• 대순사상과 동아시아종교
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• 제3권2호
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• pp.93-119
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• 2024

The introductionof Won Buddhism to the United States has reached its fifty-year mark. Brought to the West by Korean kyomus (Won Buddhist clergy), these initial Won Buddhist clergy set a foundation for future ordained devotees to reside in America and further the religion's mission. Innovation has always played an important role in the formation and growth of Won Buddhism. The founder, Sotaesan, declared the necessity to reform traditional Buddhism to make it accessible to the laity and espoused values such as inclusiveness, equality, public work, and practicality. Over the past few decades, these innovations have helped Won Buddhism in America to shift from a strictly ethnic-related context to an emphasis on its universal nature. However, as the religion continues achieving a foothold in Western soil, critical questions arise such as how can Won Buddhism honor its Korean origins while becoming increasingly international? What are the detriments to decontextualizing and de-emphasizing elements thought to be "too Korean" or "too traditional," or thought to be irrelevant in the West? When Buddhism spreads to a new country, it not only influences the culture it enters but is also shaped by the adopting culture. In American history, this has often meant the erasure of Asian cultures that were home to Buddhism for millennia and from which the dharma is inextricable. I argue in this article that if Won Buddhism is to thrive in the United States conscious consideration will have to be given to the indispensable aspects of its Korean roots and tradition while connecting with the current circumstance in fresh, relevant, and effective ways that include the multi-cultural and ethnic makeup of the US. This entails understanding American history and Asian Buddhism's history in America, as well as cultivating a competency or fluency in the cultures that allowed Won Buddhism to survive for decades.

• Acta Via Serica
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• 제9권1호
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• pp.91-138
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• 2024

This survey explores artifacts like steles, metal or stone statues, metal foils, and coins, bearing inscriptions in the Sanskrit language and Siddhamātṛkā (or "Siddham"), Nāgarī, and Proto-Bengali/Gauḍī scripts produced in Java between the 8th and 13th century CE, contextualizing them against the background of the pan-Asian networks of Tantric Buddhism or Mahāyāna Buddhist Tantra and especially its circulation along the maritime "Silk Routes." Discussing the interrelationship between languages, scripts, religions, and politics in Java and relevant regions of the wider Buddhist world, it tries to answer questions concerning foreign or local agency and audience as well as transregional connectivity. In particular, it argues that the quick spread of varieties of Mahāyāna/Mantrayāna Buddhism from the Subcontinent to Java and East Asia during a "first wave" from the 8th to the 9th century appears to have occurred in parallel with the diffusion of Siddhamātṛkā script in those locales, whereas a "second wave" of Tantric Buddhism linking the Indo-Tibetan and East Asian Buddhist world is associated with Nāgarī and Proto-Bengali/Gauḍī script in East Java.

• 대순사상논총
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• 제20권
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• pp.67-94
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• 2009

Kang Jeung-san whose real name is Kang Il-soon was a Korean born thinker who thought himself as Shangti(上帝). It is told that he made a Great Tour(大巡) upon this world. His thought was affected by Asian traditional philosophy such as Confucianism, Buddhism and Daoism. He founded a religious body, called Jeung-san-Gyo which could be formed a syncretism of East Asian traditional thoughts. We have to survey Asian traditional thoughts in order to understand Kang Jeung-san's religious thinking. According to the Great Tour Scripture(大巡典經), he have read Confucian moral books, holy Sutra of Buddha and the books of Daoism. In the field of Confucianism, he stressed upon the Book of Changes (Zou-yi; 周易). And for Buddhism, he showed great concern on a monk, Jin-mook(震黙) who lived 15th century in Chosun Dynasty. Jeung-san Shangti followed Daoistic way when he performed religious ritual. In case of performance, he was compared as a great Shaman who wanted to save the world. And the most typical ritual was called public business of Heaven and Earth(天地公事). He showed a great scale while he was touring the world in space. The most important thing, however, is to overcome the localization which seems still prevailing doctrine of the Jeung-san thought. For this, the followers of Jeung-san-Gyo should study world philosophy and accept the modernity so as to broaden Jeung-san thought to the rest of the world.

