• 인간식물환경학회지
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• 제23권5호
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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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• 제14권3호
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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'.

• 복식
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• 제51권8호
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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.

• 한국자원식물학회지
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• 제27권5호
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• pp.576-587
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• 2014

한글대장경을 기준경전으로 하여 불교경전에 기록된 여러가지 다양한 식물 명칭을 한국 국명으로 정리하고, 학문적인 분류를 통한 실체를 확인하여 향후 불교식물 연구에 기초가 되도록 하기 위하여 본 연구를 실시하였다. 또한 분포 조사를 통한 외국 원산의 불교경전 속 식물에 대한 국내 도입경로를 추정하고, 불교경전 속 식물들의 용도와 기능 및 역할 분석을 통하여 자원식물로서의 가치를 찾는 계기를 만들고자 한다. 본 연구에서 불교경전에 기록된 식물 명칭을 추출하여 분류학적 종 분류 및 계급분석 결과 107과 244속 313종 1아종 16변종 1품종 등 총 331종류로 나타났다. 331종류 식물들의 종 조성은 양치식물은 2종류, 겉씨식물 15종류, 쌍떡잎식물 261종류, 외떡잎식물 53종류 등이며, 이 중 목본 183종류, 초본 148종류로 분석되었다. 331종류 식물들의 분포 분석결과 인도가 차지하는 분포지 비중 8.9%에 비하여 한중일 3국이 차지하는 비중은 각각 한국 10.5%, 중국 10.9%, 일본 10.0%로 인도의 8.9%보다 높은 수준으로 분석되었다. 한글대장경에 한 중 일 3국을 자생지로 하는 식물이 다수 출현하는 것은 인도로부터 경전이 중국으로 전래된 후 중국에서 많은 식물들이 추가되거나 대체되었고, 이 경전이 한반도로 전래된 후에 한반도의 식물들로 대체되거나 추가되었기 때문이다. 한글대장경에 기록된 식물들 331종 중 한국에서 자생하는 식물들 119종류를 포함하고 있는 것은 이러한 사실을 뒷받침 한다.

• 한국식생활문화학회지
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• 제14권4호
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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.

• 한국의류산업학회지
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• 제6권2호
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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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• 제24권
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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.

• 한국전통조경학회지
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• 제39권3호
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• pp.15-21
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• 2021

본 연구는 중국 서남지역의 서장지역에 위치하고 있는 사원의 공간구성과 원림의 형태에 관하여 그 가치를 연구하였다. 중국의 중원과 인도를 통해 유입된 불교가 서장의 민간신앙과 열악한 환경을 통해 융합되는 과정을 당대의 역사, 문화, 정치의 중심지 역할을 수행하였던 사원의 공간구획, 건물배치 및 원림을 통하여 장전불교와 장전불교사원의 영향관계를 고찰하여 장전불교 사원의 가치를 살펴보았다. 이를 위해 대표적 장전불교사원인 포달랍사원, 라포림가사원, 대소사를 통해 장전불교사원의 공간과 원림에 대한 가치를 도출하였다. 첫째, 서장은 만년설과 녹지가 공존하는 독특한 환경으로 인해 서장의 대표적 장전불교 사원인 포달랍사원, 라포림가사원, 대소사사원은 토속신앙과 불교의 자타불이와 만다라에 근거하여 계곡과 산맥에 기대어 자연에 순응하는 형태로 넓게 분포되어 있다. 둘째, 대상지들은 크게 상부공간과 하부공간으로 분리되어 진다. 상부는 예불을 위한 건물들이 위치하고 하부는 수행을 위한 공간과 원림이 위치하고 있다. 원림은 크게 2가지 형태로 존재하였다. 셋째, 수행하는 공간의 중심에 위치하고 보리수를 식재하여 석가모니와 같이 수행을 통해 이집의 분별에서 벗어나 배진합각의 진리의 세계로 벗어나자는 이상적 구조를 지니고 있었으며 사원 주변 수림을 조영하여 명상과 교류가 이루어지는 원림이 존재하였다. 수림들에는 상록 침엽수림이 주로 식재 되어 있다.

• 자연과학논문집
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• 제14권1호
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• pp.63-81
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• 2004

본 논문은 한국 전통사찰의 경관현황을 개관하고 조경식물을 통한 가람의 종교적 이미지를 부각시켜 불교신도들의 경건한 수도와 함께 관광적 효과를 한층 거양하기 위한 방안을 모색하고자 산지형 사찰인 낙산사, 부석사 및 불국사를 대상으로 연구를 수행하였다. 이에 얻은 결과를 요약하면 다음과 같다.1. 사찰경 내 수목의 식재현황 및 유형조사대상 사찰에서 석가모니불을 주로 모시는 곳인 대웅전 앞에는 아무런 교.관목이 식재되어 있지 않았다. 극락보전과 무량수전에서는 공통적으로 주목이 식재되어 있었으며 사찰에 따라 매자나무 외 15종이 식재되어 있었다. 또한 불국사의 비로자ㅣ불에서는 백목련을 위시하여 25종의 수목이 식재되어 있음을 볼 수 있었다.한편 낙산사와 불국사의 원통전 및 관음전에는 사철나무 외 26종의 수목이 식재되어 있었다.2. 수목과 사찰 건물과의 연관성 및 산지형 사찰의 교관목 식재모형수목과 각각 건물의 특성과는 특별한 연관성을 발견할 수 없었다. 다만 불교적 의미를 갖는 수종으로서 배롱나무와 불두화가 식재되어 있음이 밝혀졌다. 또한 대체적으로 지역적 특성, 기후 환경과 친화적인 식물이 식재되어 있었으나 수목과 사찰 건물과의 관계를 고려한 배식형식을 찾아보기 어려웠다. 본 조사를 토대로 산지형 사찰에서 교.관목을 식재할 때 활용할 수 있는 모형을 제시하였다.

• Acta Via Serica
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• 제7권2호
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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.