• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.153-182
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• 2021

The Buddhist monk, Kim Ji-jang (金地藏), a native of Silla, is still revered as Ksitigarbha Bodhisattva in China. In Chinese Buddhism, Kim Ji-jang's becoming Ksitigarbha Bodhisattva is unique in at least two ways. First, it is said that his becoming the bodhisattva originated not in Silla, but in China, a foreign country. Second, it is said that the historical person became regarded as a mythical being, Ksitigarbha Bodhisattva. The process of Kim Ji-jang's becoming Bodhisattva can be divided into three periods. The first period is the period of entering and practicing at Mount Jiuhua in China, and this also includes the period wherein he was first revered as Ksitigarbha Bodhisattva. The second period begins immediately after Kim Ji-jang's death and ends three years later. In this period he became regarded as Ksitigarbha Bodhisattva. The third period spans three years after his death to the present age. His status as Ksitigarbha Bodhisattva carries on at present. There are two main causes for Kim Ji-jang's transformation into the bodhisattva. The first is an internal bodhisattva process. According to Ksitigarbha Bodhisattva's main vow, Kim Ji-jang's practice and edification impressed the public. The second is an external bodhisattva process. The miracles that appeared at the time of his death or the manifestation of the incorruptible relics three years after his death played a decisive role in the process of Kim Ji-jang becoming a bodhisattva. In line with the public's devotion, the Chinese imperial family repaired and supported the temple that enshrined the relics of Kim Ji-jang. Various factors could be analyzed in the process of Kim Ji-jang's becoming Ksitigarbha Bodhisattva, but more than anything else, it was Kim Ji-jang's severe ascetic practices and his virtuous edification of others.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.65-73
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• 2022

This paper analyzed the characteristics of ancient villages in Hongcun and the method of resetting the preservation area for the preservation of the changed historical and cultural space in Hongcun through the process of change. To this end, the current status of preservation areas and utilization areas in the village was identified through ancient documents, old paintings, policy materials, and interviews related to the village, and through this, the problem of resetting the preservation area was examined. As a result, the following conclusions were drawn. First, Hongcun is a village built under the influence of Confucianism, Buddhism, and Taoism, and the spatial organization was created according to the hierarchy of Confucianism. As a result, it was possible to inherit and preserve the heritage of ancestors even though the central government did not preserve it. Second, the concept of preservation in a limited sense has been applied as Hongcun has been recognized as a cultural heritage that has been passed down since ancient times, but the Great Leap Forward and the Cultural Revolution brought about changes in the village space. Since then, ancient buildings, water systems, and forests have been preserved through regulations on new construction and expansion of a building with the Hongchon preservation plan, but the development within the preservation area is underway due to changes in the lives of original inhabitants, which were followed by continued development pressure and reform and opening. Third, the original inhabitant of ancient villages had a high perception of the value of the heritage, but they demanded the preparation of measures to improve living conditions and create profits, and the active use of villages for this. Fourth, the forest consisting of old trees is being restored, but the gardens in the old house are showing a phenomenon that the garden space is reduced or transformed for use. The bridges and parking lots were newly built in the southern area, which was extended from the western area, the original entrance to the ancient village, resulting in changes in the existing entrance. This was found to be the primary cause of the spatial change of the ancient village, as the road system was modified to make it convenient for tourists to enter and exit. Fifth, the existing preservation area should be reset and preserved by resetting the preservation route centered on Wolso(half Moon Pool), while the surrounding area should be set as a direct and indirect experience space, and according to the hierarchy of each space, the utilization should proceed while the preservation is carried out by crossing the preservation and the utilization.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.22-49
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• 2021

