• Journal of architectural history
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• v.20 no.5
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• pp.95-109
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• 2011

The building for the Sutra appeared as the Sutra-belief became popular in the early years of the Koryo Dynasty. According to the written documents, there were two types of apparatus to keep sutras, one by fixing the cabinet to the wall and the other by rotating the cabinet at the center of the hall. There are no remains. Recently, at the excavation of the site of the Yeongguk Temple (寧國寺) in the Chungcheong Prevince (영동군), a building which was presumed as the Sutra Hall was recovered at the side of the Main Hall. At the center of the building, of 6meters width and 6meters depth, there was a large stone which had a round trace which was presumed to supporting the rotating sutra-case cabinet. By examining the concerned situations, this building was concluded as the Sutra Hall of the temple. The Yeongguk Temple had a close relationship with the royal household. Budddhist monk Gwangji, son of the 16th King Yejong was lived at the Temple. the tomb of King's advisory priest Wongak was also erected at the Temple. Two monks were well known as the defender of the Sutra. The Sutra Hall of the Yeongguk Temple regarded as a significant example which showed us how the archtectural aspect of the Sutra Hall was shaped in the Koryo Dynasty. It could be said that revealing the architectural aspect of the Stura Hall will help revealing the Buddhist architecture of the Koryo Dynsty which is veiled in many field.

• Journal of the Daesoon Academy of Sciences
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• v.25_1
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• pp.25-85
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• 2015

In this study, source criticism (an establishment of authentic text) of the Hyun-Mu Sutra(玄武經) among different editions is studied and an attempt of a new interpretation appropriate to that is attempted. The Hyun-Mu Sutra, a scripture written in 1909, began to communicate with the world through the religions of Jeungsanism. In particular, it was remarkable that The Hyun-Mu Sutra was absorbed as canon textbooks Jeonkyung(典經), the Scriptures of Daesoonjinrihoe, The Fellowship of Daesoon Truth(大巡眞理) from a loner and secret pull-out of heritage traditions. However, this scripture though written in 1909 and more than 100 years has passed, remained in a state unestablished authentic text. The Hyun-Mu Sutra is the scripture consisted of 25 pages by the religions of Jeungsanism[Gang Il-sun 姜一淳(1871~1909)]. 33 page type of Hyun-Mu Sutra has been distributed in the world until now the authentic text of The Hyun-Mu Sutra. However, as a result of the examination, diagnostic scripture(病勢文) was found to have been added by descendants. After a review of authentic text of The Hyun-Mu Sutra, it concluded that there is no diagnostic scripture in primary The Hyun-Mu Sutra. Though The Hyun-Mu Sutra is a booklet of a small amount, the notation and expression is so unique, it has been in secrecy to read its contents. Interpretation way of The Hyun-Mu Sutra up to now can be summarized in two as follows. 1) approaches by I-ching 2) approaches by ten celestrial stemps and twelve earthly branches(10干12支). Approaches by I-ching among this sometimes was supplemented with Buddhist classification methods. Nevertheless, these studies can be evaluated limited because it fails to secure authentic text of The Hyun-Mu Sutra. In this study, the contents of The Hyun-Mu Sutra was examined itemized by focusing on the following four points. 1) The icon of The Hyun-Mu Sutra(玄武經符) is similar as normal talisman(符籍) but it has other features. 2) 'Reverse Fonts'(反書體)[the opposite view of the standard fonts(正書體), reflected in the mirror fonts] and size or location used in text is not in uniform. 3) letters in scripture were pointed and points were stamped in the left and upper and lower characters. 4) "Spiritual poem" (詠歌, the Korean traditional music with a view of elegance as an origin of eco), and the music with the Five-Sounds[宮Gung, 商Sang, 角Gak, 徵Chi, 羽Wu) were related. As a result, content analysis of The Hyun-Mu Sutra is carried out in the next four points. 1) The icon of The Hyun-Mu Sutra (玄武經符) has been primarily developed by Jeungsan. 2) 'Reverse Fonts'(反書體)[the opposite view of the standard fonts(正書體), reflected in the mirror fonts] and reverse location such as '宙宇' [the reverse of '宇宙'] represents based on a new world based on a forward and reverse I-ching(正易). 3) Dot and neighbor points is a symbolic map that guides the position of lateral new world(後天) and era(人尊) 4) Spiritual poem is the entrance to achieve the Realization of Do(道通). The above can be considered as the results of this study.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.78-103
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• 2020

