• (The) Research of the performance art and culture
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• no.23
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• pp.347-368
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• 2011

This article is a review of the composition pattern of Suryukjae, which is one of the Buddhist ceremonies, and a consideration of the performance process. As one of the ceremonies leading the dead to heaven performed in the Buddhist circle, Suryukjae had been performed in Buddhist temples nationwide, but currently, it remains only in several Buddhist temples. Suryukjae is composed as follows. First, the early part of Suryukjae is a stage of preparing Suryukjae and ensuring legitimacy; thus, it has no detailed Jaecha except for Gwanyok. It is made up of Onghoge and Dage, has no Somun, and is centered on Yojabbara. The middle part of Suryukjae is a part in which Suryukjae is performed on a full-scale, which wishes the achievement of the goal of Suryukjae. It is made up of Geobul, Dage, and Somun, and is centered on Sadaranibara. Furthermore, this part delineates the flow of the Jaecha concerned as it contains detailed Jaecha. Meanwhile, in the middle part of Suryukjae, there is only detailed Jaecha called Sajadanman Bongsong (sending off), and the rest parts including Orodan, upper part, middle part, and lower part, in which there is no detailed Jaecha called Bongsong. The fact that there is no Bongsong in this part means all Bongsong is made in Heuihyang Bongsong, which is the last Jaecha. This implies that Saja, which is enshrined in Sajadan, is the essence of the achievement of the goal of Suryukjae. Only when there is Saja, Muju, Yuju, and Gohon (the meaning of all spirits) can be led to heaven. Also, from a rough perspective, this part is connected to other Chundojae (ceremony for sending off the dead to heaven) in Korea. There is a geori(Jaecha) that calls in Saja also in Jinogigut (exorcism) of Seoul. Then, although various gods from the otherworld are coming in in succession, to which Saja enters clearly shows a process in that Saja returns to the next world with the dead through . Just as demonstrates a process in that Saja returns to the next world with the dead in Jinogigut, also in Suryukjae, Saja needs to return to the next world with Gohon; therefore, at least Sajadan has detailed Jaecha called Bongsong. That is, this means that although Suryukjae of Buddhism is different from other Chundojae in terms of the composition of Jaecha, its notion about Saja is the same.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.180-195
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• 2016

Since being designated as an important Intangible Cultural Property, Yeongsanjae has become recognized as a unique representation of Buddhist rituals in Korea. Following vigorous research in recent years, however, Suryukjae(水陸齋) was found to have been performed for a longer period and on a larger scale than Yeongsanjae, and under state leadership. This allowed researchers to move beyond the previous perspective that Yeongsanjae(靈山齋) lay at the center of many rituals. This study aims first to examine the origin and development of Yeongsanjae in Korea based on the literature, and then to discuss the meaning it holds today. Yeongsanjae was recorded as a ritual in Jineongwongong -published in 1496 during the early Joseon Dynasty- and also appeared in Yeongsandaehoejakbeopjeolcha -published in 1634(the 12th year of Injo's reign) in the mid-Joseon Dynasty and it was called Yeongsandaehoejakbeopjeolcha. It continued into the late Joseon Dynasty and it was called Yeongsanjakbeop or Yeongsandaehoejakbeop in the Ojongbeomeum collections(1661), CheonjimyeongyangSuryukjaeuiBeomeumsanbo collections(1721), and Jakbeobguigam(1826). In modern times, it has been called Yeongsanje in newspaper articles of TongnipSinmun (The Independent) and Yeongsanjae in Seokmunuibeom(1935). Nevertheless, the difference between the early Joseon Dynasty and subsequent periods is whether mourning of the spirit(唱魂) is added. In this regard, Yeongsanhoe in the early Joseon Dynasty mainly concerned Buddhist teachings realized through rituals such as sermon scenes of the Buddha. On the other hand, it was combined with Buddhist masses for the dead(追薦) from the mid-Joseon Dynasty and performed alongside with Buddhist teachings and prayers for the dead. Taking into account the seven-day Suryukjae, however, Yeongsanjae was performed daily during the day and mainly dealt with Buddhist teachings, while Buddhist masses for the dead were included when Yeongsanjae was performed independently.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• (The) Research of the performance art and culture
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• no.20
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• pp.163-204
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• 2010

"Nectar of Immortality", also known as Suryukwha, is a painting which is hung on the wall during Suryukjae, a rite to console the spirits residing on both land and water. The Suryukwha at Bonyung Temple in the Ming Dynasty consisted of 139 scrolls depicting separate scenes. In Korea, however, Nectar of Immortality combines all the scenes into one large painting. The lower part of Nectar of Immortality describes pain, disasters, and the frailty of human life in this world. This is intended to inspire people to embrace Buddhism and be delivered from their worldly existence. However, it reflects the social realities of that time as well. The scenes at the bottom of the painting of nomadic troupes of entertainers and their performances are part of this reflection. In this section, various scenes of traditional Korean performance are illustrated, such as double and single tightrope walking, Sotdaetagi (performing atop a pole), Ssangjulbaegi (one form of Sotdaetagi), tumbling, bell juggling, mask dramas, dish spinning, puppet shows, the dance of Sadang, and sword dancing. Among these performances, some, such as Sotdaetagi, Ssangjulbaegi, double tightrope walking, bell juggling and sword dancing (Punggakjaengipae), have since ceased to exist. The troupes of entertainers depicted in Nectar of Immortality are Sadangpae, Namsadangpae, Sotdaejaengipae, Choranipae, Punggakjaenipae, Gutjungpae, and circus troupes. When, after itinerant lives, these entertainers die, they become forlorn wandering spirits with no descendants to perform their memorial services. The entertainers in the performance scenes are the embodiment of souls who are the subjects of salvation through Suryukjae. Among these entertainers, Sotdaejaengipae, Sadangpae, Choranipae, Punggakjaenipae and Gutjungpae no longer exist. In sum, Nectar of Immortality provides insight into the vanished content of numerous historic forms of performance and the activities of nomadic troupes of entertainers.

• (The) Research of the performance art and culture
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• no.38
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• pp.193-224
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• 2019

Shaman's play is significant in that it provided public theater for a long time in the theatrical and dramatic history. Unlike upper class who could call entertainer or Korean geisha in the traditional society, the majority of ordinary people could see professional performances through gut. Therefore, the shaman of the traditional society pulled the play which developed in the gut and the outside play into the gut and prepared the performance street for the ordinary people. shaman's play, apart from the religious context, has also functioned as a theatrical performance. Through shaman's play, you can see the process of ritual development into play. Shaman's play is a ritual ritual of expel calamity in an agriculture based society. In Korean consciousness, evil spirits are thought to bring disease or disaster to humans, so they should be good for evil spirits. This is a ritual that goes hand in hand with the Confucian Yeoje and the Buddhist Suryukjae. Most traditional plays, including masque performance, tend to weaken and become stifling after the designation of intangible cultural properties. However, shaman's play is transformed every time it is executed and is given a new meaning. Depending on the ability of the shaman to respond to and accommodate social change, adaptability is excellent depending on the situation in the field. Shaman's play has richness, prevent calamity and playful elements such as imitation of god and sexual connection based on the element of shamanism. In addition, it is necessary to pay attention to the meaning and the direction of Shaman's play because it is differentiated into play including social subject beyond mere magic imitation.