• Journal of People, Plants, and Environment
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• v.23 no.5
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• pp.577-587
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• 2020

Background and objective: Plants in temples are the results of cultural symbolization that embraces the experience and enlightenment of humans about life. As a way to improve the acceptance of the foreign religion, China gave cultural symbolization to plants in temple gardens through integration with traditional cultures and the understanding of the nature of plants themselves. This study aimed to identify cultural symbolism and signs of acculturation associated with Buddhist plants, targeting Bolisu, the most essential and symbolic plant in temple garden forests in China and Korea. Methods: The morphological and ecological characteristics of plants, functions, the texts that contained the history of Buddhism and literary works were examined through literature review, and the relation of Ficus religiosa with its planting conditions and nature, and Buddhist culture was explored. In addition, the cultural value of Buddhist plants themselves in establishing temples and the reason why Bolisu was planted in temples were reviewed through time series analysis. The obtained results were interpreted using an inductive method to identify substitutes for F. religiosa, cultural symbolism and signs of acculturation. Results: F. religiosa as one of the three holy trees and the five trees and six flowers in Buddhism is known as the original Bolisu. Since it grows well and is widely distributed in regions that accepted Indian Buddhism, it became the most representative holy tree in Buddhism. From the perspective of tree shape and nature, F. religiosa is in line with the Buddhist spirit of saving those in need with mercy and redeeming mankind, and figuratively shows that perfection can be attained like the fruit of Bolisu. Chines Buddhism had adopted highly symbolic plants for a long period of time as a means to spread the same belief and doctrines as Indian Buddhism. In China, however, there were only limited areas suitable for the growth of F. religiosa, and for this reason, borrowed Bolisu trees including Tilia. miqueliana, T. mandshurica and T. amurensis and other plants such as F. virens Ait. var. sublanceolata, G. biloba and M. alba were planted as a substitute in most regions, having been given with symbolism and belief as Bolisu. Conclusion: Chinese Buddhism planted the same plants as Indian Buddhism in order to enhance symbolism and also similar substitutes to express the same symbolism. This is a kind of acculturation and its influence and customs were not limited to China, but were introduced to Korea, The difference between China and Korea was that G. biloba was excluded from the substitute for Bolisu in Korea.

• KIEAE Journal
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• v.14 no.3
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• pp.47-54
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• 2014

This study is performed to establish the basis of the development of unique tropical botanical garden that will be connected with the identity of the local inheritance resources, 'Silla'. The glasshouse is the traditional 'Silla; housing and the landscape facilities are tried to imagine 'Silla' kingdom. Combination of the plant exhibition and the cultural inheritance resources can create their own unique theme. The garden divided into five spaces by life cycles of plants and the purpose of appreciation, the palm garden, ornamental foliage garden, flower garden, water lily garden, and tropical fruits garden. The appropriate flowers and trees are selected by their flowering time and the purpose of enjoyment. Especially, Ficus religiosa is the symbol plant of buddhism which is the state religion of 'Silla'.

• Journal of the Korean Society of Costume
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• v.51 no.8
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• pp.1-12
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• 2001

An empirical review on silk fabrics of the Chosen period showed that they varied in kind and design according to their uses. Thus the purpose of this study is to classify the fabrics into temple and excavated fabrics according to their uses and collected places and then to examine characteristics of each type. Concerning fabrics collected in temples. satin was most used, followed by twill, tabby, multiply, leno and gauze and clossing fabrics in order. Tabby and silk fabrics used Ju(紬) as their main material. Cho( ) was much more used in fabrics collected in temples than in excavated ones. This indicate that Cho( ), more luxurious than Ju(紬), had divine applications such as covering Buddha s bones of temples. Brilliant, colorful multiply fabrics using goldern and color threads had high effects of ornamenting altar covers, umbrellas, surplices and palanquins. Fabrics held in temples adapted composite designs, in which more than two shapes were used, rather than single ones. Single designs employed plant shapes in most cases. followed by treasures pattern, geometrical, cloud and animal shapes in order. Most composite designs used a combination of animal and plant shapes, followed by plant and geometry, treasures pattern and plant, cloud and animal, and animal, treasures pattern and plant in order. Few excavated fabrics used animal designs while fabrics collected in temples were often designed with shapes of propitious animals such as dragon. Treasures pattern. representing a good omen of Buddhism, was often used sing1y or sometimes compositely with another design.nother design.

