• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.33-33
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• 2003

Lamaism is a Mahayana with strong shaman characteristics in Tibet and Mongolia. It was established through settlement of Esoteric Buddhism, based on Indian Buddhism, transferred to Tibet, mixed with a traditional Tibetan religion Bon which emphasizes shamanism, conducts Tantric and shaman rituals. One of the rituals, Tsam, is a dance drama for protection of Buddhism and enlightenment of the followers in which the monks perform in mask.

• (The) Research of the performance art and culture
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• no.37
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• pp.327-363
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• 2018

Bhutan's mask dance drama, Cham is performed in the festival of Tshechu. Originating from the 17th century, Tschechu is a religious ritual as well as a traditional festival held to commemorate the birth of Padmasambhava, who spread Buddhism in the kingdom of Bhutan. Bhutanese Cham and Tibetan Cham share similar traits in their content of , , and in their characters of Pawo and Pamo. Meanwhile, , , , , , , , are distinctive performances of Bhutanese cham. Moreover, the clown character Atsara in Bhutanese cham is a character that does not appear in the Tibetan Cham. Atsara, a humorous character, can be identified by its use of a long phallus ornament on the head or by a distorted face mask with a phallus in its hand. Bhutanese Cham, originally from Tibet, is a religious mask dance drama handed down in Lamaism temples. In later generations, new performances reflective of Bhutan's history, myth, legends, and religion were added in large amount. Thus, the Cham of Bhutan now has very independent and characteristic aspects.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.15-21
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• 2021

This study studied the value of the spatial organization of the temple and the form of the garden located in the Seojang area in the southwestern regions of China. The value of the Lama temple was looked into by examining the relationship between Lamaism and Lama temple through the spatial organiz ation, building arrangement, and garden of temples that served as the center of history, culture, and politics of the time in the process of converging Buddhism introduced through China's central districts and India with folk beliefs in Seojang through the poor environment. To this end, the value of the space and garden of the Lama temple was derived through the representative Lama temples, Potala Temple, Norbulingka Temple, and Dazhao Temple. First, due to the unique environment in which ice caps and green areas coexist, the representative Lama temples in Seojang, Potala Temple, Norbulingka Temple, and Dazhao Temple, are widely distributed in the form of leaning against valleys and mountain ranges based on folk beliefs and Buddhism's Jatabuli(自他不二) and mandala. the target sites are largely divided into upper and lower spaces. Second, the target sites are largely divided into upper and lower spaces. Buildings for worship are located in the upper space, and spaces for practice and garden are located in the lower space. The garden existed in two main forms. Third, the garden existed in two main forms. Located in the center of the practice space, the garden had an ideal structure to plant bo tree to escape from the two false obsession and go to a world of truth that is with the Buddha behind the world through practice like Sakyamuni, and there was a garden around the temple where meditation and exchange took place. Evergreen coniferous forests are mainly planted in the forests.

• (The) Research of the performance art and culture
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• no.25
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• pp.291-332
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• 2012

Cham is the Buddhist ritual dance performed at the religious festival of Lamaism. It has been spread and performed at the Lamaist monastery of Tibet, India, Nepal, Bhutan and Monglia. The type and style of Cham are differntiated by the region and sect. However, they share the common aim of exorcising all evils symbolized by linga who resists the Buddhist dharma, and thereby celebrating the victory of Buddhism. This paper deals with the ritualistic concept and structure of Cham with a focus on Hemis Chetsu of Ladakh located at the extreme north of India. The festival is held to honor the birthday of $Padm{\bar{a}}sambhava$ who is the founder of Tibetan Buddhism in the 8th century. As a result, this paper drew the characteristics of Cham performance such as dance as the incarnation of sacred beings, ritualistic offering, visualization meditation as well as the ritual space as a mandala, the ritualistic intent of stylized acting, accumulative performance structure, the $Mahay{\bar{a}}nic$ motif of performance.