• (The)Study of the Eastern Classic
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• no.48
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• pp.7-39
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• 2012

This study is prepared to understand the filial story's communicative meaning from the aspects of Character's behavior. The filial story have typically didactic theme and it is not have enough room for another interpretations. But if we carefully analyze the filial story from the point of view of (1)the target of the filial duty[father/ mother]. (2) the actor of the filial duty[son/ daughter]. (3) the evaluator of the filial duty[witness/ recorder], we can understand the filial story's connotation. In "三國遺事"(Memorabilia of the Three Kingdoms) and "三國史記"(Historical Records of the Three Kingdoms), the target of the filial duty plays an important part and communicates with the actor of the filial duty but there's no more communication in "高麗史"(History of Corea). As the character's communication is lessened, the meaning of edification is emphasized.

• Cross-Cultural Studies
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• v.25
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• pp.159-183
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• 2011

This study is for the understanding of the role of fortunetelling and the "Scripture of Fortunetelling(占察經)" through the relationship between the manners and customs of Koreans and the Buddhist Scripture dealing with the fortunetelling. It is meaningful to understand how it is related with Buddhism. As a result, I perceived that Koreans have lived with fortunetelling and that the role of fortunetelling in from private person to the country. I saw there were four big roles; to clean the uncertainty of the future to fulfill the expectations, to confirm the justice of what he or she did, to cure, and to choice. Looking into "Memorabilia of the Three Kingdoms(三國遺事)", I see that the Scripture of Fortunetelling and the ceremony of fortunetelling was popular and those great monks such as Wongwang, Wonhyo, Jinpyo and Jihye presided these ceremonies. The structure of the "Scripture of Fortunetelling(占察經)" has the hierarchy of Fortunetelling, Penance, Practice, Awakening, and Salvation of the world. So fortunetelling motivated every stage of practice. The role of fortunetelling in "Scripture of Fortunetelling(占察經)" is to intermediate. For this purpose it divided the attitude for the fortunetelling into two categories; for the urgent real life and just for enjoying. But they seriously dealt with both results. They used the fortunetelling in order to accomplish the ultimate purpose of Buddhism. So the fortunetelling is a mean of propagation of Buddhism and a intermediary of awakening and salvation.

• 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.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.86-109
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• 2009

Mireuksa Temple was founded during the reign of King Mu of Baekje(AD 600-641). The circumstance of the construction of this temple is documented in "Memorabilia of the Three Kingdoms (Samgukyusa)". The pagoda named stone pagoda at Mireuksaji temple stands outside the main sanctuary of the western area. The south and west sides of the stone pagoda have completely collapsed, leaving only the eastern facade of six of its levels intact. Through the recent discovery of sarira reliquary we can see that the erection of this pagoda was in 639. So owing to accumulation of excavation results about Baekje temple site and vigorous academic exchange, it is possible that architecture of western pagoda at Mireuksaji temple can be understood in connection with the architectural development of wooden pagoda from 6th to early 7th century in East Asia. So this study is on the consideration of building of this pagoda putting first structure of upper part and cross-shaped space in 1st floor. It was considered that the material characteristics as stone could be applied to the temple pagoda architecture of large scale. The results are as follows. First, it had been built in recognition that the outer and inner part of pagoda should be separated. As it is the expression of structural system in temple pagoda architecture of large scale at that time. In pagoda there was a self-erected structure and the members of outer part of it were constructed additionally. Second, in Mireuksaji stone pagoda there is central column with stones. With inner part of pagoda it can be regarded as mixed structural system that constitutes central contral column and inner structural part. And it could be a kind of middle step to more developed structure of whole as wooden pagodas in Japan. Third, as the sarira reliquary was in central column on the first floor, the cross-shaped space could be made. The formation of this space was so on the natural meaning of sarira that the concept as memorial service of graves could be apllied to the pagoda. The style of tomb in Baekje was expressed to the space of 1st floor in pagoda where Sarira had been mstalled. That was not only effective presentation of symbolic space but also easier method in the use of same material.