• Korean Journal of Plant Resources
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• v.27 no.5
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• pp.576-587
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• 2014

The purpose of this research is to classify various plants written in the Korean Buddhist scriptures and assign scientific name to them in accordance with the Hangul Tripitaca as standard scriptures, thereby establishing the foundation of the plants in Buddhist scriptures. As a natural resource, we also assessed the value of the plants written in the Buddhist scriptures that distributed from other countries. To this end, we inferred the route of introduction to Korea of the plants and investigated their function and usage. Taxonomic classification of the plants written in Buddhist scriptures identified a total of 331 taxa belonging to 107 families, 244 genera, 313 species, 1 subspecies, 16 varieties, 1 forms. Species composition of the 331 taxa of plants consisted of two taxa of pteridophyte, 15 taxa of gymnosperm, 261 taxa of dicotyledon, and 53 taxa of monocotyledon. Among them, 183 and 148 were woody and herbaceous plants, respectively. Analysis of the distribution of 331 kinds of plants that India's portion of origin of place is 8.9% which holds a low rank compared with those of Korea (10.5%), China (10.9%), and Japan (10.0%). This explains why many taxa of plants distributed from the three countries appeared in the Hangul Tripitaca. Accordingly, we hypothesized that the majority of the plants were added and replaced at some point in past while Buddhist scriptures were propagated from India to China and from China to Korea. Our analysis indicated that 119 out of the 331 taxa (36 %) were distributed from Korea.

• Journal of the Korean Society of Food Culture
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• v.14 no.4
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• pp.395-403
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• 1999

The origin as well as the culinary aspects such as ingredients, types, preparation methods of Dasik and materials and ornamental patterns of Dasik mould(다식판) are discussed and analyzed through the literature survey. 1. The origin of Dasik came from the custom of Umdha(飮茶) together with the Worship of Buddhism(숭불정책) and the abundant production of rice due to the Policy for Agricultural Development(권농정책) of the Koryo Dynasty. 2. The main ingredient of Dasik was rice flour and wheat flour and thereafter, plant materials such as Song-wha(송화), Mungbean starch flour(녹두녹말가루) and Hwang-yul(황율) were followed. Honey, sugar and syrup were used as coagulating agents. Dasik was often colored by the addition of Omija(오미자), a plant material containing red pigment. 3. Originally. Dasik mould was not used until Jeungbo-Sanlim-Kyungje. Major types of Dasik were reviewed from the literature survey. 4. The materials of Dasik mould were wood or porcelain. Their shapes and ornamental patterns were reviewed. Circular design was predominant in the wood and lettered designs were predominant in porcelain. 5. Utilization of Dasik recorded in Koryo-History(고려사) and Chosun-Wangjo Shilloc(조선왕조실록) were reviewed.

• Fashion & Textile Research Journal
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• v.6 no.2
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• pp.169-176
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• 2004

The clouds-shaped pattern is originated from Taoism, Buddhism, and Confucianism. It stands for good-luck, longevity and productivity. It has been used on its own or with other patterns since the ancient times. It also has various forms. It particularly was used more frequently than any other patterns as a typical good-luck pattern, representing auspiciousness, divine authority, and so on in Chosun dynasty. The pattern, according to its component parts, is classified as individual type and compound type, which is mixed with other patterns such as treasure pattern, plant pattern, letter pattern, or animal pattern. For both individual type and compound type, swastika-shaped cloud pattern was mostly used. For compound type, the pattern compounded of treasure pattern was extraordinarily used a lot. In terms of the arrangement, the most common arrangement methods were brick-shaped arrangement and dense type arrangement, the arrangement method that spreads the patterns all over the surface. Among the fabrics with clouds-shaped pattern, satin damask fabrics had the majority. Clouds-shaped pattern was used a lot in men's Po(coat), such as Dahnryoung, Jiknyoung, Chollik, etc. rather than in women's clothes. It was a typical pattern used in Dahnryoung, an official uniform that represented people in the highest class in Chosun dynasty. The divine power symbol of this pattern indicated the authority and dignity that the upper class people could have.

