costume is not an exception. This study has a significance that it was conducted to understand the relation between religious principle and traditional custom through mainly using documentary records. The formative characteristics of Korean traditional costume influenced by Non-Dualistic Theory ran be summarized as non-structure like, indeterminate forms, amorphousness and anti-decoration such as plainness, temperance and achromatic color. Aesthetic value was expressed through 'the aesthetic of emptiness', 'the aesthetic of hiding', and 'the aesthetic of nature'. Although the appearance of a religious symbol can change, an essential element in religion lasts as human society remains. Although our clothing culture has converted to western style, Korean traditional aesthetics is placed deep inside of 'the Koreans' spirit and has a consistent effect on our overall culture of clothing.

• 동남아시아연구
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• 제21권2호
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• pp.43-75
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• 2011

The article focuses on the impact and Acceptance of Hindu culture in Modern Southeast Asian Buddhism. The purpose of this study is to examine critically the influential epic Ramayana on Siam culture, Thai Ramayana version 'Ramakien', reveal instances of Buddhist Modification. The Ramayana by the great sage Valmiki is considered by Indians to be the first great literary work to be produced in India. The influence of this work is to be seen not only through centuries but even in other countries, such as Thailand where there are modified modern versions. In this paper, I have three objectives : (1) I may discuss the epic Ramayana of India gave birth to the Ramakien of Thailand. In modern times Valmiki's epic was made to fit the spiritual trends current in the new Chakri dynasty, which were themselves based on Brahmanic tradition and Theravada buddhism. With regarding to the structure of the Traibhumi cosmography, and the relationship between merit and power implied by this cosmography ranks all beings from demons to deities in a hierarchy of merit which accrues according to karma the actions of past lives. (2) I analyze how to have attempted to dissect the Hindi and Thai version of the Ramayana. The Hindu concept of kingship is also depicted in the life of Rama. The Hindus see in Rama the norm of a true Hindu life characterized by the Caste and Dharma. In Thai transformed version, it does not preach Hindu values of personal or social life. The Ramakien emphasized that the Buddhism were higher than all other laws, and that the King is regarded as the incarnation of Phra Ram, and thus is also the narration of the righteous buddhist ruler. (3) I discuss how cultural or social contexts can influence the structure of the royal Wat. The whole epic was painted by the order of Rama I in the galleries of the Wat Phra Keo. In other words, it is the very centre of the dynastic cult enshrining the Emerald Buddha, the most iconic expression of the Ramakien tradition were officially amalgamated. Rama I was continued the process of elaborating and stabilizing the complex religious pattern, with Buddhism at the pinnacle. My finding will support the idea that the Ramakien is particularly appealing to the Thai people because it presents the image of an ideal king, Rama, who symbolizes the force of virtue or dharma while Thotsakan represents the force of evil. Eventually the force of good prevails. Being Buddhists, the Thai poets bring into the story the Buddhist philosophy(especially, the law of cause and effect, karma). This paper examines the role of the Hindu epic Ramayana in the historical and cultural contact between Hindu India and Buddhist Southeast Asia. It should now be possible to evaluate what elements of Hindu culture were transmitted into Thai through the Rama story.

• 한국가정과교육학회지
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• 제34권2호
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• pp.115-128
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• 2022

본 연구는 조선왕실의 기록 문헌을 이용하여 소선 사례의 빈도, 식재료, 상차림 및 조리법 등에 관하여 알아보고자 하였다. 『조선왕조실록』 데이터베이스를 활용하여 조사한 소선 사례는 186개가 나타났다. 의례별 사례 빈도는 흉례가 전체 의례의 61.82%로 가장 많았고, 길례(21.51%), 빈례(11.29%), 가례(5.38%)순으로 나타났다. 소선 사례 횟수는 조선 전기(68.82%)가 조선 후기(31.18%)에 비해 높게 나타났다. 소선 식재료 목록을 살펴본 결과, 곡류는 밀가루, 메밀가루, 점이 있고, 두류는 황대두, 포태, 전시가 있으며, 해조류는 다시마, 김, 미역 등이 있었다. 버섯류는 표고, 석이가 있고 양념류로는 겨자, 참기름, 실임자 등이 있었다. 길례와 흉례의 소선 상차림의 주요 음식은 주식이 밥, 면, 부식류는 탕과 채, 적, 개장, 후식류는 유밀과와 산자, 다식, 정과, 떡, 과일로 나타났다. 주요 음식의 경우 밀가루, 두부, 해조류, 버섯, 잣, 참기름, 꿀 등의 식재료를 이용하여 조리되었다. 특히 두부, 밀가루, 해조류 등은 불교적 내용과 관련하여 문헌에서 언급되었다. 본 연구 결과는 소선이 조선시대로 전승되면서 불교의 영향을 받은 채식 문화의 형태란 것을 보여주며, 조선시대 왕실의례의 불교음식문화 연구를 위한 기초자료로 활용될 수 있을 것으로 기대된다.

• 한국생활과학회지
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• 제12권4호
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• pp.509-518
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• 2003

Gasa was a surplice of Buddhist monk. It was usually worn in the religious ceremony. Gasa was such a religious cloth that was ruled strongly by Buddha's Commandments, and a kind of cloth that was also reflected by historical, cultural, and ideological factors of each nation. Korean Gasa had various features comparing to the Original Gasa or to that of South Asia which is the birthplace of Buddhism. One of them was 天 王 embroideries that we could find upon the regular square base in the four comers of Korean Gasa. These figures symbolized the Four Devas which were believed guarding Buddhist sanctum. These Devas appeared from the era of the Three Kingdoms when Buddhism imported. Buddhism as a alien religion had been developed through conflicting and fusing with Korean traditional religious characteristics into type of 'Faith to Three Treasures' (Buddha, Buddhist Commandments, Buddhist monk). They believed that embroidering 天 王 figures upon the regular square bases in the four corners were able to protect Buddhist monk by the help of Four Devas. We might say this as a kind of Faith to Buddhist monk.

• 한국의류학회지
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• 제16권2호
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• pp.189-195
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• 1992

Buddhism as one of alien thoughts has been developed conflicting and fusing with Korean Cultural bases. From these fusion process Korean Kasa (i.e, sacerdotal robe for Buddhist monk) also came into possession of different features from original Kasa which Buddhist Command- ment regulates or Kasa of South Asia which is the birthplace of Buddhism. 1. Original kasa was Pamsukula (i.e., a shabby, abandoned, muddy cloth), which did not permit special ornament or luxurious materal. However, we can find splendid colors, letters and embroideries in Korean Kasa. 2. These phenomenon originated from Three Treasures Faith, that is to say, the faith for three treasures, such as Buddha, Buddhist Commandment and Buddhist monk, which was formed by the fusion of Buddhism and conventional Shamanism. 3. Such letters as 천(Heaven), 왕(God). 영(om) stand for what shaped Guardian Deities protecting buddhist Sanctum. 4. The rmbroideries of three-legged bird, such as rabbit and toad, which symbolyze 일(sun) and 월(moon) stand for what shaped conventional divinities. 5. After Kasa possessing originally practical significance, such as Kasa Charity, was penetrated into Korea, it became the object of faith, possessing symbolical significance in addition.

• 복식
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• 제58권2호
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• pp.93-106
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• 2008

Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.