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The Theoretical Meaning & Cultural-Artistic Value of Temple Cymbals Dance |
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| Author |
Kim, Jong-hyung
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| Source |
International Journal of Buddhist Thought & Culture=국제불교문화사상사학회
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| Volume | v.3 |
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| Date | 2003.09 |
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| Pages | 195 - 212 |
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| Publisher | International Association for Buddhist Thought and Culture |
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| Publisher Url |
http://iabtc.org/
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| Location | Seoul, Korea [首爾, 韓國] |
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| Content type | 期刊論文=Journal Article |
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| Language | 英文=English |
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| Abstract | The great masters, Hyekong and Wonhyo of the Shilla Dynasty, were famous for their singing and dancing. Although the Buddha advised both monks and laypeople to abstain from singing and dancing, cousidering it to be unproductive, unhealthy and harmful, Master Hyekong and Wonhyo`s performance may be regarded as that of bodhisattvas, a skillful means to save all beings. Rather than a violation of Buddha`s teaching, it can be viewed as Golden words. Actually, there are also reference in the Sutras in support of singing and dancing. Bara (cymbals) are a musical instrument made of metal, used in Buddhist temple ceremonies such as Palcha(발子) or Tongpal(銅盤). The Cymbals Dance, as one of Chapopmu in Buddhist ceremony, is regarded as an offering of Mind and Body. It is also a kind of training process of Chapopmu. By participating in the ceremony, both the performer and spectator taste the Dharmic joy(universal joy) and feel a sense of oneness of human beings with Buddha. The performance of this dance is an expression of admiration, praise and devotion to Buddha, highlighting the natural and unique beauty of human beings: Through its use of movement to expand time and spatia awareness, we can glimpse the concept of a universe that goes beyond time and space, going towards an experience of oneness of body and spirit. Composed of simple but repeated motions, it makes a dramatic visual effect and exemplifies the principle of moderation through its use of tense but polished beauty as an artistic expression in ceremony. By use of repeated motion it also communicates an experience of stillness, the way of the middle path, and movement through moderation such as holding up two round-shaped baras with cotton strings, hitting, putting down, and turning them around overhead. |
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| Table of contents | Abstract 195
I. Introduction 196
II. Buddhist Music and Dance. 197
Ⅲ. An analysis of Barach'um (Temple Cymbals Dance) 200
1. The meaning of the Cymbals Dance 200
2. Types of Temple Cymbals Dance 202
3. Theoretical meaning of the Temple Cymbals Dance 203
4. Cultural and Artistic Value of the Temple Cymbals Dance 206
IV. Conclusion 207
Glossary of Chinese Terms 208
Reference 211
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| ISSN | 15987914 (P) |
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| Hits | 67 |
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| Created date | 2016.05.09 |
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| Modified date | 2017.07.13 |
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