• Journal of Korean Library and Information Science Society
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• v.37 no.1
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• pp.405-428
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• 2006

The purpose of this research is to establish the classification system of Chojo Tripitaka Koreana, and analyze the contents of its print held by Horim Museum. Major discussions included are as follows: First, the characteristics and significance of Chojo Tripitaka Koreana are examined. Second, based on Taejang Mongnok, which is the Bibliography of Tripitaka Koreana, the classification system of Chojo Tripitaka Koreana is established. Third, by closely examining 10 titles and 21 volumes of Chojo Print from the collection of Horim Museum, it is proved that its contents and sequences in scriptures of Chojo Print are the same as those of Taejang Mongnok and therefore the classification system in this research is adequately established. Fourth, it is found that in the Avatamska Sutra held by Horim Museum, five volumes of the Avatamska Sutra which originally consists of fifty volumes, are included. And it is also found that in Chaejo Tripitaka Koreana, the Avatamska Sutra, which consists of sixty volumes, were inserted in their place.

• Journal of Korean Medical classics
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• v.30 no.3
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• pp.55-76
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• 2017

Objectives : The transition of the 29 diagrams of Heart originated from MingTangZangFuTu will be used to understand the shape of heart and the changes of people's understanding of heart. Methods : The 29 diagrams of Heart originated from MingTangZangFuTu are divided according to their shape elements (Heart itself, internal curvatures, structures above heart, wuzangxi, and excursus). Then its transitions are analyzed, and each shape element is compared to modern anatomy and its textual basis is searched. Results : The lengthy cylinderical organ situated above the heart is composed of upper part consisting with joints and the lower part void of joints. The upper part is Pyewan (such as the lungs) and fall into trachea. The lower part is Xinxi or Feixi which are either relative vein (or aorta) or left bronchus that passes behind the heart. This depiction of the structures around the heart can be considered to have composed by actual observance of a physical heart, a method that is similar to anatomy. However, the shape of the heart itself is described as a lotus flower that has not been bloomed, a depiction which finds its origin from Zhongguangbuzhu huangdineijing suwen (762). The three short curvatures inside the heart is described as Pericardium, influenced by Shisijingfahui (1341) in its depiction, or as sammo, influenced by Nanjing. Structures that are connected directly from the heart to spleen, kidney, and uterus are not found in modern anatomy. The saying in Excursus "All cords of five internal organs belong to heart" is based on Huatuoxuanmenneizhaotu, and this is changed to the saying cords of four internal organs belong to heart in Leijingtuyi for the first time. Conclusions : The authors of medical scriptures at the time did not have a method of direct observance when they were copying heart diagrams. Therefore, they made changes to the source material's diagram and excursus while being influenced by Nanjing, Huatuoxuanmenneizhaotu, and Shisijingfahui. Then the doctors' understandings with regards to the shape and function of heart were reflected during that process.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.586-597
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• 2014

In this paper, we describe a symbolization analysis of a Diamond World Mandala animation. The mandala means the basic idea of the esoteric Buddhism. The Diamond World Mandala has a very high value as cultural archetype due to have better specific meaning and aesthetic quality than other mandalas. Most researches of Buddhist cultural contents have focused on cultural assets restoration and abstract discussion on contents industrialization until now. However researches on contents directly delivering Buddhism scriptures' meanings are insufficient. Therefore, in this paper, we analyze concept of mandala and symbolical meaning of appeared elements in mandala rather than theoretical development appropriateness of mandalas' contents, then implement a prototype of a mandala animation. The animation is made of intangible culture such as an intellectual legacy of mankind, and its applications are as follows; education service for Buddhist doctrines, and cultural services through easy accessibility of Buddhist culture, etc.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2018.10a
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• pp.53-53
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• 2018

