• Cross-Cultural Studies
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• v.29
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• pp.55-84
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• 2012

This paper is to study the Tang Dynasty monk poet Ling-yi's poem world and his significance on history of literature. In Chinese literature history, "the monk poets" is a very unique literature creation group. The means of a word "the monk poet", from the literal can see " he is the monk that Can write poems", which is dedicated to professionally writing poetry monk. Buddhism spread to China, from the Wei and Jin Dynasty beginning has been writing poetry of the monks, but the real meaning of "the monk poet" (i.e., professionally poetry monk) appeared to the Mid-Tang Dynasty period. The monk Ling-yi is the pioneer of the monk poets group and Buddist monk creative poem in Mid-tang Dynasty period. Although the Lingyi life is very short, only 35 had died, and his poetry has not been too much, only 44 songs, but he in this life of 35 years and 44 poems, for the development of classical Chinese poetry left noticeable imprinting. He is not just as monk's high practice and by advocating for great Buddhist scholar, also through the daily meditation in poetry creation practice were obtained at that time of many men of literature and writing respected. This paper from the poem monk Ling-yi double identity - the first is a Buddhist monk, the second is addicted to poetry poet to proceed, step by step, in-depth study as the poem monk Ling-yi's poetry creation characteristic and the creative mentality characteristics. This thesis also explores the poem monk by the creation of poetry pursuit, exploration, finally realized "poem" and "Zen" together as one "Zen poetry" creation mechanism.

• Journal of Korean Philosophical Society
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• v.146
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• pp.137-162
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• 2018

Zen Psychology refers to the psychology of Zen Buddhism as a field of Buddhist psychology. This paper examines the psychology of human beings, focusing on the "Platform Sutra" written by Huineng, the founder of Patriarchal Zen, and the southern Zen school. According to the classification of Buddhist psychology, Zen psychology is divided into theory of Zen mind, theory of Zend mind function, and Zen psychotherapy. In theory of Zen mind, Huineng explains the mind based on self-nature, and explains the theory of dharma, theory of humanity, theory of dependent origination, and worldview though self-nature. Every human mind has its own original character of self-nature. When one's own mind with self-nature is revealed, it is the basic mind. When it is covered, it is the mind of common people. Self-nature is characterized by dharma construction, incompetence, non-naming, cleanliness, equality, and self-Buddhahood. In the theory of dharma, dharma is non-dual and is equal. The theory of humanity is divided into two groups according to the sharpness and dullness or capacity of the human being. From theory of dependent origination, you can see the mobility of cover and revealment, enlightment and delusion, sacred and common. In the worldview, the world and phenomena are the functions of self-nature and one's own mind. The theory of Zen mind function deals with wisdom and defilement of common people. The function of wisdom is to know the whole and one at the same time, and is intangible. Defilement of common people is an inner common people that cover the functions of wisdom. In Zen psychotherapy, in order to eliminate the gap between human and dharma, seeing into self-nature is suggested and the goal. In teleology, the goal is to reveal and see the self-nature covered by defilements. As a methodology from cover to revealment, Huineng interprets the traditional methodology as a new interpretation from the viewpoint of the mind, and presents Sammu as its own methodology. Based on the absence of attachment, Huineng proposed a methodology of No-abiding, No-thought and No-form, to gather mind on reality and treat all things equally. Based on this, Huineng proposed a new methodology for dealing with karma through repentance and vows, and a methodology for edification. In view of the Four Noble Truth, it is the phenomenon that self-nature is covered, the cause of defilement and the mind, the aim of seeing the self-nature which is covered, and the way of revealing the covered self-nature is presented. In this sense, the Zen Psychology of Platform Sutra is psychology of self-nature.

• Sim-seong Yeon-gu
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• v.25 no.1
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• pp.1-26
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• 2010

The Ten Ox Herding Pictures by Kuo-an, a Zen Master of China in the Middle Ages are interpreted from the view point of the analytical psychology of C.G. Jung. Basically, I agree with the previous Jungian comments on it by M. J..Spiegelman, M.Miyuki, and H.Kawai at the Ox Herding Pictures are symbolic manifestations of the individuation process in terms of C.G.Jung. In connection with the process of Jungian analysis, I went through, not only the pictures but also the eulogies and critical comments of Zen masters in order to elucidate the symbolical meanings of each stage of spiritual development in Zen meditation. I noticed that the Ox Herding Pictures suggest the preference of suppression and conscious control of shadow in Jung's terms rather than its assimilation through making conscious the unconscious inferior personality. Also, the feminine psyche seems to be not particularly taken into consideration. In another words, different psychic aspects are represented in one single image : Ox. Due to the simplicity of pictorial expressions, the Ox Herding Pictures provide us possibilities to pour abundant imaginations into the pictures. The images comprise multiple irrational meanings; therefore it is warranted to render multiple interpretations of the Pictures as shown in the eulogies and comments by other Zen masters. The sequences of the Pictures need not coincide with a linear process but rather with a circular process of enlightenment, as Miyuki has suggested. Kuo-an's Pictures clearly suggest the danger of ego inflation and the fact that the final goal of Zen meditation should be the capability of the enlightened to serve the people.

