scholarly journals On the Buddhist Statues Excavated from Hoeamsa-ji in Yangju

2021 ◽  
Vol 311 ◽  
pp. 87-113
Author(s):  
Heejung Kang
Keyword(s):  
Historical Records ◽  
Rock Composition ◽  
Main Building ◽  
Rock Quality ◽  
Small Stone ◽  
Joseon Dynasty ◽  
The Buddha ◽  
The Temple ◽  
Yellowish White ◽  
The Prestige

Hoeamsa Temple in Yangju province was one of the most important Buddhist temples in the early days of the Joseon dynasty from the late Koryo, which was the place dwelled by Jigong(指空), Naong(懶翁), and Muhak(無學). Even in the early Joseon Dynasty, Hoeamsa Temple served as a royal temple. Yi Saek witnessed the seven Buddha statues of 15-chuck in height and the Bodhisattva Avalokiteshvara image of 10-chuck in Hoeamsa and recorded the marvelous features of the temple in his book, Sujo-gi. However, none of these statues remain in modern days, and only fragments of the small stone Buddha statues and other Buddhist deity sculptures have been excavated at Hoeamsa-ji Temple site. It is difficult to ascertain the substance of the Buddhist sculptures of Hoeamsa temple with only a few fragments of small stone statues. From the historical records and the analysis of styles in those fragments, compared with other sculptures in the early Joseon dynasty, we can assume that Prince Hyoryeong supported these stone Buddha images. Since the large Buddha statues that Yi mentioned above were already enshrined in the main building of Hoeamsa Temple, Prince Hyoryeong would have been focused on the construction of stupas or making tiles for the renovation of shrines for the Buddha except for the large Buddha statue. Instead, he would have sponsored the artisans to sculpt small stone Buddhas and bring them to buildings or shrines other than Bokwangjeon, the main hall. Previous research estimated that the materials for those small stone Buddha images were either tuff or sandstone. There are several differences in rock quality, stone particles, color, and homogeneity compared to actual rocks. Unlike the general stone Buddha statues in Korea using granite, the Buddha statues excavated from the Hoeamsa Temple are bright yellowish-white. And the rocks are so fine in quality to make the particles indistinguishable. When we see those pieces of Buddha statues in bare eyes, it looks like kaolin stone. It is necessary to analyze the materials of these stone sculptures and confirm the rock composition or materials through more precise scientific verification. Despite the prestige of the Hoeamsa Temple in the period, the absence of a large Buddha statue is unfortunate. Even if Hoeamsa Temple served as a royal temple, jaboksa, in the early Joseon Dynasty, the hostility of the Confucian scholars was enormous. The absence of the Buddha statues and the thorough destruction of the buildings in Hoeamsa proves that Joseon finally became a Confucian country.

scholarly journals The Study on the Style and Value of Stone Buddha Statue of Hoeamsa Temple in Yangju

2021 ◽  
Vol 312 ◽  
pp. 109-139
Author(s):  
Kyung-mi Kim
Keyword(s):  
East Asia ◽  
Ming Dynasty ◽  
16Th Century ◽  
Royal Family ◽  
Buddhist Art ◽  
15Th Century ◽  
Clothing Style ◽  
Joseon Dynasty ◽  
The Buddha ◽  
The Temple

This study focus on the characteristics and of the Fragment of Stone Buddha of Hoeamsa Temple(檜巖寺). As is well known, this temple had been developed rebuilding by supporting of the royal family from the late of Korea Dynasty to the early of Joseon Dynasty(朝鮮). The Hoeamsa Temple Site in Yangju(陽州) is believed to have been destroyed in a fire in the late 16th century, and various artifacts have been excavated after several excavations since 1999. This Temple has been excavated a variety of Fragment of Stone Buddha statues. The Buddha statue of Hoeamsa Temple in Yangju has a hole on top of high usnisa(肉髻), and special folds in the left arm and a thick clothing style. It was reflects the sculptural Joseon style modified by the Tibet-Chinese style. This style is very similar to that of Buddha statues produced in the 15th century, supported by the royal family of Joseon. In particular, these statues were believed to have been produced around the first half of the 15th century when the temple was heavily fortified with the support of Prince Hyo-ryeong(孝寧大君). It is also interesting to note that these statues show the sculptural features of the early Joseon Dynasty, reflecting the Tibetan-Chinese sculptures style, compared to those of the Buddhist sculptures in the first half of the 15th century during the year of Yeongrak (1403~1424) and Seondeok (1426~1435), the kings of the Ming Dynasty. This reflects the development of Buddhist sculptures in the early Joseon Dynasty in line with the trend of Buddhist art in East Asia.

