• 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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.10
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• pp.3982-3987
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• 2010

`Sansinkak' is the building which contains the picture or statue of mountain god(=Sansin). It is also an expression of respect for the mountain god. This building is usually very small, so a few person can enter inside it. Because people pray to mountain god for personal purpose, sometime this wishes are exclusive and egoistic, so narrow space is more suitable. Sansin is not the original god of Buddhism, it is the god of folk belief of traditional Korea, so every Sansinkak is located in the back slope of the temples, away from Buddha's building, the center area. Sansinkak is not only the pathway of vital force from back mountains to the temple, but also the exit to the infinite nature as an extension of Buddhist belief.

• Journal of Korean Medical classics
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• v.31 no.3
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• pp.143-153
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• 2018

Objectives : Donguibogam Chimgupyun has a sort of acupuncture technic in Josun called Gyejokchimbub. This Gyejok refers to the habgogja of Ling shu guanzhen. This was conveyed to Japan as Shinkyugokuhitsuto's Betsutsuto but it is unclear as to how this is used today. Methods : Medical texts such as Donguibogam, Huangdineijing Lingshu, Yixuegangmu, Shinkyugokuhitsuto, Sugiyamamakototsutoryu, and Shinkyusuyo were studied for this research. Results : Gyejok acupuncture is conveyed to Japan as Shinkyugokuhitsuto's Betsutsuto but it is unclear as to how this is being used. What is similar to this technic is the Sanhoshujutsuho in hand technic's part and Sanhohariden in Juhachijutsu's Kuden which are shown in the chapter five of Book of Hyo. Moreover, this Sanho is Lingshu Guanzhen's Qici. This was continued as Sugiyamamakototsutoryu's Sanhoshujutsuho, but sansin in needle technic is similar to Gyejog, and it was branched out into Sanhoshujutsuho that is orally transmitted from Sanhoshiyuji as seen in the same book, Juhachijutsu's principal treatment. Conclusions : Habgogja is a 'Gyejog Tsuto' originating from Gyejog technic, and Qici is Sanho originating from Santoge. They developed into Sanhohariden from Sanhoshujutsuho. This tells us how Gyejog acupuncture technic has affected East Asia.