• Current Research on Agriculture and Life Sciences
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• v.24
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• pp.1-8
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• 2006

When tea trees were introduced to Korea peninsular from China? Historically, Mr. Taeryum, an envoy of Shilla dynasty brought tea seeds from China during Tang dynasty and the seeds were planted at Jiri Mt. by the order of King Heungduk at AD828. During Koryo Dynasty(918 1392), Buddhism spread rapidly all over the country and the tea culture reached its highest stage of prosperity. At the Chosun Dynasty, however, the ceremonial drinking of tea vanished almost completely due to the flourishing Confucian tradition, a kind of substitution of Buddhism. But a few people have supported the traditional tea culture by themselves. Since the independence of Korea soon after the World War II at 1945, Korean War have been exploded at 1950. After economic evolution have been succeeded at 1980, the cultivation area of tea trees has been increased about 2,000ha and the cultural tradition of tea drinking has become popular again at a tea consume quantities amounted to 100g per capita at 2004. The northern limited area of tea plant is lined on the southern part of Korea peninsular. It is very small region compared to China about one million ha and to Japan over 60 thousand ha. It is problem not only the area of tea fields but also the methodology of tea cultivation, for examples without clonal cultivars and mechanical systems. WTO treatments was discussing with Korea, China and Japan government at 2005. Green tea custom is very high at 514% in Korea. If three countries will be agreed the imported tax will be cut off, the Korean tea farmers will be confused because of unstable situation of tea markets. All most of tea farmers should be made the tea fields by seeding not clonal propagation. Because of clonal cultivars have not developed in Korea, there have not been the research institutes for tea plants and manufactures before 1992. Now there are three research institute of tea in Korea; Tea Experiment Station at Bosung of Jeonnam Agricultural Research & Extension Services, Mokpo Experimental Station of National Institute of Crop Science, and Green Tea Cluster Institute of Hadong. Mokpo and Hadong Research Station were established at 2004 and at 2005 but Bosung Station was established at 1992. Seven clonal tea cultivers were selected at Bosung Station; Bohyang, Myngsun, Chanlok, Sunhyang, Mihyang, Jinhyang and Ohsun until 2004. Mokpo Experimental Institute was started the tea provenance testing about 4 provenances: Kangwon-do, Jeonlabuk-do, Jeonlanam-do, and Kyungsangnam-do. Korean new tea cultivers should be selected because Koran wild tea population have been high genetic variation. If tea breeding research will be successful to select new clonal cultivers, the tea farmers of Korea will be stable after WTO treatment with each country.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.15-21
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• 2021

This study studied the value of the spatial organization of the temple and the form of the garden located in the Seojang area in the southwestern regions of China. The value of the Lama temple was looked into by examining the relationship between Lamaism and Lama temple through the spatial organiz ation, building arrangement, and garden of temples that served as the center of history, culture, and politics of the time in the process of converging Buddhism introduced through China's central districts and India with folk beliefs in Seojang through the poor environment. To this end, the value of the space and garden of the Lama temple was derived through the representative Lama temples, Potala Temple, Norbulingka Temple, and Dazhao Temple. First, due to the unique environment in which ice caps and green areas coexist, the representative Lama temples in Seojang, Potala Temple, Norbulingka Temple, and Dazhao Temple, are widely distributed in the form of leaning against valleys and mountain ranges based on folk beliefs and Buddhism's Jatabuli(自他不二) and mandala. the target sites are largely divided into upper and lower spaces. Second, the target sites are largely divided into upper and lower spaces. Buildings for worship are located in the upper space, and spaces for practice and garden are located in the lower space. The garden existed in two main forms. Third, the garden existed in two main forms. Located in the center of the practice space, the garden had an ideal structure to plant bo tree to escape from the two false obsession and go to a world of truth that is with the Buddha behind the world through practice like Sakyamuni, and there was a garden around the temple where meditation and exchange took place. Evergreen coniferous forests are mainly planted in the forests.