• 동아시아식생활학회지
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• 제11권3호
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• pp.169-178
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• 2001

This paper is intended to survey the literature about Shamanistic and Buddhistic memorial services and to examine the food culture manifested in them. In Shamanistic rituals, fish and meat were not prohibited except in special cases whereas Buddhism Prohibited fish and meat. For Shamanistic rituals, rice cake, cooked rice, liquor and the walleye pollack were commonly used. Besides there were such important offerings as a boiled pork head, chestnuts, jujube and persimmons (dried persimmons) . For Buddhistic memorial services, such foods as cooked rice, soup, cooked pot-herbs, saute, rice cake, confectionary (or candies), chestnuts and jujubes, were dedicated such offerings as cooked rice, rice cake, cooked pot-herbs and fruits were commonly used for both Shamanistic and Buddhistic memorial rites. Particular fruits were not prohibited in either case. Buddhistic rites in particular offered such foreign fruits as pineapples, kiwi and oranges, which showed that the foods of Buddhistic memorial services reflected the popular foods of the day more than those of Shamanistic ones. Water (Jung-hwa-su) brought from the well at daybreak for Buddistic memorial rites came from Shamanism, where as oil-and-honey pastry (Yu-gwa) used for Shamanistic rites came from Buddhism, which showed that the offerings of Buddhistic memorial services and Shamanistic ones were influenced by each other.

• 동남아시아연구
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• 제21권2호
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• pp.43-75
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• 2011

The article focuses on the impact and Acceptance of Hindu culture in Modern Southeast Asian Buddhism. The purpose of this study is to examine critically the influential epic Ramayana on Siam culture, Thai Ramayana version 'Ramakien', reveal instances of Buddhist Modification. The Ramayana by the great sage Valmiki is considered by Indians to be the first great literary work to be produced in India. The influence of this work is to be seen not only through centuries but even in other countries, such as Thailand where there are modified modern versions. In this paper, I have three objectives : (1) I may discuss the epic Ramayana of India gave birth to the Ramakien of Thailand. In modern times Valmiki's epic was made to fit the spiritual trends current in the new Chakri dynasty, which were themselves based on Brahmanic tradition and Theravada buddhism. With regarding to the structure of the Traibhumi cosmography, and the relationship between merit and power implied by this cosmography ranks all beings from demons to deities in a hierarchy of merit which accrues according to karma the actions of past lives. (2) I analyze how to have attempted to dissect the Hindi and Thai version of the Ramayana. The Hindu concept of kingship is also depicted in the life of Rama. The Hindus see in Rama the norm of a true Hindu life characterized by the Caste and Dharma. In Thai transformed version, it does not preach Hindu values of personal or social life. The Ramakien emphasized that the Buddhism were higher than all other laws, and that the King is regarded as the incarnation of Phra Ram, and thus is also the narration of the righteous buddhist ruler. (3) I discuss how cultural or social contexts can influence the structure of the royal Wat. The whole epic was painted by the order of Rama I in the galleries of the Wat Phra Keo. In other words, it is the very centre of the dynastic cult enshrining the Emerald Buddha, the most iconic expression of the Ramakien tradition were officially amalgamated. Rama I was continued the process of elaborating and stabilizing the complex religious pattern, with Buddhism at the pinnacle. My finding will support the idea that the Ramakien is particularly appealing to the Thai people because it presents the image of an ideal king, Rama, who symbolizes the force of virtue or dharma while Thotsakan represents the force of evil. Eventually the force of good prevails. Being Buddhists, the Thai poets bring into the story the Buddhist philosophy(especially, the law of cause and effect, karma). This paper examines the role of the Hindu epic Ramayana in the historical and cultural contact between Hindu India and Buddhist Southeast Asia. It should now be possible to evaluate what elements of Hindu culture were transmitted into Thai through the Rama story.

