Seunghye Lee
Biographic Data
| ID | 3891359 |
|---|---|
| NAME | Seunghye Lee |
| GIVEN NAMES | Seunghye |
| FAMILY NAME | Lee |
| SIGNATURE | LEE S |
| AFFILIATIONS | Samsung (South Korea) |
| ORCID | 0000-0002-5093-4878 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Salvation Reimagined
Sweet dew paintings, which emerged in the sixteenth century, served as altarpieces for the low ritual altars where ceremonies for the disembodied were conducted in the three-altar configuration of the Korean Buddhist liturgy. Through their complex iconography, these paintings conveyed the message that all souls suffering from the misfortune and wrongdoings of previous lives could be saved through the salvific power of the divine and thus attain a…
The Dhāraṇī Coffin from the Nongso Tomb and the Cult of Shattering Hell during the Koryŏ Dynasty
Inscriptions of Buddhist mantras and dhāraṇīs were interred in Chinese tombs on behalf of the deceased from the Tang dynasty onward as the fear of postmortem judgment and punishment in the ten courts of hell became firmly rooted. This notion of the afterlife and the practice of enclosing dhāraṇī inscriptions in tombs seem to have been received by Korean Buddhists by the beginning of the Koryŏ (918-1392). This paper, through a close examination of…
Text, Materiality, and Enshrinement Practices
This article examines woodblock prints of the Sūtra of the Dhāraṇī of the Precious Casket Seal of the Concealed Complete-Body Relics of the Essence of All Tathāgatas, a short text that came to serve as a backbone for the textual relic cult and, starting in the early Koryŏ, became an important part of consecratory deposits of Buddhist icons. This article focuses on how material embodiments of dhāraṇīs were enshrined in the Korean context and how s…
Korea's First Museum and the Categorization of “Buddhist Statues
The establishment of a museum in the precinct of Ch'anggyŏnggung Palace in 1909 marked an important moment in the historiography of Korean art. Although recent studies have examined the founding, organization, and financing of the first Korean museum, the formation of its Buddhist art collection and its historical implications remain unexamined. Given that not a single Buddhist temple was allowed to exist within the capital city, the entry of the…
The Material Culture of Buddhist Propagation
The restrictive measures against Buddhism under the Neo-Confucian Chosŏn dynasty resulted in the decline of Korean Buddhism at the start of the twentieth century. As the Chosŏn government started to make sweeping changes in the name of modernization, Korean Buddhist monks found an opportunity to revitalize their tradition through measures of reform. This paper examines one instance of attempts to bring Korean Buddhism back to the center of the co…
"What Was in the "Precious Casket Seal
Material evidence from late medieval China attests that Buddhist of the Wuyue kingdom and Liao empire participated in the pan-Buddhist practice of dhāraṇīs and, more specifically, the cult of textual relics. What formed the basis of the cult is the Sūtra of theDhāraṇī of the Precious Casket Seal of the Concealed Complete-body Relics of the Essence of All Tathāgatas. I argue that the rhetoric of completeness, which is brought to the fore in the su…
Aspirations for the Pure Land Embodied in a Modern Korean Temple, Anyang’am
A binary model of patronage has often guided previous studies on modern Korean Buddhist paintings from the metropolitan area around present-day Seoul. This model sharply contrasts works sponsored by the royal court at the end of Chosŏn with those commissioned by abbots of prominent temples during the colonial period. In this model, formal features of paintings are aligned with social status and the political stance of patrons; court-sponsored wor…
Rethinking Pokchang as Pratiṣṭhā
Qu’est-ce qui transforme une image de Bouddha en Bouddha ? Cette question a été vivement débattue depuis les années 1990. Les études afférentes sont centrées en particulier sur les rituels d’installation d’images bouddhiques dans des contextes ésotériques indo-tibétains et sur les objets que l’intérieur des statues bouddhiques chinoises et japonaises recèle. Il existe peu de preuves textuelles de tels rituels dans les textes religieux chinois et …
The Korean Pokchang Tradition and the Placing of Objects in Buddhist Statues
Robson James, Lee Seunghye, Kim Youn-mi. The Korean Pokchang Tradition and the Placing of Objects in Buddhist Statues. In: Cahiers d'Extrême-Asie, vol. 28, 2019. Pokchang. Image Consecration in Korean Buddhism / Consécration des images dans le bouddhisme coréen. pp. 1-21
Goryeo’s Reception of a Wuyue Edition ofthe Baoqieyin Dhāraṇī Sūtra
Korea's First Museum and the Categorization of “Buddhist Statues
The establishment of a museum in the precinct of Ch'anggyŏnggung Palace in 1909 marked an important moment in the historiography of Korean art. Although recent studies have examined the founding, organization, and financing of the first Korean museum, the formation of its Buddhist art collection and its historical implications remain unexamined. Given that not a single Buddhist temple was allowed to exist within the capital city, the entry of the…
