지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Among the cultural heritage, intangible heritages are already gone or in danger of disappearing, and circling the pagoda is one of them. Currently, there are only two places for circling the pagoda in the country. Among them, circling the pagoda, which is relatively well transmitted, remains almost the only circling the pagoda of Woljeongsa.
The purpose of this paper was to explore and direct how circling the pagoda in such a crisis could be firmly established as a traditional cultural heritage.
This paper was created by closely observing the site where circling the pagoda of Woljeongsa was carried out in keeping with the field‐oriented attitude of focusing on the field of folklore. First, this paper examined the origins and significance of circling the pagoda, which is believed to have originated in Buddhism. The center of circling the pagoda of Woljeongsa is the Woljeongsa pagoda. By identifying the nature of the octagonal 9‐storied pagoda of Woljeongsa, this paper attempted to discover the driving force for the power of transmitting circling the pagoda. Circling the pagoda of Woljeongsa suggests that a hedge of the designation of cultural property is necessary for the future to be handed down with vitality.
It is important to restore the original shape of circling the pagoda of Woljeongsa, but I think ecological creativity is necessary for festivization, contentization, and globalization strategies. Fortunately, Woljeongsa is the only circling the pagoda that has been endeavoring to preserve and pass on the culture of Buddhist temples and believers. The task remaining to be done is to have circling the pagoda, which traditionally existed, be interested in continuing the cycle without external interference. If the means for circling the pagoda of Woljeongsa is designated as cultural property, the designation of cultural property should also be considered. The most important problem, however, is that the designation of circling the pagoda of Woljeongsa as a nation’s cultural asset can be an external interference and is a dependence stance. Therefore, it is important to recognize that common people participating in circling the pagoda are creative and voluntary as a culture transferee.
The purpose of this paper was to explore and direct how circling the pagoda in such a crisis could be firmly established as a traditional cultural heritage.
This paper was created by closely observing the site where circling the pagoda of Woljeongsa was carried out in keeping with the field‐oriented attitude of focusing on the field of folklore. First, this paper examined the origins and significance of circling the pagoda, which is believed to have originated in Buddhism. The center of circling the pagoda of Woljeongsa is the Woljeongsa pagoda. By identifying the nature of the octagonal 9‐storied pagoda of Woljeongsa, this paper attempted to discover the driving force for the power of transmitting circling the pagoda. Circling the pagoda of Woljeongsa suggests that a hedge of the designation of cultural property is necessary for the future to be handed down with vitality.
It is important to restore the original shape of circling the pagoda of Woljeongsa, but I think ecological creativity is necessary for festivization, contentization, and globalization strategies. Fortunately, Woljeongsa is the only circling the pagoda that has been endeavoring to preserve and pass on the culture of Buddhist temples and believers. The task remaining to be done is to have circling the pagoda, which traditionally existed, be interested in continuing the cycle without external interference. If the means for circling the pagoda of Woljeongsa is designated as cultural property, the designation of cultural property should also be considered. The most important problem, however, is that the designation of circling the pagoda of Woljeongsa as a nation’s cultural asset can be an external interference and is a dependence stance. Therefore, it is important to recognize that common people participating in circling the pagoda are creative and voluntary as a culture transferee.
목차
1. 서론
2. 탑돌이의 발생론적 의의
3. 오대산 신앙과 월정사 탑
4. 월정사 탑돌이의 현장
5. 월정사 탑돌이 전승의 과제
6. 결론
참고문헌
Abstract
참고문헌 (39)
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UCI(KEPA) : I410-ECN-0101-2017-380-002116441