Right Thoughts at the Last Moment

2016 ◽  
Author(s):  
Jacqueline I. Stone
Keyword(s):  
Historical Records ◽  
Pure Land ◽  
Ritual Performance ◽  
Medieval Japan ◽  
Religious Professionals ◽  
Devotional Practices ◽  
Evil Person ◽  
The Moment ◽  
The Buddha ◽  
The Ideal

Buddhists across Asia have often sought to die, as the Buddha himself is said to have done, with a clear and focused mind. This study explores the reception and development in early medieval Japan (roughly, tenth through fourteenth centuries) of the ideal of “dying with right mindfulness” (rinjū shōnen) and the discourses and practices in which it was embedded. By concentrating one’s thoughts on the Buddha at the moment of death, it was said, even the most evil person could escape the round of deluded rebirth and achieve birth in the Pure Land; conversely, even the slightest mental distraction at that juncture could send the most devout practitioner tumbling down into the evil realms. The ideal of mindful death thus generated both hope and anxiety and created a demand for ritual specialists who could help the dying to negotiate this crucial juncture. Examination of hagiographies, ritual manuals, doctrinal writings, didactic tales, diaries, and historical records uncovers the multiple, sometimes contradictory logics by which medieval Japanese approached death. Deathbed practices also illuminate broader issues in medieval Japanese religion that crossed social levels and sectarian lines, including intellectual developments, devotional practices, pollution concerns, ritual performance, and divisions of labor among religious professionals.

scholarly journals Characteristics of Korean Forest Fires and Forest Fire Policies in the Joseon Dynasty Period (1392–1910) Derived From Historical Records

Forests ◽  
2019 ◽  
Vol 10 (1) ◽  
pp. 29
Author(s):  
Donghyun Kim
Keyword(s):  
Forest Fire ◽  
Forest Fires ◽  
East Coast ◽  
Historical Record ◽  
Capital City ◽  
Fire Damage ◽  
Historical Records ◽  
Royal Authority ◽  
Joseon Dynasty ◽  
Fire Stations

This study examined the records of forest fire outbreaks and characteristics over the 518 years of the Joseon Dynasty period (1392–1910) through the analysis of major historical records of Korea. The historical books used in this study were 14 major national historical books, and include the Annals of the Joseon Dynasty (朝鮮王朝實錄), the Diaries of the Royal Secretariat (承政院日記), and the literature was examined, centering on official records of the royal palace in the Joseon Dynasty period. The contents of forest fires recorded in the historical record literature include the overviews of outbreak, forest fire types, and forest fire damage. According to the results of analysis of historical records, the largest forest fire damage was in the forest fire that occurred on the east coast in 1672, in which 65 persons died and in the forest fire that occurred in the same area in 1804, in which 61 persons died and 2600 private houses were destroyed by fire. The causes of fire outbreak were shown to be unknown causes in 42 cases, accidental fires in 10 cases, arson in 3 cases, thunder strike in 3 cases, hunting activities in 2 cases, child playing with fire in 1 case, cultivating activities in 1 case, and house fire in 1 case. Forest fire outbreaks were analyzed by region and by season and according to the results, 56% (39 cases) of the forest fires broke out on the east coast and 73% (46 cases) broke out in the spring. Forest fire policies include those for general forests, those for reserved forests, those for prohibited forests, those for capital city forests, those for royal family’s graves, royal ancestral shrine, and placenta chamber, those for hunting grounds such as martial art teaching fields, and relief policies for people in areas damaged by forest fires, forest fire policies for national defense facilities such as beacon fire stations, and burning and burning control policies for pest control. In conclusion, due to the seriousness of forest fires in the Joseon Dynasty period, the royal authority and local administrative agencies made various forest fire prevention policies, policies for stabilization of the people’s livelihood damaged due to forest fires, and methods to manage major facilities in forests.

