Intangible Culture ISSN:2799-3868(Print) 무형문화연구

Classrooms mean spaces where teaching and learning take place. In this classroom, there are teachers and students who teach, and the relationship they have is established. And there are various objects that make up the classroom. It can be said that with the existence of schools, classrooms soon existed, but the history of civic education, in which education for all citizens began to take place, has not been very long. As the subject of education has expanded dramatically, a standardized space that can accommodate many people was needed, and as a result, we can face the schools and classrooms we are currently facing all over the world. The center of what students and teachers meet in this strangulation is a subject-based class. Classes are interactions in which teachers respond by transferring knowledge related to the subject to students in their own language. However, as reports that it is difficult to teach the class in our classroom have become common, the mental and physical pain that teachers have to experience has long exceeded a certain line. Teacher's pain is directly connected to the pain of students, and it spreads throughout society through parents and local communities. Faced with this reality, this small discussion attempted to make the teacher's mind study a starting point for solving the problem. Jinul's practice, which is to be called at this point, has a wealth of implications as a practical guide by emphasizing the scoring process at the same time while presupposing sudden enlightenment(頓悟). Jinul's mind-study, which values the practical process of gradual cultivating(漸修) and encompasses all stages of enlightenment from comprehending enlightenment(解悟) to deep enlightenment(證悟), can open a way for teachers to resolve the daily pain they encounter in the classroom by looking at it as it is. We looked at Jinul's model together as a teacher, and this model can be summarized as a three-disciplinary process of selecting and practicing practical mind-study such as meditation, which allows students to continuously think and practice, along with subject-related texts, in compliance with the precept of finding their inner order in daily life. This sharing of mind-study can lead to the ability of teachers to reflect on the language that conveys concepts and values in class, and it can in turn increase the likelihood of responding actively and appropriately to students’ responses in class expressed in language and non-verbal language. This should be the starting point. Teachers can maintain their 'no interference' orientation only when family and school support can be provided on that foundation, but they cannot be left blaming the lack of support. This is because other alternatives are not easily found, and the path may be the most fundamental shortcut.

The purpose of this study is to establish an academic foundation for Buddhist education by comprehensively examining its identity, framework, contents, and methodology. This study proposes a new academic framework that applies Wonhyo’s Hwajaeng (harmonization of disputes) philosophy to overcome the dichotomous thinking of “Buddhism first vs. pedagogy first” that has plagued existing discussions on Buddhist education. This framework utilizes the Three Greats (Samdae) and Four Faiths (Sasin) from the Awakening of Faith in the Mahayana to provide an integrated perspective on the fundamental purpose, content, and methodology of Buddhist education. This approach leads to the identification of four key research areas: “realization and human perfection,” “restoration of the essence of education,” “systematization of practice,” and “scientification of Dharma transmission”. The study also explores the specific objectives, content, and methods of Buddhist education to address the challenges faced by both Buddhism and pedagogy, ultimately seeking its role as a discipline that offers solutions to global and human issues. 13th and 14th centuries, from various angles. Buddhist education serves as a powerful tool for reinterpreting and systematically transmitting Buddhist teachings in a modern context, enabling it to overcome the challenges currently faced by the Buddhist community. Specifically, Buddhist education can establish itself as a practical and sustainable discipline in contemporary society through the scientification of Dharma transmission, systematization of practice, contribution to solving social problems, nurturing young Buddhists, talent development, provision of digital education programs, and globalization. Future research should focus on verifying the effectiveness of Buddhist education programs and strengthening interdisciplinary connections with fields such as psychology, sociology, and digital technology.

The life of a teacher is characterized by the inseparability of their personal life and their relational life with students. Recognition of the net of interconnectedness and mutual trust leads teachers and students to become spiritual companions seeking moral growth. In moral education, authority serves as a critical element that helps individuals transcend egoism and recognize their connectedness with others. Both Durkheim and the Buddha posit that morality is cultivated through habituation based on rules. Authority facilitates repetitive practice, ensuring that moral actions are internalized as habits. For Durkheim, a teacher's authority is established by embodying the authority of society. In this regard, the teacher must fulfill roles involving the firm application of rules, faith in society, and upholding the ascendancy of rules. Regarding the Sangha Precepts(sīla and vinaya), authority is imbued in the precepts through the Precepts Ceremony and the reflective rituals of Uposatha(布薩) and Pavāraṇā(自恣). Furthermore, the Buddha’s authority as a teacher is manifested through his character, which aligns perfectly with the precepts, and his relationships with disciples based on compassion.