본 연구는 대승 경전에 나타난 식물의 수록 양상과 그 의미를 밝히는 연구의 세 번째 과정이다. 법화경은 천태종(天台宗)의 소의 경전(所依慶典)으로 우리나라에서 유통된 경전 가운데 최다 간행된 경전이며 화엄경과 함께 한국 교학의 중심이 된 경전이다. 연구 대상은 현존하는 법화경의 판본 가운데 구마라집(鳩摩羅什) 역 묘법연화경(妙法蓮華經, 이하 법화경, 7권으로 구성)에 수록된 식물이다. 본 연구에서는 식물 분류학적 실체는 물론 이 경의 중심 논지와 연관성이 큰 천화(天華, 하늘의 꽃)의 실체를 별도로 구명하여 식물수록의 특성과 차별성을 동시에 구명하고자 하였다. 1. 법화경에 나타난 식물의 수록 횟수와 식물의 종 수는 다음과 같았다. 법화경에는 총 27종의 식물이 수록되어 있었으며 이 가운데 목본은 16종(59.3%)이고 초본은 11종(40.7%)이었다. 식물수록 양상에 있어 특이점은 목본이 초본에 비해 상대적으로 높은 비중을 차지하고 있었다는 점이었다. 이러한 결과는 중심사상의 전달방식에 있어 비교 대상이 되는 다른 대승 경전과 차이가 있다는 점과도 무관하지 않았다. 실제로 비교 대상인 화엄경의 목본과 초본 비율은 각각 17종(48.6%)과 18종(51.4%)이었고 열반경은 각각 36종(45.6%)과 43종(54.4%)으로 목본과 초본의 수록 비율에 차이가 크지 않았다. 2. 법화경에 나타난 식물 27종은 총 20개 과에 분포되어 있었다. 수련과 3종, 콩과 3종, 물푸레나무과 2종, 뽕나무과 2종, 벼과 2종의 순이었다. 다수 과에 분포된 식물은 대부분 중심사상 전달의 매개체인 천화(하늘의 꽃)에 속하는 식물이었다. 3. '하늘의 꽃' 이라고 신성시되면서 이 경의 내용 전개에 있어 중요한 위치를 점하고 있는'천화(天華)'는 연꽃과 수련 종류를 지칭하는 식물이 중심이 되었으며 유용한 관상 및 조경, 향료 자원 및 목재 자원 식물이었다.

• Journal of architectural history
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• v.22 no.6
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• pp.35-46
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• 2013

This study aims to examine the early use of Da-bo tap and their transformation by analyzing the various meanings of the term pagoda in Chinese translations, the Sanskrit version of the Lotus Sutra, as well as Dabotap in the Mogao Caves of Dunhuang. In addition, we aim to highlight changes in Dabotap usage, which started out as residential spaces, but transformed into burial spaces over time. The details can be summarized as follows. First, early Buddhist monuments were usually either pagodas serving as burial places for the dead or shrines that were not. A Dabotap is a type of pagoda enshrining the body of Prabhutaratna, and was initially used as a residential space, rather than a burial place for the dead. Second, the terms stupa and caitya are clearly distinguished from each other in the Sanskrit scriptures, and stupa is also further classified into dhatu, sarisa, and atmabhava based on the object being enshrined. In Gyeon-bo-tab-pum, the preconditions for caitya to transform into stupa is presented by explaining that worshipping the space enshrining the body of Prabhutaratna is worthy of the same status as the space enshrining sarira. Third, the Mogao Caves of Dunhuang had been depicted from the Western Wei of the Northern Dynasties until the time of the Yuan Dynasty. It was used as a residential space until the early Sui Dynasty, but was used as both residence and burial places until the Tang Dynasty when pagodas were first being constructed with wheel or circles forms on top, which then gradually changed into stupa (grave towers).

• Korean Journal of Child Studies
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• v.3
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• pp.115-126
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• 1982

Nobody denies that to detect a view of children agreeable to us is one of our tasks. Studying the Early Buddhist Scriptures, for the purpose of finding and the view of children entered the priesthood of Buddhism rooted deeply in our culture, I can find out the following conclusions. 1. Buddha regards that adults and children are same in that both of them are equally able to attain Nirvana, and he recognizes the differences between adults and children appeared in body and mind in the process of spiritual discipline. 2. He consideres that parent's worldly love is needed to the children priests below the age of 12. 3. He called priests over the age of 12 to 20 children priests, and he said that they have to be under a certain guard in particular, because unlike adults they have a lot of problem in the discipline process. 4. In the view of human being's growth and development, it is assumed that the group of children priests played a part as a group of spiritual discipline for youths. 5. It's regarded that the group of children priests also had function as a group of child welfare of today. 6. In other side, we can see Buddha's strict view of education for children priests, that is, even though they were children they had to discipline themselves thoroughly according to the view of values of Buddhism as far as they are priests who entered the temple. 7. Even if they are children, only minimal living things are permitted to them, and an ascetic life is required to them. In modern sense, how can such views be accepted and used? I think, this is our new task deeply looked into again in the standpoint of education of whole man rooted in religions psychology.