• Journal of architectural history
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• v.30 no.4
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• pp.53-66
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• 2021

In the study of Buddhist architecture before the Goryeo Dynasty, the analysis of sectarian viewpoints is one of the effective means. In the study of Buddhist architecture before the Goryeo Dynasty, analyzing from the point of view of a Buddhism sect is one of the effective means. Until now, compared to the importance of the Beopsang school before the Goryeo period in the field of research on the history of Buddhist architecture, research on its temples was the least compared to those of other denominations. In this study, as one of the studies on Beopsang school temples, Geumsansa(金山寺), Beopjusa(法住寺), and Donghwasa(桐華寺), which were built as the Jinpyo's Beopsang school temple in the late 8th century and maintained until the Goryeo Dynasty, were targeted. And I tried a rudimentary analysis on the building composition of those temples from the viewpoint of the beliefs and teachings of Beopsang school. This study is meaningful in that it is the first attempted study in the field of architectural history on the Buddhist temple of the Beopsang school, which led non-Zen sects of Buddhism along with the Hwaeom school until the Goryeo Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.67-80
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• 2022

SipWooDo (十牛圖: Painting of Ten Bulls), a Buddhist painting, is a kind of Zen Sect Buddhism painting, which is shown as a mural in many of main halls of Korean Buddhist temples. MokWooDo has been painted since Song Dynasty of China. It paints a cow, a metaphor of mind and a shepherd boy who controls the cow. It comes also with many other types of works such as poetry called GyeSong, HwaWoonSi and etc. That is, it appeared as a pan-cultural phenomenon beyond ideology and nation not limited to Chinese Buddhist ideology of an era. This study, therefore, selects MokWooDo chants that represent Confucianism, Buddhism and Taoism to compare the writing purposes, mind discipline methods and ultimate goals of such chant literatures in order to integrate and comprehend the ideologies of such three schools in the ideologically cultural aspect, which was not fully dealt with in the existing studies. In particular, the study results are: First, the SipWooDo of Buddhist School is classified generally into Bo Myoung's MokWooDo and Kwak Ahm's SimWooDo (尋牛圖: Painting of Searching out a Bull). Zen Sect Buddhism goes toward nirvana through enlightenment. Both MokWooDo and SimWooDo of Buddhist School are the discipline method of JeomSu (漸修: Discipline by Steps). They were made for SuSimJeungDo (修心證道: Enlightenment of Truth by Mind Discipline), which appears different in HwaJe (畫題: Titles on Painting) and GyeSong (偈頌: Poetry Type of Buddhist Chant) between Zen Sect Buddhism and Doctrine Study Based Buddhism, which are different from each other in viewpoints. Second, Bo Myoung's MokWooDo introduces the discipline processes from MiMok (未牧: Before Tamed) to JinGongMyoYu (眞空妙有: True Vacancy is not Separately Existing) of SsangMin (雙泯: the Level where Only Core Image Appears with Every Other Thing Faded out) that lie on the method called BangHalGiYong (棒喝機用: a Way of Using Rod to Scold). On the other side, however, it puts its ultimate goal onto the way to overcome even such core image of SsangMin. Third, Kwak Ahm's SimWooDo shows the discipline processes of JeomSu from SimWoo (尋牛: Searching out a Bull) to IpJeonSuSu (入鄽垂手: Entering into a Place to Exhibit Tools). That is, it puts its ultimate goal onto HwaGwangDongJin (和光同塵: Harmonized with Others not Showing your own Wisdom) where you are going together with ordinary people by going up to the level of 'SangGuBori (上求菩提: Discipline to Go Up to Gain Truth) and HaHwaJungSaeng (下化衆生: Discipline to Go Down to Be with Ordinary People)' through SaGyoIpSeon (捨敎入禪: Entering into Zen Sect Buddhism after Completing a Certain Volume of Doctrine Study), which are working for leading the ordinary people of all to finding out their Buddhist Nature. Fourth, Shimiz Shunryu (清水春流)'s painting YuGaSipMaDo (儒家十馬圖: Painting of Ten Horses of Confucian School) borrowed Bo Myoung's MokWooDo. That is, it borrowed the terms and pictures of Buddhist School. However, it features 'WonBulIpYu (援佛入儒: Enlightenment of Buddhist Nature by Confucianism)', which is based on the process of becoming a greatly wise person through Confucian study to go back to the original good nature. From here, it puts its goal onto becoming a greatly wise person, GunJa who is completely harmonized with truth, through the study of HamYang (涵養: Mind Discipline by Widening Learning and Intelligence) that controls outside mind to make the mind peaceful. Its ultimate goal is in accord with "SangCheonJiJae, MuSeongMuChee (上天之載, 無聲無臭: Heaven Exists in the Sky Upward; It is Difficult to Get the Truth of Nature, which has neither sound nor smell)' words from Zhōngyōng. Fifth, WonMyeongNhoYin (圓明老人)'s painting SangSeungSuJinSamYo (上乘修真三要: Painting of Three Essential Things to Discipline toward Truth) borrowed Bo Myoung's MokWooDo while it consists of totally 13 sheets of picture to preach the painter's will and preference. That is, it features 'WonBulIpDo (援佛入道: Following Buddha to Enter into Truth)' to preach the painter's doctrine of Taoism by borrowing the pictures and poetry type chants of Buddhist School. Taoism aims to become a miraculously powerful Taoist hermit who never dies by Taoist healthcare methods. Therefore, Taoists take the mind discipline called BanHwanSimSeong (返還心性: Returning Back to Original Mind Nature), which makes Taoists go ultimately toward JaGeumSeon (紫金仙) that is the original origin by changing into a saint body that is newly conceived with the vital force of TaeGeuk abandoning the existing mind and body fully. This is a unique feature of Taoism, which puts its ultimate goal onto the way of BeopShinCheongJeong (法身淸淨: Pure and Clean Nature of Buddha) that is in accord with JiDoHoiHong (至道恢弘: Getting to Wide and Big Truth).