This study examines the persistent gap between moral knowledge, moral judgment, and moral practice by analyzing the mental dynamics of the three poisons—greed, anger, and delusion—depicted in the parables of Baekyoo-Kyung. Rather than attributing this gap to deficiencies in moral reasoning or motivation, the study conceptualizes it as a pedagogical problem rooted in insufficient reflection on the internal mental conditions that shape the moral actions of a being. Although the 2022 Korean Moral Education Curriculum emphasizes the integration of cognition, emotion, and practice, current instructional approaches remain limited in addressing the concrete psychological processes—such as desire, emotional reactivity, and self-justification—that obstruct the enactment of moral judgment in everyday life. In response, this study argues that effective moral education should prioritize reflective inquiry into the workings of the mind that mediate moral knowledge and action. From this perspective, Baekyoo-Kyung, traditionally attributed to Sanghasena, offers a pedagogically valuable resource. Its parables portray ordinary moral failures rooted in the three poisons through familiar everyday situations, making the dynamics of moral breakdown accessible to learners. Building on this insight, thirteen parables are reconstructed as inquiry-based learning activities structured around a dual-question framework: awareness of mental processes and reflective personal application. This study demonstrates that moral education grounded in reflective engagement with mental dynamics can function as a practical framework for cultivating moral agency beyond normative instruction.

This study explores the emergence and development of the concept of zero in mathematics, focusing on the practical aspects of suññatā in early Buddhism and the dependent-arising aspects of śūnyatā emphasized by Nāgārjuna. Zero first appeared as a placeholder driven by practical needs and was later conceptualized as a number in Indian mathematics as śūnya, derived from Buddhist śūnyatā. Over time, zero assumed multiple roles—as part of operations and their results, as a reference point, and as a limit value—through mathematicians’ exploration of condition-dependent change and the continual relating of seemingly unrelated entities. In elementary mathematics education, zero appears in multiple ways and offers a meaningful context for students to experience doing mathematics; accordingly, this study reexamines zero from the practical and dependent-arising perspectives of śūnyatā and presents implications.

This study explores the potential for utilizing Buddhist gasa (Buddhist vernacular verse) in Korean literary education, where its application is currently marginal, and aims to propose a design for healing literary education based on the implemented Buddhist concept of Samsara(輪迴) to contribute to the psychological well-being and holistic development of learners. Despite being created, transmitted, and enjoyed by temple members and the public from the Joseon Dynasty to the present, Buddhist gasa has been largely excluded from institutional education due to its religious origin and the dominance of a traditional ‘canonical’ perspective in classical literature curricula. This marginalization is partly due to the difficulty in proving its 'literary quality' according to traditional perspectives. However, Buddhism is a significant cultural asset in Korean society, extending beyond a mere religion. Its cyclical worldview, Samsara, or the principle of the cycle of life and death, offers a critical framework to address contemporary youth issues like depression, learned helplessness, conspicuous consumption, and anger. These problems are often exacerbated by a mentality that places absolute value on the present moment. By emphasizing the continuity of life across past, present, and future, the Samsara philosophy encourages a broader, transcendent perspective. This aligns with the Korean language curriculum's goals of cultivating learners’ capacities for respecting diverse values and collaboratively solving individual and community problems. To demonstrate this potential, the study focuses on Hoesimgok(回心曲), a representative Buddhist gasa. Hoesimgok vividly implements Samsara by depicting birth, aging, sickness, death, and the afterlife in the Courts of the Ten Kings. The text is characterized by detailed scene descriptions rather than direct instruction, reflecting and responding to the public's deep-seated interest in and fear of death. Its mass appeal was further enhanced by reflecting the audience's worldly desires, presenting rebirth in this world as a reward for good deeds alongside the ultimate goal of rebirth in Sukhavati(極樂往生). The study adopts W. Dilthey’s concept of ㄱetrospective Experience as a key pedagogical method, focusing on reconstructing the lives and social issues of the gasa's historical consumers. The proposed curriculum follows a three-stage process: 1) Self-Injection, understanding the social issues of commoners; 2) Imagination, reconstructing the popular sentiment and consciousness reflected in the gasa; and 3) Actualization, connecting these historical insights to one's own current problems to seek solutions. To ensure a lasting impact, a developmental model is proposed to connect secondary and higher education. Secondary education focuses on individual- centered learning (personal problems) using Nachleben, while higher education advances to collaboration-centered learning (social problems) by expanding the retrospective experience to include criticism and application of the text and its cultural context. This holistic approach, moving beyond the confines of canonical literature, seeks to create a flexible and comprehensive model for literary education that actively contributes to the lifelong healing and development of learners.

