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Latest Articles
Vol.3 No.1
10papers in this issue.
Abstract
Both the late 15th-century Unicorn Tapestries now at the Cloisters Museum in New York and Daesoon Jinrihoe's Simudo Paintings present a religious narrative through the symbol of the search for an animal that is then subdued. This is now the prevailing scholarly interpretation of the New York Unicorn Tapestries, with the unicorn representing Jesus Christ, although a concurrent reading alluding to human love cannot be excluded. The article examines the New York Unicorn Tapestries according to their Christological interpretation, rooted in traditions about the unicorn popularized by the German medieval mystic Hildegard of Bingen, although in fact much older. It then discusses the Buddhist iconographic tradition of ox-herding paintings that represents an antecedent for the Simudo Paintings and notes the latter's differences and similarities with the New York Unicorn Tapestries.
Abstract
Although English-language academic materials on Kang Jeungsan (강증산/姜甑山 1871-1909) are steadily increasing, the same cannot be said of Jo Jeongsan (조정산/道主 趙鼎山 1895-1958) who remains under-researched as figure of profound significance to the Korean new religion Daesoon Jinrihoe (대순진리회/大巡眞理會). Furthermore, in materials produced by Daesoon Jinrihoe that are later translated into English, the connections that exist between Kang Jeungsan and Jo Jeongsan are often reduced to a few representative examples, when, in fact, many additional examples could be provided for a more comprehensive understanding. Comprehending the basis for the first succession in the three-figure orthodox religious lineage of Daesoon Jinrihoe is crucial to task of properly differentiating Daesoon Jinrihoe from seemingly similar Korean new religions that enshrine Kang Jeungsan as their Supreme God. The research presented in this article, "A Study on the Relationship between Kang Jeungsan and Jo Jeongsan Described in Chapter Two of Progress of the Order," will provide readers with a thorough overview of the basis for Jo Jeongsan's successorship in the orthodox religious lineage of Daesoon Jinrihoe, through an in-depth exploration of Chapter Two of Progress of the Order from Daesoon Jinrihoe's main scripture, The Canonical Scripture. Furthermore, this article will include special explanatory notes to ensure that it can be easily read even by non-specialists.
Abstract
The politico-economic waives of Western imperialism and colonialism, along with Christianity, affected East Asia's geopolitical landscape in the nineteenth and twentieth centuries. While the Korean people (of the Joseon Dynasty) witnessed the incompetence of Buddhism, Confucianism, and folk religions in maintaining social cohesion with a sense of frustration, the new religious movements (NRMs) emerged to provide altrnative teachings of hope through historical figures like Choe Je-u, Kang Il-sun (or Kang Jeungsan), Na Cheol, and Pak Chungbin. In terms of popularity, colonial Korea (1910-1940) was impressed by the native groups of Cheondogyo (=Donghak), Bocheongyo, and Mugeukdo. Son Byong-hee (1861-1922) was the third leader of the first Korean NRM, but both Cha Gyeong-seok (1880-1936) and Jo Cheol-Je (= Jo Jeongsan) (1895-1958) participated in the post-Jeungsan grassroots movements. How, then, did both of these new religions originate? How did they conceptualise their deities and interpret their teachings differently? What was their policy for national independence? The article explores the socio-religious leaders, historical origin, organizational structure, deities, teaching and doctrines, patriotism, and conflicts of both NRMs in a comparative context. As such, this article argues that they both maintained patriotic characteristics, but that Cha's Bocheongyo community with its ' 60-executives' system (60 bang) failed to manage their internal conflicts effectively. Meanwhile, Jo Cheol-Je of Mugeukdo had the charismatic leadership needed to maintain Mugeukdo, despite being seen as a pseudoreligion under the colonial pressure of Shintoism.
Abstract
From the time it was propagated to Vietnam until it was forced to relinquish its leadership position in both politics and philosophy, Confucianism in Vietnam was never orthodox Confucianism. This study employs the theory of invented tradition to examine how Confucianism penetrated the ethnic Vietnamese community at the turn of the first millennium and points out its vital requirement: the construction of a Chinese-style centralized administrative government based on Neo-Confucianism. This requirement unfolded during the Le So Dynasty in the fifteenth century. Moreover, the theory of invented tradition can also be applied to discover the motivation behind Neo-Confucianism's process of manufacturing orthodoxy to speed up the goal of Sinicization. Somehow, the launching of the imperial examination system, meant to fulfill a system of bureaucracy, ended up resolving one of the greatest challenges of medieval times. It is to seek the ruler's uncritical submission to the ruled. This article applies hauntology to analyze two forms of Confucianism discourse in Vietnam. In doing so, this study determined that Confucianism evolved into its own unique system of thought in Vietnam and in the end, was not even recognizable as Confucianism. Throughout Vietnam's turbulent history, Confucianism shifted from a symbol of progress to one of backwardness. This culminated Vietnam's preoccupation with the de-Sinicization during the early twenty-first century.
Abstract
Recent research shows that since the early 2000s, the Chinese Communist Party has increasingly used various cultural heritage sites, including Buddhist sites, as soft power agents. Furthermore, in the context of the Belt and Road Initiative, launched by the People's Republic of China, Buddhist temples, representatives, and practices have been harnessed to play a role in the state's agenda. In this context, White Horse Temple, as a feature of cultural tourism in Henan Province, is facing new opportunities and challenges. The article examines the material particularities of reconstructing the temple in light of this trajectory, building on materials retrieved at the site, and online representations of the temple. The author explores how the temple's unique spatiality and characteristics stress the use of soft power which harnesses online and offline cultural and popular trends for state agenda.
Abstract
The concept of interfaith harmony is one of the key issues for discussion in this contemporary world. It has multifaceted implications that range from pedagogical realms to global policy making. Here we focus on the basic concepts of interfaith harmony from Sikh and Cao Dai perspectives in order to address their viewpoints in regard to promoting culture of Peace and Understanding. Although these religions are new as compared to the existing living religions of the world, they found their new identity in the history of world religions for their unique concepts of interfaith harmony. In this article, the concept of interfaith harmony has been analyzed from two perspectives such as theological and socio-historical. For a systematic understanding of the subject matter, it has been categorized into three subpoints; unity of God, unity of religions and unity of humanity. Methodologically, the qualitative methodological framework of the proposed research is descriptive in nature. Thus, the present research has been primarily conducted by using secondary sources, although the crucial information is collected from primary sources such as the sacred texts of Sikhism and Caodaism. Since this study is done considering the social, political and religious contexts of India and Vietnam, it can contribute to the understanding of the nature of interfaith harmony in South and South-East Asia.
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