Presence and Memory

2018 ◽  
pp. 60-107
Author(s):  
Alexandra Green
Keyword(s):  
Narrative Structure ◽  
Cultural Discourse ◽  
Wall Paintings ◽  
Great Achievement ◽  
The Buddha ◽  
The Temple ◽  
Selection Of

Chapter Two examines the depicted events and scenes as expressions of religious commemoration and as promoting particular social, political, and religious hierarchies. The relationships between the main, usually sculpted, Buddha image and the painted walls created a narrative structure that encompassed the temple interior as a whole and made the Buddha present within the space and in the contemporary moment. The mural sites created a place to remember and honor the Buddha, with the sculpted and painted biographical narratives making him available to contemporary Burmese. The wall paintings illustrated what was culturally praiseworthy to the Burmese, reinforced the relevance of these things socially, and inspired people to participate in the dominant cultural discourse. In the process of doing so, the commemorative imagery demonstrated the field of merit surrounding Gotama Buddha. It memorialized his great achievement and the awakenings of the Buddhas before him, presenting them to the current audience and preserving them for future ones. However, it is the structure of the paintings within the temple layout - the disposition of the images and the selection of stories - that integrated the representations of the Buddhas into a complete unit.

Fo Guang Shan

2019 ◽  
Author(s):  
Kendall Marchman
Keyword(s):  
Chinese Culture ◽  
Publishing House ◽  
Tourist Attraction ◽  
Tourist Destination ◽  
Late 20Th Century ◽  
The World ◽  
Traditional Chinese Culture ◽  
The Face ◽  
The Buddha ◽  
The Temple

Fo Guang Shan is a transnational Buddhist organization that rose to prominence in the late 20th century. Founded in 1967 by the charismatic monk Hsing Yun, who remains the face of the organization, Fo Guang Shan’s main temple and headquarters are in Kaohsiung, Taiwan. The temple has become a major tourist attraction that welcomes millions of visitors annually. Starting in the 1980s, Fo Guang Shan began building other large branch temples around the world, the first of which is Hsi Lai Temple in Hacienda Heights, California. Hsi Lai Temple, like the main Fo Guang Shan campus, has become a popular tourist destination. Fo Guang Shan, Hsi Lai Temple, and the other branches serve their communities with regular services, retreats, festivals, and youth programming that promote Buddhism as well as traditional Chinese culture. The rise of Fo Guang Shan and other Buddhist organizations in Taiwan occurred alongside the economic rise of Taiwan and its citizens. As it continued to grow, the organization developed its own schools and universities, a television station, and a publishing house in order to further spread the teachings of the Buddha.

scholarly journals Corporate Bodies in Early South Asian Buddhism: Some Relics and Their Sponsors According to Epigraphy

Religions ◽  
2018 ◽  
Vol 10 (1) ◽  
pp. 4 ◽  
Author(s):  
Matthew D. Milligan
Keyword(s):  
South Asian ◽  
Historical Records ◽  
Widespread Distribution ◽  
The People ◽  
Early Buddhism ◽  
The Social ◽  
Cast Doubt ◽  
The Buddha ◽  
Corporeal Body ◽  
Over Time