This study examines the thought of Master Seosan Hyujeong (休靜, 1520-1604) as a ‘dual structure’ composed of two pillars: Seon-Gyo Unity (禪敎一致, unity of Seon and doctrinal Buddhism) and the Harmonization of Three Teachings (三敎合一, unity of Confucianism, Daoism, and Buddhism). The research aims to elucidate how these two philosophical frameworks organically interconnect to form an integrated system for the survival and development of Buddhism during the mid-Joseon period. To this end, textual analysis was conducted focusing on Hyujeong’s major works, including Seonga Gwigam (禪家龜鑑, Mirror for the Seon School), Seongyo Seok (禪敎釋, Explanation of Seon and Doctrine), and Samga Gwigam (三家龜鑑, Mirror for the Three Schools), interpreting them within their contemporary historical and social contexts. The findings reveal that Hyujeong’s Seon-Gyo Unity thought constitutes a practical methodology pursuing Seon enlightenment built upon a doctrinal foundation through the systematic practice theory of sagyo-ipseon (捨敎入禪, abandoning doctrine to enter Seon). Hyujeong proposed that while Seon and doctrine ultimately converge in ‘one mind’ (ilsim, 一心), they maintain a methodological hierarchy of ‘Seon as primary, doctrine as secondary’ (seonju-gyojong, 禪主敎從), thereby resolving sectarian conflicts within Buddhism. The Harmonization of Three Teachings served as a philosophical strategy to secure Buddhism’s legitimacy in Joseon society, where Neo-Confucianism was the dominant ideology. Hyujeong integrated the core teachings of Confucianism, Daoism, and Buddhism through the common reality of ‘mind’ or ‘one thing’ (ilmul, 一物). His staged approach to practice—"Confucianism plants the root, Daoism cultivates the root, and Buddhism extracts the root"—represents an original perspective that reconceptualizes the three teachings as progressive stages of spiritual deepening rather than parallel systems. The essence of the dual structure highlighted in this research lies in the logical connection between Seon-Gyo Unity and the Harmonization of Three Teachings. If Seon-Gyo Unity represents the logic of integrating Seon and doctrine within Buddhism through ‘one mind,’ then the Harmonization of Three Teachings extends this integrative logic to philosophical traditions outside Buddhism, demonstrating a consistent logical structure of expansion from intension to extension. Both frameworks exhibit an expedient means (upāya) dual structure while maintaining open and dynamic characteristics. Hyujeong’s dual structure holds significant importance in Korean Buddhist history. First, it reestablished the identity of Joseon Buddhism by mitigating internal sectarian conflicts and presenting an integrated practice system. Second, it provided a philosophical foundation for securing Buddhism’s social legitimacy in a Neo-Confucian centered society. Third, by integrating transcendental practice with worldly engagement, it became the ideological foundation for the righteous monk army (uiseung-gun) during the Japanese invasions of Korea. Hyujeong’s thought of Seon-Gyo Unity and the Harmonization of Three Teachings was a sophisticated ideological system meticulously constructed for Buddhism’s survival and development in the specific historical context of 16th-century Joseon, representing an integrated philosophy based on profound philosophical insight beyond mere eclecticism.

