• Journal of Korean Philosophical Society
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• v.117
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• pp.35-55
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• 2011

This article purports to clarify the doctrinal characteristics of the $Yog{\bar{a}}c{\bar{a}}ra$ school's hermeneutic interpretations of the "theory of the three turns of the Dharma Cakra" in the Saṃdbinirmocana-sūtra through early Indian $Yog{\bar{a}}c{\bar{a}}ra$ treatises such as the $Yog{\bar{a}}c{\bar{a}}rabb{\bar{u}}mi-vy{\bar{a}}kby{\bar{a}}$ and the. $Vy{\bar{a}}khy{\bar{a}}yukti$. It will probe how these interpretations apply co the theory of two truths or that of three natures($trisvabh{\bar{a}}va$) among the main doctrines of the $Yog{\bar{a}}c{\bar{a}}ra$ school. Especially, the peculiar characteristic of the "theory of the three turns of the Dharma Cakra" is such chat the thought of ${\acute{s}}{\bar{u}}nyat{\bar{a}}$ in the lineage of $Praj{\bar{n}}{\bar{a}}p{\bar{a}}ramita-s{\bar{u}}tras$ is regarded as incomplete, as the early school of Madhyamaka represented by $N{\bar{a}}g{\bar{a}}rjuna$ is conceived of as belonging to the second period of turn. Speaking of the further details of the "theory of the three turns of the Dharma Cakra", the $Yog{\bar{a}}c{\bar{a}}ra$ school subdivides the realm of saṃvṛti satya in $N{\bar{a}}g{\bar{a}}rjuna^{\prime}s$ theory of two truths; that is, it divides the saṃvṛti into merely linguistic existence and actual existence, and the thus-created structure of the theory of three natures on the basis of ocher-dependent nature(paratantra-$svabh{\bar{a}}va$) makes it possible to establish the doctrinal system of the thought of ${\acute{s}}{\bar{u}}nyat{\bar{a}}$ that is not subject to "nihilism or ${\acute{s}}{\bar{u}}nyat{\bar{a}}$ attached to evil." In effect, the above hermeneutic interpretation of the "theory of the three turns of the Dharma Cakra" is inherited into the structure of the $abh{\bar{u}}taparikalpa$ in the $Madhy{\bar{a}}nta-vibh{\bar{a}}ga$ so that, as seen in the commentary of Sthiramati, it is ascertained to apply to later doctrines through its secure establishment. To summarize its characteristics succinctly, firstly the $abh{\bar{u}}taparikalpa$ newly established as a saṃvṛti-satya is set up as the other-dependent nature, which is seen to have been set up particularly in order to sublate both the $Sarv{\bar{a}}stiv{\bar{a}}da^{\prime}s$ realist "view of being" and the Madhyamaka's "view of ${\acute{s}}{\bar{u}}nyat{\bar{a}}$" that impairs the ocher-dependent nature as a samvṛti-satya. In other words, according to the five kinds of views suggested in Sthiramati's commentary, the three natures are seen to be presented as the fundamental truth in order to unify all the doctrinal systems available ever since the beginning of Buddhism. Then, the theory of three natures is established principally on the basis of the $abh{\bar{u}}taparikalpa$, while the two truths of the $Yog{\bar{a}}c{\bar{a}}ra$ school are clearly ascertained to have been embedded in the structure of the $abh{\bar{u}}taparikalpa$. In fact, this might be understood to reflect the unique ontological view of reality or truth in the $Yog{\bar{a}}c{\bar{a}}ra$ School.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.18-41
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• 2017

