• Title/Summary/Keyword: 분향의식

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Goryeo Dynasty Incense Culture and Incense Burners (고려의 향문화(香文化)와 향로(香爐))

  • PARK Jiyoung
    • Korean Journal of Heritage: History & Science
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    • v.56 no.2
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    • pp.62-78
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    • 2023
  • The act of burning incense originated from Buddhist rituals and customs, and gradually formed its own culture. In the Goryeo Dynasty, in addition to religious and national rituals, incense came to be enjoyed more generally and widely. In particular, Goryeo literati enjoyed the elegant lifestyle of staying home and burning incense. This was part of a regional culture shared across East Asia. Such incense burning applied the same methods as were used during the same period in China. In collections of writings from the Goryeo Dynasty, it can be seen that incense methods such as gyeok-hwa-hoon-hyang (隔火熏香) and jeon-hyang (篆香) were used. A particular method of incense influenced the size and shape of the incense burner utilized. Small incense burners suitable for simple everyday incense were used, such as the hyangwan (香垸), a cup (wine glass)-shaped burner. White porcelain incense burners from Song were discovered in Gaegyeong, and celadon incense burners from Goryeo were made in the same shape. This phenomenon shows that there was great demand for ceramic incense burners in Goryeo in the 12th and 13th centuries. During this period, incense burners that imitated metalware were produced, and some applied the techniques and patterns of Goryeo celadon. The Goryeo Dynasty-era incense burner was basically a necessity for use in various rituals, but gradually came to be widely used also by individuals.

A Study on the Culture of Incense in the Period of T'ang (당대 향문화 연구)

  • Chun Hea-Sook;Lee Ae-Ryun
    • Journal of the Korea Fashion and Costume Design Association
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    • v.7 no.3
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    • pp.113-127
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    • 2005
  • From the ancient times, incense was used for various usages including a means of beauty expression with flavor, a medicine for disease treatment and a device for religious event or ritual. The period of T'ang was the times when cultural and material exchanges with foreign countries were very actively made under the political openness of the Chinese nation. Here the exchanges were made mainly through inland trade, called Silk Road(絲綢之路) and marine trade routes, Incense Road(香料之路). This indicates that incense was one of the main items actively traded at that time. In addition, literatures of the T'ang period show that in the Chinese nation, a wide range of classes from the imperial family to the public used incense for many different purposes. This suggests that the culture of incense was deeply prevailed and very socially significant in T'ang. This study investigated social factors that promoted the incense culture of T'ang and the applications and types of incense widely used in the period of T'ang. First, influential religions and the openness of sex culture were main social factors that made incense culture flourish in the period of T'ang. Above all, two main religions of the Chinese nation, Buddhism and Taoism became secularized under political protection by the imperial family. As Buddhism was popularized, the Buddhist ritual of incense burning made a contribution to making public incense culture. Providing its doctrines of eternal youth and eternal life, Taoism necessarily used incense to form a Taoistic climate. The flourishment of the foresaid religion in T'ang added more fuel to that of incense culture in the Chinese nation. The openness of sex culture brought about the Inauguration of the empress, improvement in female position and free relationships between man and woman. It was accelerated by sexology as a method of eternal youth provided by Taoism. The opened culture also developed the culture of kibang where female entertainers called kinyeo consumed lots of incense for decoration and sexual desire stimulation. These open climates of T'ang society made a great contribution to making incense culture, especially for decoration, prevailed throughout the Chinese nation. Second, types of incense prevailed and widely used in the period of T'ang included olive incense, germander(廣藿香), olibnum(乳香), myrrh Resinoid(沒藥), jia Xiang(甲香), clove(丁香) and Shen xian(沈香), all of which were imported from foreign nations and had various applications. Specifically, olive incense, germander(廣藿香), olibnum(乳香) and myrrh Resinoid(沒藥) were used for religious purposes while, jia Xiang(甲香), clove(丁香) and Shen xian(沈香) for the purposes of religion and decoration. In conclusion, a number of social factors including political, religious and medical purposes and the openness of sex culture set fundamentals on which the culture of incense was extensively developed and established as a social trend in T'ang. In the Chinese nation, incense culture was not just an option for taste, but a part of life style social members needed to know. People of T'ang not only enjoyed incense mainly for purposes of religion, pleasure and make-up, but also had the wisdom to know various effects of incense, curiosity about such new things and the will to imitate and pursue alien culture, resultantly flourishing incense culture. Thus the culture of incense represented many social aspects of T'ang.

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A study on the Musical Characteristics of Traditional-Sangdanyebul - Focusing on the Jogye Order and Taego Order - (전통 상단예불의 음악적 특징 고찰 - 조계종과 태고종을 중심으로 -)

  • Cha, Hyoung-suk
    • (The) Research of the performance art and culture
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    • no.35
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    • pp.471-508
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    • 2017
  • The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.