Transcribed Buddhist sutras generally consist of a frontispiece illustration, sutra illustrations, and sutra text, although some parts may be lost over time. Most transcribed sutras originally include an official record of the transcription (saseonggi) at either the beginning or end of the volume, which document various details of the production, including who commissioned the sutra and when it was transcribed. If such records are unavailable or difficult to decipher, the date of the sutra can only be estimated by comparison to other works with known production dates. This is the case with Korean Treasure #978, the "Transcription of the Avatamsaka Sutra (Zhou Version) in Gold on White Paper" (hereinafter, "Avatamsaka Sutra, Volume 29"), which does not contain any details of its production. Based on formal comparisons, the volume has been estimated to date from the early Joseon period. Important criteria for estimating the production date include the type of calligraphy script and the overall expression of the sutra illustrations. However, these features are missing from some early Joseon sutras, making it difficult to definitively assert which characteristics are representative of the period. Also, transcribed sutras from the late Goryeo period (after 1350) and early Joseon period are often very similar in terms of the expression of the frontispiece illustrations and sutra illustrations. From the late Goryeo period through the early Joseon period, the illustrations of transcribed sutras, which had previously been relatively detailed and realistic, gradually became more formalized and stylized. Significantly, Avatamsaka Sutra, Volume 29 includes illustrations showing both styles of expression (i.e., realistic and formalized). Moreover, the hemp leaf design on the frontispiece and the border around the sutra illustrations are unique features that have never been seen on any other transcribed sutras. Notably, however, Avatamsaka Sutra in Gold on White Paper, Volume 26 (hereinafter, "Avatamsaka Sutra, Volume 26"), which has not yet been introduced in academic research, is complete with frontispiece, sutra illustrations, and sutra text. This sutra is identical to Avatamsaka Sutra, Volume 29 in size, composition, and details, and is thus estimated to have been produced at the same time and by the same patrons. According to the record at the end of the volume, Avatamsaka Sutra, Volume 26 was commissioned in 1348 by Gi Cheol (d. 1365), which corresponds to the estimated date of Avatamsaka Sutra, Volume 29 derived by formal comparison. Based on this new information, Avatamsaka Sutra, Volume 29 was likely produced in the late Goryeo period rather than the early Joseon period, as has previously been presumed. The new study of Avatamsaka Sutra, Volume 26 also seems to confirm that both sutras were transcribed by highly skilled artisans in 1348 of the late Goryeo period, a transitional phase in the expression of sutra illustrations.

• The Journal of Korean Medical History
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• v.32 no.1
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• pp.63-76
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• 2019

The $S{\bar{u}}tra$ of Great Dhāraṇī of the Uṣṇīṣa-cittā is one of the most widely published scriptures of Esoteric Buddhism during the Goryeo and Joseon dynasty. The sutra is often referred to as a Buddhist medical scripture whose recitation is believed to allay diseases such as difficult birth, chest pain, and infectious and incurable diseases. It utilizes two major methods for healing: reciting and copying the sutra or copying the dharani and talisman which appear at the end of the text with fine cinnabar and ingesting them with aromatic water. In order to understand the medical and historical value of this sutra, this study examines the historical background of its establishment in early China and its migration to Korea in the Goryeo period. This study also investigates the identity and value of the scripture in Buddhist medical history. The oldest known printed texts of the sutra in Korea are dated to the late 11th century. Because of the material benefits of the text, the tradition of printing and distributing the sutra was very popular between the 13th and 19th centuries. Therefore, examples of the sutra having been used for medicinal purposes during rites are found in historical records. Finally, the study tries to identify the relationship between the treatment methods of the Sutra and those of Korean traditional medicine focusing on several Korean traditional medical texts such as the Hyangyak-Jibseongbang (Compilation of Native Korean Prescriptions), the Donguibogam, and the Euibang-Hapbu.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.234-257
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• 2024