Some of the earliest South Asian Buddhist historical records pertain to the enshrinement of relics, some of which were linked to the Buddha and others associated with prominent monastic teachers and their pupils. Who were the people primarily responsible for these enshrinements? How did the social status of these people represent Buddhism as a burgeoning institution? This paper utilizes early Prakrit inscriptions from India and Sri Lanka to reconsider who was interested in enshrining these relics and what, if any, connection they made have had with each other. Traditional accounts of reliquary enshrinement suggest that king Aśoka began the enterprise of setting up the Buddha’s corporeal body for worship but his own inscriptions cast doubt as to the importance he may have placed in the construction of stūpa-s and the widespread distribution of relics. Instead, as evidenced in epigraphy, inclusive corporations of individuals may have instigated, or, at the very least, became the torchbearers for, reliquary enshrinement as a salvific enterprise. Such corporations comprised of monastics as well as non-monastics and seemed to increasingly become more managerial over time. Eventually, culminating at places like Sanchi, the enshrinement of the corporeal remains of regionally famous monks partially supplanted the corporeal remains of the Buddha. Those interested in funding this new endeavor were corporations of relatives, monastic brethren, and others who were likely friends and immediate acquaintances. In the end, the social and corporate collectivity of early Buddhism may have outshined some textual monastic ideals of social isolation as it pertained to the planning, carrying out, and physical enshrinement of corporeal remains for worship, thus evoking an inclusive sentiment with the monastic institution rather than disassociation.

scholarly journals Toraja culture in relation to the Rambu Solo Cemetery building in Nonongan

2021 ◽  
Vol 878 (1) ◽  
pp. 012002
Author(s):  
U Siahaan ◽  
M M Sudarwani ◽  
G Widati
Keyword(s):  
Research Method ◽  
Technological Progress ◽  
Qualitative Approach ◽  
Cultural Preservation ◽  
Traditional Values ◽  
Main Building ◽  
Traditional Technology ◽  
Almost All ◽  
Customary Practices ◽  
The Prestige

Abstract Today almost all promotions on Toraja culture are focused on Rambu Solo’ traditional ceremony. One of the values of Rambu solo’ is love and affection for the deceased (siri ’tomate), which is parents, grandmothers or ancestors. However, the Rambu Solo’ experiences a shift in value, due to economic and technological progress. The intrinsic meaning of Rambu Solo’ is less attention, while the highlight is the prestige (siri ’totuo) aspect. The purpose of the research is to restore and clarify the noble values contained in the Rambu Solo’ traditional ceremony and to preserve the philosophical values possessed by the traditional ceremony. This research method uses a rationalistic paradigm with a qualitative approach. By revitalizing traditional values and restoring customary practices in accordance with the prevailing customary rules, in the end it also revitalized cultural preservation considering that bamboo roofing Tongkonan and Alang and Banga poles are the main building in the Rambu Solo’ ceremony. Revitalizing traditional technology in making Tongkonan and Alang, the supply of original materials for making Tongkonan & Alang should also be the point of attention.

scholarly journals Templet i Mälby

2014 ◽  
Vol 9 ◽  
pp. 110-129
Author(s):  
Hedvig Mårdh
Keyword(s):  
Gender Studies ◽  
Civil Servant ◽  
Social Function ◽  
Source Material ◽  
Full Scale ◽  
Close Friend ◽  
High Ranking ◽  
Main Building ◽  
And Gender ◽  
The Temple

The Temple in MälbyIn the mid 1780s the count, naval officer, and architect Carl August Ehrensvärd (1745–1800) designed the main building and surrounding gardens at Mälby estate (Gnesta, Sweden). Ehrensvärd’s close friend, the high-ranking civil servant Johan Gustaf von Carlson (1743–1801), was the owner of the estate who commissioned the project. A number of buildings were erected in the ambitiously planned landscape garden, among them a Greek temple, a full-scale reconstruction of the Temple of Theseus in Athens (today known as the Temple of Hephaestus). This temple was one of the first examples of pure neoclassical architecture in Sweden. The aim of the article is to place the temple in a contemporary philosophical, literary, and artistic context, as well as to draw some conclusions about its erection, design and social function. Because the building has long since disappeared, the source material available today includes guidebooks, sketches, letters, and research conducted in the fields of literature, art, and gender studies.

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