Bowonsa Temple (普願寺) is located to the north of Gayasan Mountain in Unsan-myeon, Seosan-si, Chungcheongnam-do Province. The cultural properties it enshrines were produced during the late Unified Silla and early Goryeo periods, and include an Iron Seated Buddha. The Japanese Government-General of Korea Museum planned a survey on historical remains in Chungcheongnam-do Province during the early Japanese colonial era, and a field survey was conducted at the Bowonsa Temple site in 1916 (Taishō 5). During this survey, the sculpture of the Iron Seated Buddha (knee: width 212 cm x thickness 167 cm) was found enshrined in a hut. The sculpture was moved to Gyeongbokgung Palace in the following year. However, it is clear that the colossal Iron Seated Buddha was being housed at the Bowonsa Temple site at the start of the Japanese colonial era. This Iron Seated Buddha is presumed to have been produced in 955 by State Preceptor Beopin Tanmun (法印國師 坦文, 900-975). Tanmun was born into an influential family that produced many high officials. He became a leading figure in the Hwaeom (Flower Garland) school of Buddhism under the patronage of King Taejo. He also led Buddhist events at the Goryeo royal court during the reigns of King Hyejong (惠宗, r. 943-945) and King Jeongjong (定宗, r. 945-949). With the emergence of Gyunyeo (均如, 923-973), who was sponsored by Queen Daemok (大穆王后, dates unknown) of the Hwangbo clan (皇甫氏), Tanmun was transferred to Bowonsa Temple far from Kaesong. However, even while there Tanmun strengthened his ties with his supporters under the patronage of the Chungju Yu clan. He appears to have produced this colossal sculpture of Iron Seated Buddha as a prayer for longevity and a happy life for King Gwangjong (光宗, r. 949-975). The inscription on the Stele of State Preceptor Beopin at Bowonsa Temple Site that reads "[I] created a Buddha triad in gold" also suggests the Iron Seated Buddha was produced at Bowonsa Temple. This Iron Seated Buddha is thought to have been enshrined originally in a hall at Building Site No. 3 within the Bowonsa Temple precinct. Since excavations at the temple site have revealed that the temple's main hall was erected in the Joseon period, the Iron Seated Buddha might have been enshrined in a different hall at the time of its creation. It is likely that the sculpture was placed in a hall at Building Site No. 3 since Goryeo-era roof tiles and porcelain have been frequently excavated there and the remains of a square Buddhist altar have survived at the site. At the time of its creation, the Iron Seated Buddha was likely enshrined in a Goryeo-era hall at Building Site No. 3 but was transferred to the main hall during a rebuilding project undertaken at Bowonsa Temple in the Joseon period.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.24-48
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• 2022

Bronze mirrors found in pagodas were regarded as simple offerings and thus have received little attention in studies. Furthermore, the few studies on bronze mirrors enshrined in pagodas have focused on the line-engraved mirrors found in the pagodas of the Kingdom of Wuyue; therefore, it is difficult to understand the general characteristics of the bronze mirrors enshrined in the pagodas. This study assumes that the bronze mirrors found in many pagodas in the Kingdom of Wuyue and the Song dynasty were enshrined for a specific purpose. To explore this assumption and accurately understand the artifacts, this study focuses on the location and method of enshrinement. The number of bronze mirrors enshrined in pagodas increased during the Kingdom of Wuyue, with the mirrors expressing statues and inscriptions related to Buddhism rather than being simple offerings. This shows that the purpose of the bronze mirror changed. The influence of the Kingdom of Wuyue continued during the Song dynasty; however, the pattern of bronze mirror enshrinement changed due to the culture and social atmosphere of the time. The most common types of enshrined bronze mirrors were plain, and bronze mirrors from the Dang dynasty were also used consistently. Plain bronze mirrors were used more frequently in this period despite the lingering influence of the Kingdom of Wuyue because it was less laborious to engrave images and inscriptions such as the inscription of Buddha. Additionally, bronze mirrors were valued during this period because of the attention toward the imitation of the archaic bronze(仿古銅器) of the Song dynasty and the influence of the emperor. Moreover, it is believed that bronze mirrors were enshrined in pagodas as offerings as they were deemed valuable at the time. There was a change in the method of enshrining bronze mirrors in pagodas during the Kingdom of Wuyue and the Song dynasty. During this time, bronze mirrors that were positioned on the floor or in iron boxes were intentionally attached to walls or hung from the ceiling. This method was largely divided into two types: attaching to walls or the ceiling(嵌入鏡) and hanging from the ceiling(懸鏡). A typical example of hanging a bronze mirror from the ceiling can be seen in the Jingzhisa Temple Pagoda, and Teng County's Fushengsa Temple Pagoda contains an example of attaching a bronze mirror to the ceiling. The methods of hanging or attaching bronze mirrors to the ceiling were closely related to the methods employed in Chinese tombs. Song dynasty burial chambers had a high and wide structure, so to defend against evil spirits(辟邪用), bronze mirrors were used to protect the burial rooms. Bronze mirrors were, therefore, placed high to illuminate the burial room. This was achieved in the ways mentioned above. As underground chambers became wider and higher, mirrors also protected the important areas of the chambers and illuminated the interiors. Thus, it is believed that the methods of enshrining bronze mirrors in the pagodas during the Kingdom of Wuyue and the Song dynasty arose from the method of enshrining bronze mirrors in tombs at the time. Thereafter, pagodas, such as the Miaojuesa Temple Pagoda, in which the placement of a bronze mirror was actively considered from the design stage were constructed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.24-33
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• 2022