The purpose of this study isto examine the mechanisms of emotional transformation presented in the Aṅgulimāla narrative of the Majjhima Nikāya, the mustard-seed episode of Kisā Gotamī found in the Apadānatradition, and the Satipaṭṭhāna Sutta, and to interpret these mechanisms through a comparative analysis with Polyvagal Theory. The research method involvesanalyzing the Aṅgulimāla narrative and the Kisā Gotamī episode as counseling cases, followed by an examination of the early Buddhist model of emotional formation—contact (phassa), feeling (vedanā), perception (saññā), and thought (vitakka/papañca)—together with the practice of contemplation of feeling (vedanānupassanā). These elements are then compared with the Polyvagal framework of ventral vagal–based stabilization, co-regulation, and social engagement. The results show that the Buddha’s counseling interactionfunctions not merely as moral instruction but as a relational factor that actively facilitates emotional transformation. Early Buddhist texts conceptualize emotion as a process originating in bodily sensation–based feeling (vedanā), which is subsequently shaped through perception and cognitive elaboration. This perspective corresponds, at an interpretive level, to the Polyvagal emphasis on ventral vagal–mediated safety, co-regulation, and social connection. Furthermore, contemplation of feeling can be identified as a key intervention point for bottom-up regulation by reducing reactive responding. Based on these findings, this studydemonstrates that the Buddha’s counseling interaction constitutes a central mechanism driving emotional transformation and formalizes a bottom-up regulatory pathway in which immediate recognition of feeling (vedanā) and the cultivation of non-reactivity intervene in the contact–feeling–perception–thought sequence. This pathway shows interpretive coherence with the Polyvagal model of safety, co-regulation, and social engagement, and suggests practical applicability through interventions emphasizing safety cues, regulation of breath and posture, and immediate awareness of felt experience.

This study addresses a fundamental paradox embedded in Buddhist ritual practice: how to render physically absent patriarchs present within the ritual space. Through a comparative analysis of patriarchal memorial rites across the Tiantai school, Chan Buddhism, and Korean Buddhism, this research explores the distinctive methodologies each tradition developed to overcome absence and actualize presence. The primary sources examined include Zunshi’s Memorial Ritual for Master Zhiyi of Tiantai (11th century), Dehui’s Chixiu Baizhang Qinggui (14th century), and two Korean texts from the Joseon period: Cheongmun (1529) and Jakbeop Gwigam (1826). The analysis proceeds along three dimensions—ritual structure, linguistic operation, and spatiotemporal configuration—with Maurice Halbwachs’s theory of collective memory serving as the interpretive framework. The findings reveal that Tiantai’s Twelve Prostrations reconstruct Master Zhiyi’s life as a twelve-stage narrative, ritualizing the ideal of yuandun (perfect and sudden enlightenment) through a structure of progressive re-experience. The practice of ritually revisiting specific sites of the patriarch’s cultivation functions as a social framework that transforms individual awakening into collective memory. In contrast, Chan’s “Bodhidharma Memorial” (Damo ji) achieves direct presence through teweitang—a tea offering specially prepared for the patriarch’s memorial day—maintaining extreme linguistic restraint while employing tea as a material medium. The ritual setting of banzhentang, in which patriarch and assembly share tea together, reflects Chan’s aspiration to realize the Way through ordinary, everyday acts. The Korean texts Cheongmun and Jakbeop Gwigam exhibit a pattern of integrating elements from both traditions. Cheongmun condenses Chinese ritual procedures into a single-day format while adopting direct tea offerings by the abbot and head monk. By the time of Jakbeop Gwigam, a fully articulated five-stage structure emerges—summoning, offering a seat, presenting offerings, proclamation, and sending off—accompanied by ritual language that juxtaposes “the lamp of the Buddha’s mind” with “the ocean of teachings.” What this study attempts to demonstrate is that differences in ritual form may be correlated with the soteriological orientations of each school. If Tiantai’s Twelve Prostrations pursue progressive re-experience through narrative structure, and Chan’s “Bodhidharma Memorial” seeks immediate presence through linguistic restraint, then Cheongmun and Jakbeop Gwigam reveal a process of reception and reconstruction that draws upon both approaches. Halbwachs’s theory of collective memory has proven to be an effective analytical framework for elucidating the social mechanisms by which ritual transforms individual practice into collective identity.

