• SUVANNABHUMI
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• v.1 no.2
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• pp.73-91
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• 2009

베트남 관음상, 특히 천 개의 팔과 눈이 있는 관음상은 일반적으로는 아시아에서, 구체적으로는 동남아에서 종교 혼합주의의 가장 명백한 증거로 여겨질 수 있다. 그것은 인도와 더불어 특히 중국모델에서 전래된 몇 가지 구체적인 증거를 베트남 관음상에서 발견할 수 있다. 많은 학자들은 시바를 관음상의 천개의 팔과 천개의 눈을 표상한 것의 원천으로 보았다. 베트남 관음상에 대한 중국문화의 영향은 그 영향이 직접적이며 장기간에 걸쳐 최근까지도 이어져져 왔기 때문에, 인도문화가 남긴 흔적들보다 더 분명하게 나타난다. 이러한 문화적 유사성으로 인하여 비평가들은 베트남 관음상을 중국 관음상의 단순한 복제품으로 간주하게 만들었다. 본 논문에서 저자는 베트남 관음상은 여러 외국의 특징들을 흡수해 왔지만, 동시에 베트남의 심리와 행동, 개념, 토착 종교적 믿음에 상응하는 그만의 독특한 특징을 반영했다는 사실을 주장할 것이다. 천개의 팔과 눈을 가진 베트남 관음상은 인도와 중국의 영향을 받았지만, 베트남 특유의 예술적 가치를 지니고 있으며, 아시아 관음상의 무한히 풍부한 다양성에 또 하나의 기여를 해 왔다.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.520-528
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• 2017

In this paper, we analyze semantics on mudras of Sahasra-bhuja Avalokitesvara and implement visual content as its application. The mudras are described in the Odaejineunjib that is a tangible cultural property. The semantics analysis on the mudras are essential for understanding the meaning of the 42 Hands(mudras) that present symbolic difference of hands holding on various items. So, in this paper, we analyze the semantics on the 42 Hands according to 5 parts which are basic classification of Honored Ones on Esoteric Buddhism. We implemented a visual contents showing Avalokitesvara according to semantics on the 42 Hands. And, in the process, we are able to provide the public with easy accessibility on mudras of Sahasra-bhuja Avalokitesvara. Applications of the mudras are as follows; game contents, traditional cultural contents, etc.

• Journal of the Daesoon Academy of Sciences
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• v.46
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• pp.123-152
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• 2023

This paper will examine how the Avalokitesvara faith of India was restructured into the doctrines and practices related to the Sinicized version of the deity as Guanyin (觀音) Bodhisattva. Particular focus will be given to the Hangzhou area of China, when the Guanyin faith was still in the process of gaining establishment in China. In the Hangzhou area, Buddhist Orders grew significantly due to the wealth accumulated from commerce using canals and maritime trade, and the Chan (禪 typically known as Zen in English) Orders were particularly active during the Song Dynasty. Zhiyi (智顗), a prominent master from the Tiantai Order (天台宗), based his activities out of Hangzhou. He composed the text known as the Commentary on the Guanyin Petitioning Sutra (Qingguanyinjing-shu 請觀音經疏) based on a reinterpretation of a scripture related to Guanyin, and he systematized the Guanyin Repentance Ritual (Guanyin-chanfa 觀音懺法) by combining the Doctrines of Tiantai with the Guanyin faith. In addition, Ciyin Zunshi (慈雲遵式) reformulated that Guanyin Repentance Ritual into the Guanyin Petitioning Repentance Ritual (qing-guanyin-chan 請觀音懺) to make it into a common ritual that was more accessible to everyday people. The book, Records Regarding the Personal Conduct of the Chan Master Zhijue (zhijue-chanshi-zixing-lu 智覺禪師自行錄), which is written by Yongming Yanshou (永明延壽), a figure from the Fayan Order (法眼宗), one of the Chan Buddhist orders in the Hangzhou area during the Northern Song Dynasty, reveals the acceptance of the Guanyin faith as a daily practice within the 108 daily rituals (108事). In Chinese Buddhism, there were historical examples of monks being worshipped as incarnations of Guanyin Bodhisattva. An example of this includes iconography depicting Baozhi (寶誌), a figure from Jiliang (濟涼) who lived during the Southern Dynasties, as Ekādaśamukha (十一面觀音, Eleven-faced Guanyin Bodhisattva) in keeping with the belief that he was an incarnation of that deity. Monks of the Tiantai and Chan orders operating in the Hangzhou area actively utilized the transmission of Buddhist tales about Guanyin Bodhisattva as related to monks that exhibited miraculous powers (神異僧). This can be understood as a phenomenon demonstrating how Song Buddhism tried to attract more believers through the popularity of the Guanyin Faith.

• Conservation Science in Museum
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• v.18
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• pp.77-92
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• 2017

This study is based on a scientific analysis of the production method of the wooden seated Bodhisattva statue from Gwaneumsa Temple in Wando, which is currently housed at Chonnam National University Museum. The purpose was to investigate the characteristics of the statue's production through an X-ray inspection of the wooden timbers that make up its base material, a composition analysis of the surface layers, and microscopic observation. The votive prayers found together with the statue allowed the precise dating of the artifact to the sixteenth century, during the Joseon Dynasty. The X-ray transmission identified the statue as being made using the "ilmokjo"(一木造) technique, which means that the entirety of the statue excluding the right hand was produced using a single block of wood. The specimen analysis of the naturally exfoliated surface layer revealed that the current surface was coated with brass to restore the original gilt layer. These research findings added an interesting case to the existing related research and reaffirmed the academic value of this statue.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.136-161
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• 2014

