Korean Single-Sheet Buddhist Woodblock Illustrated Prints Produced for Protection and Worship
Abstract
:1. Introduction
2. Dharani-Type Prints Functioning as Talismans
3. Single-Sheet Buddhist Prints as Objects of Worship
3.1. Prints with Popular Icons for Worship
3.2. Prints for Worship Reflecting Trends in Faith
4. Conclusions
Funding
Conflicts of Interest
References
Primary Sources
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1 | Feng Zhi, Yun xian san lu 雲仙散錄, Fascicle 5 (Weng and Hongbo 2014, p. 19). |
2 | Daciensi sanzang fashi zhuan 大唐大慈恩寺三藏法師傳, Fascicle 6, preserved at Chion-in Temple, Kyoto, Japan. The “Jinkang incident” mentioned here refers to the siege and sacking of the Northern Song capital Kaifeng by Jin dynasty forces during the Jinkang era (1126–1127). This provides evidence that it was during the Song dynasty that the Monk Rizhi made prints of Amitabha and Avalokitesvara. |
3 | The date is estimated based on the seal reading “seal of Yongxing prefecture” 永興郡印 stamped on the back of this dharani, but the opinions of scholars differ, ranging from Northern Qi, Eastern Jin, and Northern Zhou depending on material used for evidence. However, generally, it is agreed that it was made during the Southern and Northern Dynasties. For more detail, see (Weng and Hongbo 2014, pp. 19–20; Li 2008, Figure 1 explanation). |
4 | Based on the imprint on this dharani mentioning the place name Chengdufu 成都府, which was established in 757, this dharani is thought to have been printed in the eighth century. (Lee 2018, p. 293). For more information regarding the publication period, see (Feng 1957). |
5 | Taishō 20, no.1153_001:617b04, Taishō 20, no.1154:637b19. In regard to the carrying of dharani on the body and accepting and maintaining faith shou chi 受持 in the dharani based on the sutras, see (Copp 2014, pp. 79–87). |
6 | Taishō 20, no.1153_001:0620c09, 0621b06, Taishō 20, no.1154:640b29. |
7 | |
8 | |
9 | For information on the Pratisara Dhrani enshrined in the Buddhist statue at Jaunsa Temple, see (Song 2004, pp. 85–87; Sudeoksa Museum 2004, Figure 57). |
10 | |
11 | Taishō 19, no, 1022B_001:713a02, 714a19. |
12 | |
13 | |
14 | Wenying, Yu hu qing hua 玉壺淸話, Fascicle 5. |
15 | For information regarding Descent of Amitabha and Amitabha Triad paintings from the Goryeo dynasty, see (Kikutake and Jeong 1997, pp. 66–99). |
16 | |
17 | Jebanmun is a compendium of ritual texts from temples around the Korea that was put together for easy reference. |
18 | |
19 | Chan jing shuang xiu 禪淨雙修 emerged after the Tang dynasty in China when Chan temples introduced chanting into their spiritual practice and hence refers to combined meditation and chanting, which is the practice method of Pure Land Buddhism. |
20 | |
21 | In Chinese ritual texts, the Suryukjae altar is divided into upper and lower altars, but, in Korean ritual texts, it is divided into upper, middle and lower altars. |
22 | For information regarding changes in iconography according to Suryukjae ritual texts, see (Park 2008, pp. 370–84); for information regarding changes in pictures of Samjang bosal according to Suryukjae ritual texts, see (Lee 2005, pp. 91–122); for information regarding changes in iconography reflecting trends in faith, see (Jeong 2013, pp. 140–44). |
23 | “Geumgangsan dosoramgi” 金剛山兜率庵記, Cheongheojip 淸虛集, Fascicle 3, Record 11 (Dongguk University Press 1979, p. 707). |
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25 | |
26 |
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Kim, J. Korean Single-Sheet Buddhist Woodblock Illustrated Prints Produced for Protection and Worship. Religions 2020, 11, 647. https://doi.org/10.3390/rel11120647
Kim J. Korean Single-Sheet Buddhist Woodblock Illustrated Prints Produced for Protection and Worship. Religions. 2020; 11(12):647. https://doi.org/10.3390/rel11120647
Chicago/Turabian StyleKim, Jahyun. 2020. "Korean Single-Sheet Buddhist Woodblock Illustrated Prints Produced for Protection and Worship" Religions 11, no. 12: 647. https://doi.org/10.3390/rel11120647
APA StyleKim, J. (2020). Korean Single-Sheet Buddhist Woodblock Illustrated Prints Produced for Protection and Worship. Religions, 11(12), 647. https://doi.org/10.3390/rel11120647