• Journal of architectural history
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• v.16 no.2
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• pp.99-118
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• 2007

Kyedan(戒壇) is an altar to perform a rite of Buddhist Initiation which gives Precept to a Buddhist monk. Sometimes it is called the Place of Precept and Mandala by Sanskrit. In this study, the Sutra of the Tang(唐) Dosun(道宣) regarding First Kyedan of Jetavana-anathapindasyarama(祇園精舍), which was the first temple such as, Kyedandokyung(戒壇圖經), Kiwonsadokyung(祇洹寺圖經), Sabunyul(四分律) were analyzed to find out original form and layout. Ultimately, the study was intended to examine the spatial formation-principle by comparing with Kyedan Temple. The results of this study could be summarized as below. First. Except for Kyedan in Bakryensa, the height of lower stone plate of Buddhist Bell-Shaped Stupa of Korean Kyedan is higher than three storied Kyedan that described in Kyedandokyung. Second. Buddhist Bell-Shaped Stupa above Kyedan was presumed that embodied image of Bell Pedestal and symbolism of overturned-bowl were combined together, when Kyedandokyung and Kiwonsadokyung were referred. It could be examined by the existence of stone lantern. Third. In Korea, the rite of Buddhist initiation that gives Precept in Kyedan has been considered impossible. However, when the rite was conducted, there was a possibility to establish wood stair. It is because that the Buddhist Stupa of Silleuuksa(神勒寺) and Woljeongsa(月精寺), which reflected the image of Kyedan had stone stair. Fourth, The method to build Kyedan of Dosun divided into Large Region and Small Region was applied to the method to construct Stone terrace behind Jeongmyeolbogung(寂滅寶宮) like Tongdosa(通度寺) and complete Kyedan on the stone terrace. In other words, Jeongmyeolbogung became Kyedanwon(戒壇院) and Kyedan, itself became Small Region. The area of Stone terrace became Large Region and naturally, they constituted an Institution. Fifth, Korean Kyedan which is consist of Jeongmyeonlbogung and Kyedan is a Korean original composition principles of Kyedangaram(戒壇伽藍) that can satiate all the functions of Kyedan as a religious subject and the place of the rite of Buddhist initiation, as it had complex of Outdoor Kyedan, which was suggested by the sutra of Dosun and Institution of Kyedan.

• Journal of Fashion Business
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• v.14 no.3
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• pp.52-63
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• 2010

The Hanryu(韓流) phenomenon in and around Asia looks like slowing down lately. At that time, the research about contents that can inform the high traditional culture of Korea is useful. The references which can make a study about cultural clothes, especially paintings, let us to infer the life of the people of that period. In this research, I try to study the characteristics of customs, symbol and costumes by analyzing the paintings of Shin, Yun-Bok who was genre painter of the late Chosun. The mens are wearing dopo(道袍) and are putting sejodae(細條帶) around their waists and gat(黑笠). Also, We can see many different types of job such police, official man, a buddhist priest, a barmair, kisaeng and shaman through the costume. Most of women in the paintings, They are wearing Deep blue skirts, banhwoejang pale tone jeogori and tress. We discussed the common lives of the people through genre painting. They have satire, humor, and symbolism. Also, we can look into the various lifestyles, customs of times and seasons, ceremonial occasions, civilian beliefs, and plays ransmitted from the past. The philosophy in Shin, Yun- Bok's genre painting, is close to Taoism not Confucianism.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.4
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• pp.677-688
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• 1997

The purpose of this study was to find out the symbolism of religious costume which has showed the religious belief system through costume practice and culture. Indian Religious costume each has its own mark was investigated in this study. In India, religion is a way of life. It is an integral part of the entire Indian tradition. The results were as follows; India's several main religions are Hinduism(About 80% of population) , Islam (About 11% of population) , Sikhism(less than 2% of population) , Jainism(less than 1% of population) , Buddhism(less than 1% of population) and Christianity(About 3% of population but excluding here) Religious faith system which symbolized Godhood, spiritualty, ascetics, restraint, chastity, sacred and dignity gave a certain shape to each color, ornaments, dressing and marking of religion costume. In connection with religion costumes, there were Hindu's Tika, sacred ash, long hair, knot and holy band (Yajnopavita) , Buddhist's kayysa and tonsures, Jams' no covering, Muslim's chador and skullcap, Sikh's turban (with no cutting hair) , comb, steel bracelet, drawers, sword or dagger. The characteristics, head especially of thebody and white in the colors were made much account for India religion costume. Traditional costume seems to be worn at the present times in India. But apparently these costume associated with religion costume because of Hindu more than 80% of population.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.151-165
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• 2020

In this study, the pattern of texture was developed by applying the pattern shown in the Amita Yeoraebul and the Avalokitesvara with symbolism suitable for children's clothing. In addition, the design and the manufacturing of a children's wearable Hanbok were attempted, and the results are as follows: Amitha Yeoraebul is a Buddha who oversees paradise in Buddhism, and Avalokitesvara controls both paradise and the real world and provides mercy. Applying the various patterns in the Buddhist paintings, four daily hanboks for children were produced using patterns featuring symbolic the meanings of large round original patterns chrysanthemums, turtles, and lotus patterns. The lotus symbol represents love, nobility, and wealth, while the turtle symbol represents longevity, the chrysanthemum pattern symbolizes auspiciousness, and the large round original pattern means a constant continuation. To maintain the traditional hanbok form but allow convenient wear it in daily life, it is made in the jeogori + shorts, vest + long pants, and one-piece + jacket style. Currently, the daily dress of Hanbok and the modernization of traditional Korean clothes are being promoted. At this point, the study developed Hanbok fashion products that contain symbolic stories suitable for children are trying to maintain the image of traditional culture as much as possible.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.66-79
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• 2018