The fact that Hotsori lyric poems are generally composed of seven-word or five-word four-phrase fixed-form verses has long been accepted as an established theory in academia. This paper questions this existing fact, and aims to examine whether Hotsori Beompaes are mostly composed of fixed-form verses and classify and organize the genres of the contained musical pieces. The Hotsori Beompaes sung by professional Beompae monks selected from the sound sources contained in “Sangjugwon-gong,” “Gakbae,” and “Yeongsan” were examined. The literary forms of the lyrics were analyzed by album, and were put together to statistically organize the patterns of Beompaes lyrics. The literary forms of the lyrics were categorized into five types: verse, prose, titles and mantras, names(Buddha’s names) and mixed forms. According to the results of analyses by album, the lyrics contained in “Sangjugwongong” were composed of 50% verse, 20.83% prose, 20.83% mantra, and 8.33% mixed, showing a high proportion of verse. Those contained in “Gakbae” were composed of 9.09% verse, 54.55% prose, 27.27% titles and mantras, and 9.09% names, showing a high proportion of prose, contrary to “Sangjugwongong.” Finally, those contained in “Yeongsan” were composed of 20% verse, 72% prose, 4% titles and mantras, and 4% mixed, showing a much higher proportion of prose than verse. Eventually, it was confirmed that the proportions of verses were high in “Sangjugwongong,” and rather low in “Gakbae” and “Yeongsan.” When all the 18 albums were put together and the Hotsori Beompae lyrics were statistically analyzed, it could be seen that they were composed of 30% verses, 48.33% proses, 15% titles and mantras, 1.67% names, and 5% mixed forms, indicating that the overall proportion of proses is higher than verse in the lyrics of Hotsori Beompaes. Therefore, the existing belief that most of the lyrics of Hotsori songs are composed of fixed-form poetry is different from the reality, and the statistical results for Hotsori Beompaes actually show that the proportion of proses is higher than that of verses. Therefore, the relationship that most Hotsori Beompaes are composed of verses, such as fixed-form poetry, does not hold.

This study aimed to examine the cultural value of the ritual of Jogyesa Temple's Danojae[端午齋] by examining its ritual and its characteristics. The results of this study can be summarized as follows. First, the main ritual of Jogyesa Temple's Danojae [端午齋] is 'burying a salt jar', and we looked into why this ritual is performed next to the Haitai [獬豸] statue. In the late Joseon Dynasty, Haitai [獬豸] was interpreted in terms of Pungsu [風水] and emerged as a symbol of water that could quell the energy of fire. Considering that Jogyesa Temple was rebuilt around the same time, it seems reasonable to assume that the Haitai [獬豸] of Jogyesa Temple was also erected with the meaning of an animal symbolizing water. In this way, it was found that the purpose of Jogyesa Danojae [端午齋] to control the energy of fire and the meaning of Haitai [獬豸] were consistent. Second, we examined the relationship between Danojae [端午齋] and Sinjung [神衆] prayers. Traditionally, Sinjung [神衆] prayers are recognized as prayers for the well-being and peace of the family and the fulfillment of various wishes. Likewise, it was found that various customs performed on the traditional Dano [端午] day also have the common purpose of blocking bad energy. Third, we looked at the meaning of everyone filling the jar with salt together. This ritual can be said to be unique to Jogyesa Temple. This is related to the fact that Jogyesa Temple Danojae [端午齋] mentioned above has the nature of Sinjung [神衆] prayer. In other words, it contains the meaning that the object of prayer is not only the Jogyesa Temple building but also each household. Accordingly, the public who put salt prays for the safety of the temple from fire and for the well-being of their households at the same time. This characteristic of the ritual is a uniqueness that comes from Jogyesa Temple's characteristic as an urban temple. Fourth, you can encounter the traditional Dano [端午] culture that has been fading away in Seoul since the 1930s. Jogyesa Temple holds various events where you can enjoy the traditional Dano [端午] culture, and in addition, we perform a ‘foot-washing ceremony’ for the elderly every year by combining our traditional idea of ​​‘孝’ and the custom of the traditional Dano [端午] day. In this way, Jogyesa Temple Dano Festival has the meaning of a place where you can get a glimpse of and experience Buddhism and Korean traditional culture.