The travel notes and nature poems found in historic literary men's works can be considered historical records related to scenic sites. Such travel notes and nature poems are based on the writers' personal characters, experiences, learning and etc. Such works clearly show the characters of each literature, information of the related objects and the writers' thoughts of the objects. This study, thus, looked into Euisang on Xīsāishān Mountain that could be the origin of Eobusa(漁父詞) loved and sung by Korean historic literary men, and found that the Korean and Chinese literary men's thoughts were shown through their ways to enjoy Xīsāishān Mountain and their Euisang on the mountain, which was different between the Korean and Chinese literary men depending on the geographical locations described in their poems. In detail, the study results are: 1. Such difference of the ways to enjoy Xīsāishān Mountain, the scenic site described in historic Korean and Chinese literary men's work is broadly classified into the ways to enjoy the scenic site by seeing it in person and the ways to enjoy it under the mental structure of speculation. 2. Xīsāishān Mountain in Wuxing is the background of Yújiāzi(漁家子) of the painting Zhāngzhìhé, is boasting its distinguished beautiful nature, and is the place where the Confucian Study of Hú(湖學) was originated. It is also the place known of its warmhearted climate. Therefore, Euisang on Xīsāishān Mountain under such beautiful and warmhearted circumstance are realized as the complete freedom and seclusion in Taoism and the satisfaction with the given environment and position in Confucianism. 3. Xīsāishān Mountain in Wǔchāng is a military strategic point with rugged mountain terrain and scenery that has been a historic ferocious battlefield and related with the loyal civil servant Qū Yuán. The Euisang on Xīsāishān Mountain in Wǔchāng, therefore, represents the nature scenery of a rugged fortress and patriotism of Confucianism. 4. The Korean literary men's way to enjoy Xīsāishān Mountain is Shinyu(神遊: spiritual travel), so that their Euisang is formed according to the direction of the writer's values. Especially it is noted that Korean Euisang on Xīsāishān Mountain is originally based on the painting Zhāngzhìhé that shows the complete free mood of Taoism; and the Euisang on Xīsāishān Mountain that came from the mindful image by the poet monk Qíjǐ of Tang dynasty and Kim Si-seup appears with such Buddhist ways to seek the truth as SakGongIlYeo(色空一如: Being full is essentially as same as being vacant) and GyeonSeongSeongBul(見性成佛: Everybody can become Buddha by enlightenment).