This paper investigates the Buddhist sculpture and wall-painting enshrined in the halls of Bunhwangsa (Bunhwang temple) at Gyeongju in the mid-Silla period, which are thoroughly unknown to us except through textual records of Samgukyusa compiled by Priest Ilyeon in the late thirteenth century. According to Samgukyusa, a clay portrait-sculpture of Monk Wonhyo, made by his son Seolchong, was placed in Bunhwangsa. This image faced to the side, because he turned his body toward Seolchong when Seolchong bowed to this image. This story suggests that the portrait image of Wonhyo was most likely made after the Vimalakirti images, which were popular in China from the Six Dynasties period on, especially the Vimalakirti images of the early Tang period, turning his head and body toward Bodhisattva Manjusi seated opposite. The Vimalakirti image of Seokkuram might show the portrait image of Wonhyo. A wall-painting of a Thousand-Armed Avalokiresvara who has a thousand arms with a thousand eyes, called by the name 'Great Mercy with a Thousand Hands', was enshrined on the north wall of the left hall of Bunhwangsa. During King Gyeondeok's reign, Himyeong and her five-year-old blind child prayed before this image, and the blind child gained eyesight. While praying, they sang a song pleading for one of the thousand eyes which the Bodhisattva had in his hands. This song implies that Thousand-Armed Avalokiresvara had a thousand eyes, one painted on each hand. The fact that Thousand-Armed Avalokiresvara of Bunhwangsa was called 'Great Mercy with a Thousand Hands' indicates that this painting was based on the scripture Thousand-Armed Avalokiresvara Sutra translated by Bhagavaddharma in about 655, in the Tang period, which also has 'Great Mercy' in its title. In the year 755, a gilt bronze image of Medicine Buddha was made in Bunhwangsa, using nearly 61 tons of bronze to cast. The huge amount of bronze suggests it includes not only the Buddha statue but many other images such as two attendant Bodhisattvas of Suryaprabha and Candraprabha, Eight Great Bodhisattvas, or Twelve Guardians. Seven images of Medicine Buddha might have been made in accordance with the scriptural text of Seven Medicine Buddha Sutra translated by Monk Yijing. Textual evidence and recent excavation have revealed that seven images of Medicine Buddha and their whole attendant images based on Seven Medicine Buddha Sutra were made in the Nara period from 751 to 762 when Queen Gomyo contructed Sinyakusiji temple for the recovery of her husband Shomu. It is fair to assume that one or seven Medicine Buddhas and a whole group of his (their) attendant images were made for the main hall of Bunhwangsa temple in 755.

• Conservation Science in Museum
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• v.23
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• pp.1-16
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• 2020

In this paper, Gilt-bronze Standing Avaolkiteshvara (National Treasure No. 293, M355) excavated at Gyuam-ri in Buyeo was observed with a microscope to identify the production technique applied to it. It was also analyzed with XRF and hard X-ray to identify the composition and the surface treatment techniques and casting method applied. In this statue, Avalokiteshvara is standing upright on a lotus pedestal. The lotus designs on the pedestal and those on the shawl flowing down on both sides of the statue are characteristic of Buddhist statues from the seventh century or later. The use of supports to affix the outer and inner molds and traces of injected cast were observed in the interior of the pedestal. The blisters on the arms and pedestal created during the bronze casting indicate the use of lost-wax casting, which was popularly employed for the production of mid- or small-sized gilt-bronze Buddhist statues in ancient times. The composition analysis identified a copper-tin-lead ternary alloy in the interior of the statue that was conventional used in the sixth and seventh centuries. It is likely that this simple alloy was used to facilitate casting and produce clearer expressions of designs and ornaments on the statue. Mercury (Hg) was detected on the surface of the statue, indicating the use of amalgam-plating with gold (Au) dissolved in mercury. This plating method is a common surface treatment technique used for small gilt-bronze statutes in ancient Korea.

• Journal of Conservation Science
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• v.30 no.1
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• pp.55-65
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• 2014

On this studyed, the Wibongsa BoGwangMyungJun BaekEuiKwanEum wall-painting was conservation of Scientific research ahead. This study carried out Grain size analysis, SEM-EDS, XRD, P-XRF, FT-IR and ultrasonic exploration for wall-painting. As a result, walls layer used to mineral particles size was mixing the medium-texture and fine texture. painting layers pigments used to base paintings was ocher, white pigments was hobun, red pigments was suckganju, green pigments was suckruk. Also BackuiKannon wall-painting walls damage reason of that was long-term physical shocks. painting layers damage was include detachment or powders. it is affected by temperature and humidity. Therefore in the future conservation of wall-paintings through scientific analysis based on such data, conservation processing is performed through the preservation and enhance the stability of the paintings as a basis for the conservation of management can be utilized.

• Korean Journal of Environment and Ecology
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• v.21 no.3
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• pp.235-242
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• 2007

In order to find out the current situation of the fauna of the mammals which inhabit Hallasan National Park, the areas of Seongpanak, Eorimok, Gwaneumsa, Yeongsil and Donnaeko were surveyed. The survey was conducted from April 2006 to January 2007 The analysis of geographical distribution revealed that there are 15 species of mammals, which belong to eight families and five orders, in which Apodemus chejuensis, Carpreolus pygargus tianschanicns, Rhinolophus ferrumequinum and Tamias sibiriricus barberi were found to be dominant species. It was also found that there exists the fauna of mammals in Mt. Halla such as Mustela sibirica quelpartis, Crocidura dsinezmi quelpartis, Micromys minutus hertigi and Sorex caecutiens hallamontanus, showing a bio-geological attribute that territorial population of taxologically geographical subspecies class exists. The fauna of the mammals in Jeju Island is rather simpler in its species composition in comparison with the inland of the Korean Peninsula ever since Jeju Island's geographical isolation from the mainland, mainly consisting of Chiroptera and small rodents.