• Acta Via Serica
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• 제8권2호
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• pp.125-154
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• 2023

Historically, commerce was a significant factor in the proliferation and development of Buddhism, which is especially manifest in the cult of the bodhisattva Avalokiteśvara. Iconographic and textual evidence testifies that maritime trade on the Indian Ocean played a fundamental role in the formation of Avalokiteśvara worship. The sea was also a major conduit through which elements of the Avalokiteśvara faith were transmitted from India through China to Korea and Japan, the easternmost ends of the Silk Road. These elements include Avalokiteśvara's role as a maritime savior, oceanic symbolism, and the concept of the bodhisattva's worldly abode, Potalaka. Cultic sites dedicated to maritime safety were established at important transport hubs in East Asia. Due to China's strategic location on the Silk Road, as well as its cultural influence, the most important cultic sites were founded in China, first on the Shandong Peninsula, then in the southern Jiangnan region, in present-day Zhejiang Province. Especially notable is the role that Korean seafarers played in this process by assisting monks in search of the Dharma, establishing temples, and transmitting religious beliefs across the ocean. The present study focuses on the role that maritime figures played in the cultural exchanges between Korea, China, and Japan examined through Avalokiteśvara faith. By this, it aims to demonstrate how Korean seafarers inherited and continued the traditional relationship between commerce and Buddhism, while extending the Maritime Silk Road to the "East Asian Mediterranean."

• 복식
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• 제64권6호
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• 사상체질의학회지
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• 제19권3호
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• pp.300-307
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• 2007

We have studied the history of the introduction of Ayurveda medicine in Mongolia. During the periods of the Hunnu (400 BC-200 AD), Ikh Nirun (400-600 AD), and Uigur Dynasty (800-1,000 AD), Ayurveda (Indian Medicine) was introduced to Mongolia along with Buddhism from the Middle Asian countries Kushan, Khotan, Sogd and Uigar. Ayurveda was fully introduced to Mongolia under the deep influence of Tibetan Buddhism from the 13th century. Mongolia's first Medical School, following the Tibetan tradition, was established in 1662. In Mongolia more than 40 Medical Schools were established from 1662-1937. 26 Ayurvedic treatises were translated into the Mongolian language and published in 1742-1749. Since the $14^{th}$ century Mongols have been translating Tibetan Medical books into the Mongolian language, of which we have today found more than ten. Over the centuries, Mongolian scholars have written many commentaries to these medical texts.

• 복식
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• 제57권3호
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• pp.165-175
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• 2007

Religion affects all the dimension of human beings, and at the same time it forms one dimension of human beings. Costume Is considered as a result that reflects the phases of the time and the characteristics of a wearer. Costume, also, has been influenced by religion that has led one's belief, social spirit and culture for a long period of time. The Eastern aesthetics has expanded the area of thoughts with the concepts that originated from Buddhism, Taoism, and Confucianism. Among the concepts, Non-Dualistic Theory is the core idea of Buddhism.'rho theory contains the moaning that one should not lean to one side between existence and nonexistence and should not be obsessed with the center. It was the most powerful Buddhistic idea that had an influence on Asian aesthetics. Korean traditional costume is not an exception. This study has a significance that it was conducted to understand the relation between religious principle and traditional custom through mainly using documentary records. The formative characteristics of Korean traditional costume influenced by Non-Dualistic Theory ran be summarized as non-structure like, indeterminate forms, amorphousness and anti-decoration such as plainness, temperance and achromatic color. Aesthetic value was expressed through 'the aesthetic of emptiness', 'the aesthetic of hiding', and 'the aesthetic of nature'. Although the appearance of a religious symbol can change, an essential element in religion lasts as human society remains. Although our clothing culture has converted to western style, Korean traditional aesthetics is placed deep inside of 'the Koreans' spirit and has a consistent effect on our overall culture of clothing.

• 복식
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• 제58권2호
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• pp.93-106
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• 2008

Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.