• Journal of the Daesoon Academy of Sciences
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• v.44
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• pp.1-52
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• 2023

Incantations are reflected in the fundamentals of the Daesoon faith system and are, thus, key to its understanding. Jeungsan, the yeonwon (fountainhead, 淵源) of the Daesoon faith, created new incantations or transformed existing ones that had been used in old religious traditions such as Buddhism and Daoism. However, there has been no in-depth academic research on Jeungsan's incantations until now. This study aims to academically clarify the incantatory archetypes of Jeungsan's incantations based on documents published until the 1970s. Jeungsan's incantations are then compared to those of Mugeuk-do (Limitless Dao) in the 1920s and Taegeuk-do (Great-Ultimate Dao) in the 1950s. Jeongsan's transformed incantations are analyzed through this process. Jeongsan reflected the faith system in Jeungsan's incantations during the period of Mugeuk-do. He transformed the incantations to achieve his goal and realize his wishes by arranging terms that referred to himself before the optative words of the incantations. Jeongsan made several changes to the incantations in the 1950s. First, the majority of incantations used in Mugeuk-do were discarded. This meant making partial changes to the faith system by reflecting awareness because the corresponding incantations were no longer necessary as the Degree Number calibrated by Jeungsan had been realized. Second, Jeongsan organized the incantations in use and institutionalized their instructions. This reflected the essential doctrinal system of the Daesoon faith, namely the completion of the true dharma by Jeongsan. Considering this doctrine, that is, the Fifty Year Holy Work (五十年工夫), the true dharma can be presumed to have been realized before the death of Jeongsan. Accordingly, the institutionalizing and organizing of the incantations were indispensable until the mid-to-late 1950s. Jeongsan, the founder of the Daesoon order, posited himself as the successor of religious orthodox lineage and as the figure who would complete the true dharma by realizing the Degree Number calibrated by Jeungsan. Therefore, Jeongsan interpreted Jeungsan's incantations to be a rough sketch of the Daesoon faith system that had been drawn for him in advance by Jeungsan. Accordingly, Jeongsan transformed Jeungsan's incantations and used them to realize the Degree Number, which Jeungsan had planned. Simultaneously, Jeongsan declared that he would fulfill the Degree Number and establish the true dharma by changing those incantations.

• The Journal of Korean Philosophical History
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• no.27
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• pp.197-222
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• 2009

The Reform Movement(戊戌變法) of 1898 was a boundary tablet of modern history of science and technology which inherited the past and ushered in the future. Kang Youwei(康有爲), as a leader, his scientific thoughts opened up the way of Chinese enlightenity campaign and pushed the development of Chinese modem science and had an important position in modem history of scientific thoughts. The dissertation analyses the source, establishment and content of Kang Youwei. Kang Youwei developed the useful and discarded the useless of the view of implement science held by the Westernized Party, undertook a deep and throughout thinking on the nature of science, had cognition of scientific methods and spirit, by which he criticized negative proneness of ancient Chinese views of science. He put forwards a series of practical suggestions on political reform that provided a solid guarantee and support in system for scientific development. Kang Youwei rooted in the soil of Chinese traditional academic culture, but also western learning in modern western civilization. Kang go through Westernization Movement since the in-depth study of Western natural and inevitable outcome of the social sciences, are giving to science and technology. Although he was originally of Western "science" has a lot of misunderstandings and prejudices, but these shallow hazy perceptual knowledge, his view of science which constitutes the basis of the formation. In the course of scientific inquiry, Kang has begun to explore the essence of scientific development. He has a gut feeling that behind the scientific discovery of the existence of a force, which is the scientific truth and is used to grasp the scientific method. After contact with the Western world, with the traditional "Heaven(天)", and modern Chinese intellectuals began to "axiom(公理)" to recover his traditional "Heaven" of the new understanding is reflected mainly in "Zhutianjiang(諸天講)". "Zhutianjiang" is the Kang Yuwei in the absorption of traditional astronomy knowledge base, will the traditional arithmetic, as well as Buddhism and the West since the twentieth century, new knowledge of astronomy combines written. Kang while recognizing that scientific instruments, is nothing more than an extension of the role of the human senses and make the "Dao(道)" is more clear, but the "artifacts(器物)" caused by the inherent limitations of the limited nature of human knowledge, which is "Heaven" boundless nature of the broad terms, refused to concede defeat to. In reality, the activities of political reform, he gradually recognize this real-world helpless, and he recognized that the real world to achieve common ground of social ideal is impossible, so he chose comfort in life that people really get a stage of "Tianyou(天遊)". This is the cause that his writing "Datongshu(大同書)", at the same time, followed by writing "Zhutianjiang" talk "Tianyou".