• The Journal of Natural Sciences
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• v.14 no.1
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• pp.63-81
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• 2004

It is the purpose of this study to arrange in ornamental trees and shrubs the planting that leads to an appropriate type of templescape. The study was designed primarily as an examples for each Buddhist temple which desires further decoration with several ornamental plants, doubles the effectiveness of the Sen-Buddhist meditation, and boosts tourists' attraction. To investigate the planting status and type of trees and shrubs in the precincts of Buddhism temples, We close three temples : They are Nagsansa, Boolgoogsa and Booseugsa, which are intermonatane area temples all together. The results investigated were summarized as follows :1. Planting status and pattern in temples Open spaces of the Daewoogjeon in all temples, a main Sanctuaries in temple buildings, where Buddha is enshrined in, we could not find any kind of trees of shrubs to be planted.Muryangsujeon, a symbol of "Future", which can be also found at Boosugsa temple, is living in Western Elysium world and takes mercy on mankind of this life. Taxus cuspidata was planted at this Muryangsujeon, known as an immeasurable bliss building, where an Amitabha is enshrined in.Total 25 species of trees and shrubs were planted around Birozani building of Buddhist temples, Birozani is enshrined at the Birojion of Boollgoogsa temple.The buddhist Goddess of Mercy which is a buddhist saint for pursuit of fortune and blessing to relieve the mankind is enshrined at Wonchonjeon, Daebijeon and Kwaneumjeon which are able to observe at both Boolgoogsa and Nagsnsa temples, where Euonymus japonicus trees including other 26 species could be found in common at both temples.2. Correlation between trees/shrubs and temple buildingsTrees and flowers symbolizing Buddha are often planted as material sources of gardening to decorate : They are Logerstroemia indica as Buddha's flower, Viburmum opulus var. calvescens resembling Buddha's head, Tilia mandshurica producing the beads of rosary, Gardenia jaminoides Ellis with white flower blade and flower of bliss, not flower to this day and Lotus flowering clearly in the pond filling with dirty water which is able to clarifies the world full of crime, infidelity and injustification. Among these Buddhist' plants, however, Logerstroemia indica could be found in all three temples, and Viburmum opulus var. calvescens at both Nagsansa and Boosugsa. Also, Lager stroemia indica was planted at all three temples and Viburmum opulus var. calvescens at both temples of Nagsansa and Boosugsa. Tilia mandshurica and Gardenia jasminoides Ellis were not found in any temples which might become the subject of investigation.In relation of the buildings of each temples as a sanctified space, the planting of trees and shrubs was not considered for the arrangement, templescape architecture or species. And, also, we could not find in the study any special relationship of trees/ shrubs with the characteristics of temples.With the results obtained through precise studies we presented here in this paper newly designed model of templescape in intermane buddhist temple which can be applied for planting and arrangement of trees or/and shrubs. Basic principles of model in mind are:To consider the correlation of the dominant between plants and temple buildings.To plant trees/shrubs for special functions as well as conditions of temple location.To make tree arrangement correlating to Buddhism spirit.To induce environment friendly plants to be planted, suitable to regional conditions.This redecorated model of templescape might be used as a canon of the tree planting and arrangement in the precincts of Buddhism temples.

• Acta Via Serica
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• v.7 no.2
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• pp.153-178
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• 2022

This study analyzes the traces of East-West cultural exchange focusing on the palmette pattern expressed on Sassanid Persian and Silla Korean carpets. The results of the study are as follows. The palmette, which originated in ancient Egypt, is an imaginary flower made up of the transformation of a lotus, which combined with the Mesopotamian quadrant (四分法) and expanded to a four-leaf palmette and further to an eight-leaf palmette by applying the octant (八分法). The palmette, which was brought to Assyria, Achaemenid Persia, Parthia, Greece, and Rome, can be seen lavishly decorated with plant motifs characteristic of the region. Sassanid Persia inherited the tradition of the palmette pattern, which applied the quadrant and octant seen in several previous dynasties. On the one hand, it has evolved more splendidly by combining the twenty or twenty-one-leaf palmette and the traditional pearl-rounded pattern decoration of Sassanid Persia. These Sassanid Persian palmette patterns can be found through the palmette patterns depicted on the ceilings of the Dunhuang Grottoes located on the Silk Road. The palmette pattern of the Dunhuang Grottoes was expressed in the form of a fusion of Persian Zoroastrianism, Indian Buddhism, and indigenous religions. In the Tang Dynasty, it shows the typical palmette pattern of four and eight leaves in the medallion composition, which were mainly seen in Persian palmettes. The palmette pattern handed down to Silla can be found on a Silla carpet, estimated to be from around the 8th century, in the collection of Shoso-in (正倉院), Japan. The Silla carpet shows a unique Silla style using motifs such as peonies and young monks, which were popular in Silla while following the overall design of the Persian medallion.