Korea Journal of Buddhist Studies ISSN:1598-0642(Print) 불교학연구

In this paper, it is held that the Sun-moon light pattern and Cheonwang (heavenly king) pattern patch, the characteristics of Korean traditional kaṣāya, were developed from a Chinese cultural background, maintaining the same viewpoint as 〈Ilwol-5 Akdo(Sun, Moon and 5 Mounts Picture)〉. For this, the author first deals with the characteristics of Korean traditional kaṣāya, which becomes the basic standpoint for the establishment of significance in this paper. Then, based on this stance, Seongin-gunju theory (holyman kingship theory) in Chinese cultural area is discussed. Seongin-gunju theory is an important characteristic of a Chinese cultural area that maintains the monistic viewpoint. In this respect, the relationship between the holy man and the king is considered again, as well as the possibility that both can borrow the same symbol in that they occupy the same hierarchy. Next, this paper deals with the symbols and the implications in the Sun-moon light pattern/Cheonwang patch of Korean kaṣāya and its counterpart 〈Ilwol-5 Akdo〉. The painting 〈Ilwol-5 Akdo〉 symbolizes the ruling and authority of the king over this world. Through this examination, we can verify the correlation with above mentioned Sun-moon light pattern/ Cheonwang patch. Upon completion of this background research, we can finally approach the validity of comparison between the Sun-moon light pattern/Cheonwang patch of Korean kaṣāya and〈 Ilwol-5 Akdo〉. Particularly, this approach needs to notice the reestablishment of the sun-moon light theory in Buddhist cosmology and the completion of the Cheonwang pattern patch which all occurred during the late Joseon Dynasty, for they are presenting the unified value with〈 Ilwol-5 Akdo〉 in an overall perspective. This shows clearly that Sun-moon light pattern and Cheonwang patch of Korean kaṣāya had Buddhist meanings based on Chinese culture.