Great Dharani Sutra of Undefiled Pure Light (Gwi) (LKH 10703) donated by the family of the late Lee Kun-Hee to the National Museum of Korea in 2021 is a calligraphy album consisting of sixty-two leaves compiled using butterfly binding. It contains Great Dharani Sutra of Undefiled Pure Light, "Record of the Production of Mugujeong Pagoda by the Order of King Munseong," a postscript by Kim Jeonghui, and an appreciation record by Oh Sechang. This paper has revealed that this album is identical to the material that Suematsu Yasukazu introduced in Volume 15 of the journal Cheonggu hakchong in 1934 and that it includes elaborate copies of Great Dharani Sutra of Undefiled Pure Light and "Record of the Production of Mugujeong Pagoda by the Order of King Munseong" on yellow Chinese paper, both of which were excavated from inside the Mugujeong Pagoda at Changnimsa Temple in Gyeongju in 1824. It has also reconfirmed that it is highly probable that the Great Dharani Sutra of Undefiled Pure Light that Jo Byeongsun, the former director of the Seongam Old Books Museum, unveiled in 1998, is a transcription of the original sutra excavated from Mugujeong Pagoda at Changnimsa Temple in Gyeongju. Moreover, it has concluded that the Great Dharani Sutra of Undefiled Pure Light owned by Park Cheolsang is likely to be another example of copying the transcription of the original sutra excavated from the Mugujeong Pagoda at Changnimsa Temple in Gyeongju. In the album of copies donated by the estate of Lee KunHee, six of the Chinese characters promulgated by Empress Wu were used fifteen times in total. Four of the characters of Empress Wu were utilized ten times in the Great Dharani Sutra of Undefiled Pure Light (national treasure, Bulguksa Temple collection) found among the reliquaries from the Three-story Stone Pagoda at Bulguksa Temple in Gyeongju and were also seen in the album of copies donated by the estate of Lee Kun-Hee. The use of the same characters of Empress Wu and other variant characters suggests that both the album of copies donated by the estate of Lee Kun-Hee and the Bulguksa sutra were based on an edition distributed in the Unified Silla Period during the eighth century. Kim Jeonghui confirmed the exchange of calligraphy between Korea and China through studies on bronze and stone epigraphs. He believed that the Great Dharani Sutra of Undefiled Pure Light and "Record of the Production of Mugujeong Pagoda by the Order of King Munseong" excavated from Mugujeong Pagoda at Changnimsa Temple were authentic materials showing the elegant calligraphic styles that prevailed before the Ouyang Xun style. Thus, the album of copies donated by the estate of Lee Kun-Hee holds great historical and artistic significance in that it is a rare example of Kim Jeonghui's evidential study of a transcribed sutra and an original record of the production of a pagoda from the Unified Silla period.

• Journal of The Korean Digital Architecture Interior Association
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• v.6 no.1
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• pp.41-48
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• 2006

The research which it led and it tried to observe the layout of Hwa-Um buddhist architecture by Avatamska sutra. The avatamska sutra is one of the scriptures which are important from Buddhism and Hwa-Um buddhist architecture is same channel. Sip-ji-pum that it includes the contents of avatamska sutra is most important. Hwa-um buddhist architecture can divide the major space into a three precinct. First, the gate to a Buddhist temple(A step of self interest. Second, Ru and a building for Buddhist priest(A step of Altruistic act). Third, A Buddhist sancturary(A step of Religious ascetic). From the above results, we can know that site layout of Hwa-um buddhist architecture in the Hwa-um sect relations to the dogmatic background, thought.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.445-469
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• 2004