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.1-34
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• 2016

This paper aims to understand how Daesoonjinrihoe perceives the Later World. Daesoonjinrihoe supports to establish an earthly paradise through the re-creation of the real world unlike other religions which tend to relegate ultimate fulfillment to the afterlife. In other words, Daesoonjinrihoe endeavors to achieve their objectives in the human world rather than outside of it in a potential act of escapism. The new religions in Korea have been characterized by ethnocentrism and doctrines which present Koreans as the new chosen people by emphasizing Korea's crucial role in world leadership. However, the doctrine of Daesoonjinrihoe differ with other new religions of Korea in this regard as its purpose is to redeem the whole world. Daesoonjinrihoe proposes an open embrace of the religious diversity found in Korean society. Daesoonjinrihoe argues that the Later World has not come yet, even though the Former World is over and progress towards the Later World has already been set in motion. The meaning of human nobility is akin to anthropocentricity. According to a variety of myths and legends, animals and supernatural often attempt to become human. Moreover, it would not be an overstatement to assert that the re-creation of the real world and the Daesoon concept of human nobility correspond with these myths and legends. There were not definite interpretations regarding heaven in Confucianism historically, yet Daesoonjinrihoe differentiates clearly that heaven and Sangje are cosmic structures. Buddhism perceives that heaven separately exists as a cosmic structure and that Buddha is a transcendental entity, however; that entity is not accessible for intercession. On the contrary, the ways to save the world have been adduced in Daesoonjinrihoe. In addition, the earthly paradise of the Later World has likewise been introduced. Specifically, it is Sangje that opens the door to that paradise. Unresolved issues in the formation of a world view still persist. There are no shortage of studies on the notion of gods or divine beings, however; most of these studies focus on genealogical classification, forms, functions and other such topics. The concept of god, ghost, or soul does not seem to have been clearly defined in these studies nor has the relationship among these entities and humanity been satisfactorily examined. For example, if human beings become either gods or divine beings, questions regarding divine beings who have acted as protectors or guardians of human beings then arises. The Daesoon cosmology should be specifically compared to cosmology in Daoism. By conducting additional studies such as a comparative research with Daoism, it will be possible to interpret mantras and Daoist art as they appear in Daesoonjinrihoe in a thought-provoking way which can in turn be compared with other religions.

• Journal of the Daesoon Academy of Sciences
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• v.33
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• pp.219-255
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• 2019