• Industry Promotion Research
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• v.5 no.2
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• pp.1-7
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• 2020

This study is a technology related to a lighting lamp that illuminates indoor or outdoor lighting with light. In more detail, a see-through window is created in all directions on a case constituting the exterior, and a jade stone processed in a thin panel form is attached to the see-through window. By constructing a lighting lamp, since the soft light is irradiated indoors or outdoors through the jade stone, it provides comfort and warmth to the user, enhances the indoor or outdoor interior effect, emits far-infrared rays and negative ions, and emits a subtle floral scent It is a technology for lighting lamps using jade stones that emit. The characteristics of the product of this research and development is that the viewing window is formed in all directions on the case constituting the exterior, and the lighting lamp is composed by attaching the processed jade stone in the form of a thin panel to the viewing window. It is meaningful that they studied lightings using jade stones that generate sounds such as Buddhist scriptures, the Bible, and Sijo.

• Journal of Haehwa Medicine
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• v.19 no.2
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• pp.25-33
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• 2011

Daoism is a very important subject that consists of oriental medicine(traditional east asia medicine). Among the many scriptures, The Zhouyi cantong qi (周易參同契, Token for Joining the Three in Accordance with the Book of Changes) is the main Chinese alchemical scripture. This book is composed with three kinds of subject, Zhouyi(周易, the Book of Changes), the Huanglao(黃老) Tradition and alchemy(鍊金, 爐火). The author's name is not signed but is concealed in the text. According to the traditional account, the legendary Han immortal from Guiji (會稽, in present-day Zhejiang, 古 浙江), Wei Boyang(魏伯陽), wrote it in the period between Emperor Shun and Emperor Huan of the Eastern Han (126-127 BC), after reading the Longhu jing (龍虎經, Scripture of the Dragon and Tiger). Later he transmitted it to Xu Congshi(徐從事), who appended a commentary, and to Chunyu Shutong(淳于叔通), who first circulated it in the world. While some features of this account provide significant details - especially about the reputed date of the text and about its formation having taken place in stages - the received Cantong qi(參同契) actually is not the product of a single generation of authors, but the result of several centuries of textual accretions as well as theory of three co-authorship by Wei Boyang(魏伯陽), Xu Congshi(徐從事), Chunyu Shutong(淳于叔通). It has over 6000 characters in four-word or five-word verses. Some parts of the book are in styles of prose and poem. Many scholars explain the title "cantongqi(參同契)", saying that "Can(參)" means three, "Tong(同)" means correspondence, and "Qi(契)" means unification. Through images of hexagrams of the Book of Changes, the book illustrates the thought of the Huanglao(黃老) Tradition and alchemy. Wei Boyang(魏伯陽) theorizes his own experience unifying the way of intercourse of Yin and Yang in the Book of Changes, the cultivation of spirit through spontaneity of the Huanglao(黃老) Tradition and the elixir refining of alchemy.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.32-46
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• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.87-101
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• 2008

The purpose of this study is to identity the representative flower patterns in the Joseon Dynasty and investigate their chronological transitions. In the early Joseon Dynasty (i.e. 16th century), lotus patterns were very popular. Often lotus patterns were twisted around by ivy-leaves or decorated with treasures pattern in the margin. In the mid Joseon Dynasty (i.e. from 17th to mid 18th century), however, lotus patterns evolved from the typical lotus and ivy pattern and diversified into four types. In the 19th century, lotus pattern almost disappeared from the textiles of everyday dresses and were only found in the textiles of formal dresses or in special cases as in the cover pages of Buddhist scriptures. Poeny patterns was rarely used in textiles of 16th century, presumably because of the huge popularity of the lotus pattern. However, suddenly in the 17th century, Poeny patterns appeared quite frequently. There were 3 types of Poeny patterns. Poeny patterns became more popular over the years and it finally became a primary motive in textiles patterns for 100 years starting in the late 19th century. There were two types of Poeny patterns : one was realistic and true to life even in sizes, the other was more symbolic. Textile patterns combining four kinds of flowers started to appear from the late Koryo Dynasty but Flower patterns representing four seasons with distinct shapes appeared only in the 17th century. They could be categorized into three types. In the late 18th century, Flower patterns representing four seasons no longer appears in textile patterns, presumably due to a new preference for lucky omen over natural motives.