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.419-427
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• 2020

Ye-chan(倪瓚) is one of the four great masters of the Yuan. He built his own unique art world under the rule of the times under the rule of immigrahts. His theory of painting, i-ch'i(逸氣) in the heart, is a spiritual product made up of the influence of traditional oriental thoughts such as Confucian scholar(儒), Buddhism(佛), and Zen Buddhism(禪). The i-ch'i is a new awareness of nature that has arisen between literary noblemen(文人士大夫) under the influence of freshness(淸淡), emptiness(虛無), non-action(無爲). This is beyond the mundane world and became the theoretical basis for literati painting. The i-pi(逸筆) of Ye-chan is a method of drawing the i-ch'i in the heart. This is the boundary of his literati painting obtained through his long efforts and practice. Ye-chan realized the high ground of unity of poem and calligraphy(詩書一體) and unity of poem and Zen(詩禪一致), which he realized in his daily life.His artistic spirit expressed the high level of staying away from being clean(脫俗遠塵), doing not stay in one place(一所不住), and unity of poem and calligraphy(詩書一体). Through this, he built a unique world of literati painting in the Art World of the late Yuan and early Ming dynasty.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.2
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• pp.52-77
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• 2003

Borimsa was first built by Wonpyo, the great Buddhist priest of Whaum branch, in the year of 759 A.D. And Later the priest Chejing converted to Zen Buddhism in the year of 858 A.D., Borimsa got the central status of the Zen Buddhism, and was so prospered during the Chosun period. This research is the conservation treatment of the Buddhist literatures and the "Wolinsukbo" Vol.25, discovered in 1995 from the Four Devas of Borimsa, Buddhist Temple at Jangheung County, in the viewpoint of the bibliography. "Wolinsukbo" Vol.25 is consist of 142 pages and the size is of 22cm width, 32.3cm of length, and 2.8cm of depth. And also have the five-pinned eye revisor. The pre-conservation condition of this book was partly spotted by the permeated rain, and the cover pages being deeply spoiled. The conservation treatment was done in the sequences of 1) 1st linsing, 2) repairing and correcting, 3) 2nd linsing and conservation, 4) cutting and binding. The post-conservation condition of "Wolinsukbo" Vol.25 is of, 9 pages including covers are added, total 151 pages, and the size being 22.5 cm width, 32.7cm of length, and 3.2cm of depth.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.2
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• pp.1-13
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• 2001