'Dao' is an important research subject as it is the main term for 'ultimate reality' in East Asian religious thought. Understanding the concept of 'Dao' is essential to reach the state of 'Perfected Unification with Dao,' the ultimate aspiration in Daesoon Thought. The meaning of 'Dao' can vary such as 'Dao' meaning 'way', which was first introduced in Jinwen. There is also the 'Dao' of yin and yang, and Dao used to mean human obligation, or Dao meaning the way of Heaven. These can also be classified into five categories: Constant Dao, Heavenly Dao, Divine Dao, Human Dao, and the Dao of Sangsaeng. Every natural phenomenon of birth, growth, and death in the universe operates under the patterns of Heaven and Earth. Therefore, Constant Dao in Daesoon Thought is the ultimate pattern underlying human action and the operations of Heaven and Earth. These apply not only to the natural and the divine world but also to the human world. It can be said that 'Rather than natural law or moral symbol of the world, 'Heavenly Dao' means the great Dao that saves the world through the Daesoon Truth of Sangje, Supreme God of the Ninth Heaven. Divine Dao can be said to be 'the Dao by which man must complete his work according to the law and the will of God,' that is, 'the Dao by which God and man are united together by Sangje's heavenly order and teaching, which aims for humanity, righteousness, propriety, and wisdom.' When the world is in a state of calamity and crisis, the request for the saint's Dao can symbolized by the kings, Yao and Shun, in The Canonical Scripture (Jeon-gyeong). The saint's Dao saves the dying world and people's lives and is called 'saving lives by curing the world (濟生醫世)'. It can be regarded as a characteristic of Human Dao in Daesoon Thought, which is the human obligation to follow Sangje's order, the great Dao to save the world. The Dao of Sangsaeng is the true dharma that rectifies the world full of mutual conflict through the ethics of the Later World, which is to promote the betterment of others and to practice the human Dao that saves the world and rebuilds the Constant Dao. Thus, The concept of Dao in Daesoon Thought is Daesoon Truth which applies to and operates throughout all realms of Heaven, Earth, Humanity, and the Divine world. Dao in Daesoon Thought was influenced by the historical background in which it emerged and this can be seen in its ideological features. It embraces the traditional concept of Dao, which refers to the Chinese classics and represents the main schools of thought in East Asia: Confucianism, Buddhism, and Daoism. And it is unique in that it implies the will of Sangje as a religious object, a supreme being. It can be seen that Daesoon Thought has developed through the process of defining the concept of Dao by harmonizing both the universality and specificity of modern Korean religious thought.

• Journal of the Daesoon Academy of Sciences
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• v.31
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• pp.165-197
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• 2018

The purpose of this article is to investigate communal action in the Ox Seeking Pictures of Daesoon Thought as an expression of future prospects. The Ox Seeking Pictures in Daesoon Thought seeks out renewal of thought, renewal of life, and true living. Here, the Ox Seeking Pictures symbolize a world in which good fortune comes true according to faith in Gucheon Sangje. The correlation between searching for the ox and the supporting teachings of the Reordering Works of Heaven and Earth in Daesoon shows the transformation of Daesoon prospects for achieving the renewal of thought. The correlation between Deep Contemplation Leading to Awakening and Finding and Following Heavenly Teachings shows the transformation of Daesoon reason into a practice implemented in daily life. The correlation between a human being's awareness and the heavenly paradise of the Later World shows transformation into true living based on everyday practice and the practical transformation of one's livelihood. In this investigation, we can say that the Ox Seeking Pictures of Daesoon symbolizes the realization of human dignity and respect for lives. No life should be destroyed or violated by another. Heaven, Earth, and Humanity can be changed and born anew. The visions of the realization of the heavenly paradise of the Later World show that this paradise in the world results from Daesoon principles. This provides a unique insight when compared to the bodhisattva ideal conveyed through the Ox Seeking Pictures of Mahayana Buddhism. Daesoon's Ox Seeking Pictures consist of a three-way interlocking of renewal of thought, implementation in life, and the practical transformation of one's livelihood. The communal spirituality based in Daesoon Truth connects and mediates among people and appears in three aspects. Firstly, it is thought to be a vision of the renewal of thought through the 'Virtuous Concordance of Yin and Yang.' Secondly, it is thought to be the vision of a new life based upon the spirit of Mutual Beneficence. Thirdly, it is thought to be a vision of true living through the realization of human dignity. Because of the appearance of the Ox Seeking Pictures of Daesoon Thought, this narrative picture shows the oxherd as searching for an ox which is the symbol of Daesoon Truth and Dao. Even though he catches the ox, he is still holds the rope to tie the ox to himself. He makes an effort to keep the ox steady. Finally, the oxherd's enlightenment becomes the source of responsibility to help unenlightened people in their struggles. In conclusion, it is necessary to interpret these paintings as the start of the Later World.