The Gangjin WolnamSaji(月南寺址) is a small site where three-story pagodas and a destroyed tombstone remained. In 1973, it was discovered that the destroyed tombstone was that of the second master of Susunsa, Hye shim(慧諶), who had a special relationship with the military regime in Goryeo, and it once again attracted attention as a result of the recent excavation of the Rooftile of Yeonhwamun(蓮花文). In particular, the Windchime excavated in 2012 is a large-sized one group with a length of 23cm, and a relatively large Sanskrit character was decorated on four sides of the body. In addition, it was also confirmed in preservation process that the word 'gaecheon(盖天)' was engraved. The Sanskrit characters(梵字) om( , oṃ), a( , a), hum( , hūṃ), brum( , bhrūṃ) were decorated on the body of the Wind-chime excavated in WolnamSaji. Om( , oṃ), a( , a), hum( , hūṃ) are known as the Sammiljineon(三密眞言) and brum( , bhrūṃ) has the meaning of having the highest honor. In addition, the Sammiljineon(三密眞言) allows us to understand the truth by responding to the principle of universe, which is the Vairocana Buddha(毘盧遮那佛), and brum( , bhrūṃ) has the meaning of unity. In the end, the meaning of the Sanskrit decorating the four sides of the Wind-chime, of WolnamSaji(月南寺址), can be interpreted as the expression of the Buddha's doctrine, or the willingness to be combined with Buddha, the highest existence in itself. It is possible that the word 'gaecheon(盖天)' carved on the body can be regarded as the name of the master craftsman related to the making of the Wind-chime, but it is unlikely that it is the name of the master craftsman, considering that it is a place where the location is not easily seen. If so, you can think of the original function that the Wind-chime has. In other words, it can be interpreted symbolically and implicitly that the wish of the sound of the airwaves symbolized by the words of the Buddha covers the sky and spreads all over the place. It is thought that the Wind-chime excavated in WolnamSaji(月南寺址) was made in the mid to late 13th century considering the comparisons with another wind-chime excavated from the temple site, the historical situation in the late Goryeo, the publication date of the scriptures(經典) of Esoteric Buddhism(密敎).

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.78-117
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• 2017

Buddhism, which was subject to repression all over the early Joseon Dynasty, received a certain recognition from the state, because Buddhist monks had participated in the war of the Japanese invasion in 1592. On the other hand, however, one of the results was the destruction of many temples. In the late Joseon Dynasty, the Buddhist monks themselves acted as players of Pungmul(people's percussive band music) for the rebuilding of Buddhist temples. These so-called "the Buddhist monks' Pungmul" is the imitation of former clowns' Pungmul and farmers' one that sometimes request money or rice at houses of villages. In the late Joseon Dynasty, the activities of the Buddhist monks' Pungmul were held all over the country. Today, there are "Bitnae Nongak(farmers'percussive band music)" in Kyeongsangbuk-do, "Beokku-noli(the drum play) in the areas of Yeosu and Gangjin in Jeollanam-do, the song of the Buddhist monks' Pungmul for the people's house spirits in the Gyeonggi-do, Gangwon-do and Chungcheong-do, and Namsadang-pae(the nomadic entertaining groups composed of only men), as clear pictures of it. In these things related to Nongak or Nongak relevant affairs, the shapes of the Buddhist monks' Pungmul in the late Joseon Dynasty remain clear. On the other hand, today the Namsadang-pae, which was formed as a result of Buddhist monks' Pungmul in the late Joseon Dynasty, was left only in the Chungcheong-do and Gyeonggi-do, because the temple construction in the Gyeonggi-do was made especially many in the late Joseon Dynasty. During the late Joseon Dynasty, the Buddhist monks' Pungmul, which had long-lived and had taken place throughout the nation, had a great impact on Pungmul. There are the Buddhist elements, such as Gokkal(the Buddhist monk's peaked hat), paper flowers, the color band, the small drum, and Bara(small cymbals) are often found in the Pungmul of Korea. In the late period of the Joseon Dynasty, it is obviously important place in the Pungmul history of Korea. Research and studies on this subject should be made more in the future.

• (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.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.189-228
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• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.46-69
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• 2013