Beginning in the Wei-Chin and Liu Ch´ao era(AD. 220-589), an awareness of natural beauty emerged as the major interest of scholars which created such a social atmosphere that served as the foundation of prosperous Chinese art. During the T´ang period, the desire to achieve natural beauty began to dominate every field of art including gardening. This study covers the T´ang period when scholars began to be conscious of aesthetics. The main objective of this study is to examine the significance of natural beauty as interpreted by Wangwei, an artist representative of the period, and of Wangchuan Villa in relation to aspects of garden theory. This study is mainly based on Wangwei´s anthology, landscape painting describing Wangchuan Villa, and historical records related to the Villa. The summary of conclusions of this study is as follows: 1) Wangwei´s concept of natural beauty is a combination of objective natural beauty and pastoral beauty, which stresses the essential beauty of nature. Moreover, he considered nature as a religious Utopia. 2)Wangchuan Villa, where Wangwei stayed until his death, was a place of seclusion representing his idea of natural beauty. There, he was able to realize the paradise of Buddhism full of zen aspirations. 3)From the perspective of garden theory, Wangchuan Villa can be classified as a suburb villa in terms of location, as a landscape garden in terms of elements, and as a villa based on a typical private land system in terms of forms. In addition, it may be considered as a garden that laid the foundation to realize a field of non-visible image and non-visible landscape, which is fundamental element of scholarly garden design.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.17-34
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• 2014

This is a theoretical and empirical study on Kasaya, the Buddhist monk's robe, which is one of the traditional Korean costumes that has kept it original form, as well as it being the most symbolic ritual costume in Buddhism. The purpose of the study is to see the different types of Kasaya, and the transitions it has gone through since Mid Joseon Dynasty. The analysis was performed after categorizing Kasaya in the following manner: layers, the way to wear, symbolism in construction, sewing, etc. Having a variety of Ilwolguangcheop(日月光貼) is a feature of Korean Red Kasaya. In the beginning, Its shape was very similar to shape of Hyungbae(胸背), and this was a royal gift and had the same meaning as an official uniform for a Buddhist monk. So designs of the Cheop(貼) could have been transformed from those of Hyungbae with a Buddhist twist. The conclusion of the study is as follows: Double layered Kasaya shows its transition from double layer to single layer. The fastening ornaments have been simplified in all materials from Yeongja(纓子). The latch type and three-paired Yeongja type transformed into hook type and one-paired Yeongja type. Color is the most common feature above all, and it is mainly in red. The form of Korean Kasaya has a significant relation with development of Buddhism. The integration of the Zen sect would have influenced the integration of Kasaya, which shows diversity throughout the period.

• Journal of the Korean Society for Library and Information Science
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• v.25
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• pp.415-444
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• 1993

Chiyou Park(박치유) published Bang-kak-bon(방각본) at Taein(태인) between 1799-1806 with Ichae Jun( 전이채). They published Sa-yo-chwi-sun(사요취선) and Sa-moon-you-chwi-cho(사문류취초) in 1799. Between 1800-1806 they published Taemyongyoolsi(대명율시). Kongjatongki(공자통기). Hyokyongtaei(효경대의), Tongjaseup(동자습), Komoonchunchip(고문전집), Kongjakao(공자가어), Nongkachipsung(농가집성), and Koohwangcharlyo(구황촬요) until they departed each other in publication of Bang-kak-bon(방각본), In 1823 Chiyou Park(박치유) published again Sayochwisun(사요취선) at Kookockchae (구곡제). He published Taeseungkisinronsopilsacki(대승기신논소필삭기) and Chackpupkwikam(작법구감) between 1815-1827 with Backpataesa(백파대사) who was a Buddhism Monk of Woonmoon-am(운문암) in Backyang Mountain(백양산), Backpataesa(백파대사) was born in 1767, became a monk in 1784 and died in 1851. Backpa(백파) was a famous Budhism scholar who disputed the truth of Zen (선) with Choosa, Chunghee Kim We (추사김정희). He rewrote Taeseungk.isinronso-pilsacki(대승기신논소필삭기), Chackpupkwikam (작법구감), and Zenmoonsookyong (신문수경). Chasun (자선) of Songdynasty (송조) rewrote Pilsakcki(필삭기) before Backpa(백파), which was published at Myouduck-am(묘덕암) of Myongdynasty(명조). It was republshed in Korea several times which are called Sankyesa Copy(쌍계사본) of Back-am(백암), Suckwangsa Copy(석왕사본) of Hamwol(함월), Bongchungsa Copy(봉정사본) of Hoeun(호은), Woonmoon-am Copy(운문암본) of Backpa(백파). Chackpupkwikam(작법구감) is a book of Buddism worsip form which was made of Chaepanmoon (제반문), Paneumchip(범음집), Chineunchip진음집). As a Bangkakbon(방각본) publisher, Chiyou Park believed in Buddhism so heartily that be published Bangkakbon(방각본) and Amkakbon(암각본) which are saved until today.