The Avatamsaka Sutra copied in ink on the white paper of Shilla Period is the oldest manuscript in korea. This Avatamsaka Sutra is volume 1-10 and 44-50 of the 80 volume's transcription. According to the postscript, written with 528 letters at the end of the volume 10 and 50, this sutra is made during A.D. 754-755, for six months by the order Master Yon-gi(綠起 法師) who founded Hwaumsa Temple(華嚴寺.) It explains the procedure of the ritual and production method of the sutra-copying, and also shows the 19 participants with their name, address, official title, and etc. When the sutra was founded, volume 1-10 were so congealed that we could not open the volumes. And volume 44-50 was prohibited to take photograph for preservation. According to the recent examination, it proved that this sutra is the treasure for the study of the characters made by Empress Wu Zetian(則天武后.) The characters made by Empress Wu Zetian(A.D. 625-705) are new shape of chinese characters which is different from the traditional characters. After the demise of the Queen, the characters were not used any more officially, but privately some people used the characters for personal tastes and interest. The characters in the sutra includes 512 characters of 13 kinds of Empress We Zetians'. Compared to the Tun-huang version of the sutra, this is far better treasure for the study of Empress We Zetians' characters in terms of the number of the character and the their use of frequency. The Avatamsaka Sutra of Shoso-in(正倉院) in japan copied in A.D. 768 does not use the Empress We Zetians' characters. In this respect, this Shilla Avatamsaka-Sutra is a unique one preserves the original forms of Chinese translation at that time.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.6 no.1
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• pp.47-80
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• 1984

The aim of this paper is to study the classification and arrangement system, the original texts, and the bibliographic deseription of Dae-Jang-Mock-Lock. The results of this study can be summarized as followings; 1. The first carving of Dae-Jang-Mock-Lock was assumed to be completed at latest by 1087 (King Sun-Jong 4, Koryo) when the first carving of Dae-Jang-Kyong, the complete collection of Buddhist Sutra, mas finished. Henee, Dae-Jang-Mock-Lack is safely said to be the oldest catalog in Korea. 2. The major function of Dae-Jang-Mock-Lock mas to facilitate the job of printing, managing, or arranging the Sutra tablets, rather than to serve as its references. 3. Dae-Jang-Mock-Lock mas classified in accordance with the classification sys tern of Gae-Woon-Suck-Kyo-Lock, a chinese Buddhist catalog. This system classified the complete collection of Buddhist Sutra into the three categories of "Mah$\={a}$y$\={a}$na Tripitaka", "Hinayan$\={a}$ Tripitaha", and "collected Biographies of Samgha", at the first gradation. And then the Mah$\={a}$yan$\={a}$ Tripitaka mas divided into the three categories of "Mah$\={a}$y$\={a}$na Sutra", "Mah$\={a}$y$\={a}$na Uparaksa", and "Mah$\={a}$y$\={a}$na Upadesa", at the second gradation. In the same manner the "Hinayan$\={a}$ Tripitaka was divided into "Hinayan$\={a}$ Sutra", "Hinayan$\={a}$ Uparaksa", and "Hinayan$\={a}$ Upadesa". The "Collected Biographies of Samgha" was divided into Brahman Samgha and Chinese Samgha. For this reason we Can name this main classification system as a Tripitaka Classification. 4. The first carving tablets of the Buddhist Sutra from Choen Shelf (天函) to Young Shelf (英函) were the same Sutra that were included in Gae-Woen-Suck-Kyo-Lock (開元釋敎錄), except those 4 omitted sutras of 22 volumes. But the other 7 sutras of 24 volumes were included as an extra addition in "Dae-Jang-Mock-Lock." 5. The 40 shelves and 376 volumes of Buddhist Sutra from the Doo Shelf (杜函) to the Kyong Shelf (輕函) in Dae-Jang-Mock-Lock were copied from the texts of Guran Edition (契丹本) 6. The 36 shelves of Buddhist Sutras from the Bun shelf (磻函) to the Mil shelf (密函) in Dae-Jang-Mock-Lock were the same as those included in Sock-Jung-Woen-Suck-Kyo-Lock (續貞元釋敎錄), except the 3 omitted sutras.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.12-46
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• 2022