Daejangjeon of Geumsansa Temple was built to store the Tripitaka Koreana, although it does not contain the Tripitaka at present and instead contains a Buddha Triad. According to Geumsansaji (Historical Record of Geumsansa Temple), this structure was originally a wooden pagoda. It is said that Geumsansa became a Buddhist temple due to its tradition of preserving a statue of Buddha and the Buddhist sutras. It is special that the Wooden Pagoda which keeps its ashes turned into a Daejangjeon. Also, it is symbolic that the Daejangjeon is symbolic and it does not store the stura, but this building is symbolic and complex. By analyzing the changes in the building process and religious beliefs, it is possible to ascertain the relationship between faith and religion in the latter phase of the Joseon Dynasty.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.17-34
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• 2014

This is a theoretical and empirical study on Kasaya, the Buddhist monk's robe, which is one of the traditional Korean costumes that has kept it original form, as well as it being the most symbolic ritual costume in Buddhism. The purpose of the study is to see the different types of Kasaya, and the transitions it has gone through since Mid Joseon Dynasty. The analysis was performed after categorizing Kasaya in the following manner: layers, the way to wear, symbolism in construction, sewing, etc. Having a variety of Ilwolguangcheop(日月光貼) is a feature of Korean Red Kasaya. In the beginning, Its shape was very similar to shape of Hyungbae(胸背), and this was a royal gift and had the same meaning as an official uniform for a Buddhist monk. So designs of the Cheop(貼) could have been transformed from those of Hyungbae with a Buddhist twist. The conclusion of the study is as follows: Double layered Kasaya shows its transition from double layer to single layer. The fastening ornaments have been simplified in all materials from Yeongja(纓子). The latch type and three-paired Yeongja type transformed into hook type and one-paired Yeongja type. Color is the most common feature above all, and it is mainly in red. The form of Korean Kasaya has a significant relation with development of Buddhism. The integration of the Zen sect would have influenced the integration of Kasaya, which shows diversity throughout the period.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.240-247
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• 2018

In this paper, we implement a digital content that visualizes 33 Avalokitesvara-Bodhisattva according to the wishes of the public. The 33 Avalokitesvara-Bodhisattva is described in the Avalokitesvara-Bodhisattva tale that is found in the ancient literature "Memorabilia of the Three Kingdoms" as Tangible Cultural Heritage. Also, it is easily found in a wall painting of traditional Buddhist temples. The 33 Avalokitesvara-Bodhisattva is the saint of mercy that transforms into 33 various forms according to the wishes of the public. The Avalokitesvara-Bodhisattva tales deal with differences in the types of wishes of the public, and the tales have been speeded like wildfire among the people. So, in this paper, we classify them into 4 groups by the wishes (healing, security, academic achievement, disaster relief) of the public, and then analyze its symbolism and activity of the 33 Avalokitesvara-Bodhisattva. Also, we implement a 2D digital content that represents visually it according to the wishes of the public. Applications of the implemented visual content are as follows; development of character, game, and digital storytelling associated with traditional culture, education service for Buddhist doctrines, etc.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• Journal of architectural history
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• v.19 no.6
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• pp.39-59
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• 2010

Seokgatap and Dabotap are representing the tower patterns in "Gyeonbotappum" of the Lotus Sutra. It is very peculiar, for the description on "Gyeonbotappum" is usually made in terms of 'the two Buddhas sitting side by side'. If 'the two Buddhas sitting side by side' is describing the situation in Dabotap, the double structure of Seokgatap and Dabotap can be said to symbolize the scriptural description in a different viewpoint. Its correct comprehension is pretty important in understanding Bulguksa. For this, this paper first arranged the critical minds and flows about the faith objects in Indian Buddhism. And, it was considered how these aspects were accumulated through Saddharma-pundarika sutra. Secondly, it was considered why "Gyeonbotappum" took the typical symbolism in Saddharma-pundarika sutra(Lotus Sutra). These parts should be necessarily considered in advance in that Seokgatap and Dabotap were derived from the form of "Gyeonbotappum". Based on this approach, the author checked the actual aspects of Seokgatap that the tower was built on a natural rock ground and the stones surrounding the tower are constituting the 8-directional Lotus site. With these two aspects, we could get the clue on the foundation time of Bulguksa that its founder had intended. In that Dabotap was formed on the basis of "Gyeonbotappum", the features of Dabotap is very important in comprehending its foundation viewpoint. As a result, the viewpoint of double towers in Bulguksa can be said to be the one that the world of suffering was to change to the Pure Land after Sakyamuni preached the Lotus Sutra on the top of Mt. Grdhrakuta and Prabhutaratna-tathagata proved it. This foundation viewpoint shows us clearly that 'the Lotus Buddhist Country' existed in parallel to the Avatamska Buddhist Country. It secures an appropriate meaning in that it can complement or adjust our understanding on the 'Buddhist country (Bulguk)' of Bulguksa where the Avatamska Idea is emphasized relatively highly as shown in the whole title of Bulguksa as 'Avatamska Bulguksa.'

• Journal of the Korea Fashion and Costume Design Association
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• v.3 no.1
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• pp.57-76
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• 2001

This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.