"What Was in the "Precious Casket Seal
Material evidence from late medieval China attests that Buddhist of the Wuyue kingdom and Liao empire participated in the pan-Buddhist practice of dhāraṇīs and, more specifically, the cult of textual relics. What formed the basis of the cult is the Sūtra of theDhāraṇī of the Precious Casket Seal of the Concealed Complete-body Relics of the Essence of All Tathāgatas. I argue that the rhetoric of completeness, which is brought to the fore in the su…
Goryeo’s Reception of a Wuyue Edition ofthe Baoqieyin Dhāraṇī Sūtra
Aspirations for the Pure Land Embodied in a Modern Korean Temple, Anyang’am
A binary model of patronage has often guided previous studies on modern Korean Buddhist paintings from the metropolitan area around present-day Seoul. This model sharply contrasts works sponsored by the royal court at the end of Chosŏn with those commissioned by abbots of prominent temples during the colonial period. In this model, formal features of paintings are aligned with social status and the political stance of patrons; court-sponsored wor…
Rethinking Pokchang as Pratiṣṭhā
Qu’est-ce qui transforme une image de Bouddha en Bouddha ? Cette question a été vivement débattue depuis les années 1990. Les études afférentes sont centrées en particulier sur les rituels d’installation d’images bouddhiques dans des contextes ésotériques indo-tibétains et sur les objets que l’intérieur des statues bouddhiques chinoises et japonaises recèle. Il existe peu de preuves textuelles de tels rituels dans les textes religieux chinois et …
The Korean Pokchang Tradition and the Placing of Objects in Buddhist Statues
Robson James, Lee Seunghye, Kim Youn-mi. The Korean Pokchang Tradition and the Placing of Objects in Buddhist Statues. In: Cahiers d'Extrême-Asie, vol. 28, 2019. Pokchang. Image Consecration in Korean Buddhism / Consécration des images dans le bouddhisme coréen. pp. 1-21
"What Was in the "Precious Casket Seal
Material evidence from late medieval China attests that Buddhist of the Wuyue kingdom and Liao empire participated in the pan-Buddhist practice of dhāraṇīs and, more specifically, the cult of textual relics. What formed the basis of the cult is the Sūtra of theDhāraṇī of the Precious Casket Seal of the Concealed Complete-body Relics of the Essence of All Tathāgatas. I argue that the rhetoric of completeness, which is brought to the fore in the su…
Korea's First Museum and the Categorization of “Buddhist Statues
The establishment of a museum in the precinct of Ch'anggyŏnggung Palace in 1909 marked an important moment in the historiography of Korean art. Although recent studies have examined the founding, organization, and financing of the first Korean museum, the formation of its Buddhist art collection and its historical implications remain unexamined. Given that not a single Buddhist temple was allowed to exist within the capital city, the entry of the…
The Material Culture of Buddhist Propagation
The restrictive measures against Buddhism under the Neo-Confucian Chosŏn dynasty resulted in the decline of Korean Buddhism at the start of the twentieth century. As the Chosŏn government started to make sweeping changes in the name of modernization, Korean Buddhist monks found an opportunity to revitalize their tradition through measures of reform. This paper examines one instance of attempts to bring Korean Buddhism back to the center of the co…
Text, Materiality, and Enshrinement Practices
This article examines woodblock prints of the Sūtra of the Dhāraṇī of the Precious Casket Seal of the Concealed Complete-Body Relics of the Essence of All Tathāgatas, a short text that came to serve as a backbone for the textual relic cult and, starting in the early Koryŏ, became an important part of consecratory deposits of Buddhist icons. This article focuses on how material embodiments of dhāraṇīs were enshrined in the Korean context and how s…
Salvation Reimagined
Sweet dew paintings, which emerged in the sixteenth century, served as altarpieces for the low ritual altars where ceremonies for the disembodied were conducted in the three-altar configuration of the Korean Buddhist liturgy. Through their complex iconography, these paintings conveyed the message that all souls suffering from the misfortune and wrongdoings of previous lives could be saved through the salvific power of the divine and thus attain a…
The Dhāraṇī Coffin from the Nongso Tomb and the Cult of Shattering Hell during the Koryŏ Dynasty
Inscriptions of Buddhist mantras and dhāraṇīs were interred in Chinese tombs on behalf of the deceased from the Tang dynasty onward as the fear of postmortem judgment and punishment in the ten courts of hell became firmly rooted. This notion of the afterlife and the practice of enclosing dhāraṇī inscriptions in tombs seem to have been received by Korean Buddhists by the beginning of the Koryŏ (918-1392). This paper, through a close examination of…
Chinese history and philosophy (10 works) · Japanese History and Culture (9 works) · Archaeology (8 works) · Art (8 works) · History (8 works) · Buddhism (7 works) · Ancient history (6 works) · Philosophy (6 works) · Asian Culture and Media Studies (3 works) · Cult (3 works)