Completed in 1467, the Thirteen-story Stone Pagoda of Wongaksa Temple is the last Buddhist pagoda erected at the center of the capital (present-day Seoul) of the Joseon Dynasty. It was commissioned by King Sejo, the final Korean king to favor Buddhism. In this paper, I aim to examine King Sejo's intentions behind celebrating the tenth anniversary of his enthronement with the construction of the thirteen-story stone pagoda in the central area of the capital and the enshrinement of sarira from Shakyamuni Buddha and the Newly Translated Sutra of Perfect Enlightenment (圓覺經). This paper provides a summary of this examination and suggests future research directions. The second chapter of the paper discusses the scriptural background for thirteen-story stone pagodas from multiple perspectives. I was the first to specify the Latter Part of the Nirvana Sutra (大般涅槃經後分) as the most direct and fundamental scripture for the erection of a thirteen-story stone pagoda. I also found that this sutra was translated in Central Java in the latter half of the seventh century and was then circulated in East Asia. Moreover, I focused on the so-called Kanishka-style stupa as the origin of thirteen-story stone pagodas and provided an overview of thirteen-story stone pagodas built around East Asia, including in Korea. In addition, by consulting Buddhist references, I prove that the thirteen stories symbolize the stages of the practice of asceticism towards enlightenment. In this regard, the number thirteen can be viewed as a special and sacred number to Buddhist devotees. The third chapter explores the Buddhist background of King Sejo's establishment of the Thirteen-story Stone Pagoda of Wongaksa Temple. I studied both the Dictionary of Sanskrit-Chinese Translation of Buddhist Terms (翻譯名義集) (which King Sejo personally purchased in China and published for the first time in Korea) and the Sutra of Perfect Enlightenment. King Sejo involved himself in the first translation of the Sutra of Perfect Enlightenment into Korean. The Dictionary of Sanskrit-Chinese Translation of Buddhist Terms was published in the fourteenth century as a type of Buddhist glossary. King Sejo is presumed to have been introduced to the Latter Part of the Nirvana Sutra, the fundamental scripture regarding thirteen-story pagodas, through the Dictionary of Sanskrit-Chinese Translation of Buddhist Terms, when he was set to erect a pagoda at Wongaksa Temple. King Sejo also enshrined the Newly Translated Sutra of Perfect Enlightenment inside the Wongaksa pagoda as a scripture representing the entire Tripitaka. This enshrined sutra appears to be the vernacular version for which King Sejo participated in the first Korean translation. Furthermore, I assert that the original text of the vernacular version is the Abridged Commentary on the Sutra of Perfect Enlightenment (圓覺經略疏) by Zongmi (宗密, 780-841), different from what has been previously believed. The final chapter of the paper elucidates the political semantics of the establishment of the Wongaksa pagoda by comparing and examining stone pagodas erected at neungsa (陵寺) or jinjeonsawon (眞殿寺院), which were types of temples built to protect the tombs of royal family members near their tombs during the early Joseon period. These stone pagodas include the Thirteen-story Pagoda of Gyeongcheonsa Temple, the Stone Pagoda of Gaegyeongsa Temple, the Stone Pagoda of Yeongyeongsa Temple, and the Multi-story Stone Pagoda of Silleuksa Temple. The comparative analysis of these stone pagodas reveals that King Sejo established the Thirteen-story Stone Pagoda at Wongaksa Temple as a political emblem to legitimize his succession to the throne. In this paper, I attempt to better understand the scriptural and political semantics of the Wongaksa pagoda as a thirteen-story pagoda. By providing a Korean case study, this attempt will contribute to the understanding of Buddhist pagoda culture that reached its peak during the late Goryeo and early Joseon periods. It also contributes to the research on thirteen-story pagodas in East Asia that originated with Kanishka stupa and were based on the Latter Part of the Nirvana Sutra.

• 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.