The results of study on the meaning landscape and environmental design techniques of the Byulup, Yoohoedang garden(Hageowon) based on the story in the collection of Kwon Yi-jin (Yoohoedangjip, 有懷堂集), are as below. First, Yoohoedang Kwon Yi-jin (有懷堂 權以鎭 : 1668~1734) constructed a Byulup garden consisting of ancestor grave, Byulup, garden, and a school, through 3 steps for 20 years in the back hill area of Moosoo-dong village, south of Mountain Bomun in Daejeon. In other words, he built the Byulup(別業, Yoohoedang) by placing his father's grave in the back hill of the village, and then constructed Yoegeongam(餘慶菴) and Geoupjae(居業齋) for protection of the pond(Napoji, 納汚池), garden(Banhwanwon, 盤桓園), and ancestor graves, and descendants' studying in the middle stage. He built an extension in Yoohoedang and finally completed the large-size garden (Hageowon) by extending the east area. Second, in terms of geomancy sense, Yoohoedang Byulup located in Moosoo-dong village area is the representative example including all space elements such as main living house (the head family house of Andong Kwon family), Byulup (Yoohoedang), ancestor graves, Hagoewon (garden) and Yoegeongam (cemetery management and school) which byulup type Byulseo should be equipped with. Thirdly, there are various meaning landscape elements combining the value system of Confucianism, Buddhism and Taoism value, including; (1) remembering parents, (2) harmonious family, (3) integrity, (4) virtue, (5) noble personality, (6) good luck, (7) hermit life, (8) family prosperity and learning development, (9) grace from ancestors, (10) fairyland, (11) guarding ancestor graves, and (12) living ever-young. Fourth, after he arranged ancestor graveyard in the back of the village, he used surrounding natural landscapes to construct Hagoewon garden with water garden consisting of 4 mountain streams and 3 ponds for 13 years, and finally completed a beautiful fairyland with 5 platforms, 3 bamboo forests, as well as the Seokgasan(石假山, artificial hill). Fifth, he adopted landscape plantation (28 kinds; pine, maple, royal azalea, azalea, persimmon tree, bamboo, willow, pomegranate tree, rose, chinensis, chaenomeles speciosa, Japanese azalea, peach tree, lotus, chrysanthemum, peony, and Paeonia suffruticosa, etc.) to apply romance from poetic affection, symbol and ideal from personification, as well as plantation plan considering seasonal landscapes. Landscape rocks were used by intact use of natural rocks, connecting with water elements, garden ornament method using Seokyeonji and flower steps, and mountain Seokga method showing the essence of landscape meanings. In addition, waterscape are characterized by active use of water considering natural streams and physio-graphic condition (eastern valley), ecological corridor role that rhythmically connects each space of the garden and waterways following routes, landscape meaning introduction connecting 'gaining knowledge by the study of things' values including Hwalsoodam(活水潭, pond), Mongjeong(蒙井, spring), Hosoo(濠水, stream), and Boksoo(?水, stream), and sensuous experience space construction with auditory and visualization using properties of landscape matters.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• Korean Journal of Heritage: History & Science
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• v.43 no.2
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• pp.60-81
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• 2010

Jeju Island, in Korea, shows many characteristics that are differentiated from the rest of Korea. Its culture is rooted in mythology which advocates a egalitarian, rather than hierarchical, social structure, the place of women in the home is relatively high, and the formation of buildings, the separation of cooking and heating facilities, and the living format of residential homes is dissimilar. These disparities in culture indicate that Jeju Island's heritage was not formed only from influences from the North, but also from other places as well. To fill in the blanks, residential homes in Jeju Island were compared with those scattered throughout the East China Sea, which connect the southern coastline of the Korean peninsula and Jeju Island. The regions encompassed by the East China Sea, sharing the Kuroshio current and a seasonal wind, can be considered as one cultural region integrating cultural aspects from the continental North and the oceanbound South. The unique characteristics of southern culture as seen in southern residences was examined through an investigation of the sacred places in which gods were considered to dwell. First, the myths of these areas usually concerned with the ocean, and a sterile environment made sustenance impossible without a dual livelihood, usually taking on the forms of half-farming and half-fishing, or half-farming, half-gardening. Although family compositions were strongly matricentric or collateral thanks to southern influence, a patriarchical system like those found in the North were present in the upper classes and in the cities. Therefore, residential spaces were not divided based on age or gender, as in hierarchical societies, but according to family and function. Second, these areas had local belief systems based on animism and ancestor worship, and household deities were closely related to women, agriculture and fire. The deities of the kitchen, the granary and the toilet were mostly female, and the role of priest was often filled by a woman. After Buddhism and Confucianism were introduced from mainland Korea, China and Japan, the sacred areas of the household took on a dual form, integrating the female-focused local rites with male-centered Buddhist and Confucian rites. Third, in accordance with worship of a kitchen deity, a granary deity, and a toilet deity led to these areas of the home being separated into disparate buildings. Eventually, these areas became absorbed into the home as architectural technology was further developed and lifestyles were changed. There was also integration of northern and southern cultures, with rites concerning granary and toilet deities coming from China, and the personality of the kitchen deity being related to the southern sea. In addition, the use of stone in separate kitchens, granaries, and toilets is a distinguishing characteristic of the East China Sea. This research is a part of the results gained from a project funded by the Korea Research Foundation in 2006.