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중앙아시아학회> 중앙아시아연구> 티무르의 聖廟순례와 마와라안나흐르의 토착 수피

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티무르의 聖廟순례와 마와라안나흐르의 토착 수피

Timur’s Mausoleum Pilgrimage and Local Sufis of Mawara al-Nahr

이주연 ( Lee¸ Ju-yeon )
  • : 중앙아시아학회
  • : 중앙아시아연구 25권1호
  • : 연속간행물
  • : 2020년 06월
  • : 59-94(36pages)

DOI


목차

Ⅰ. 서론
Ⅱ. 호젠트의 셰이흐 마슬라하트 앗 딘
Ⅲ. 야시의 아흐마드 야사비
Ⅳ. 키시의 셰이흐 샴스 앗 딘 쿨라르
Ⅴ. 결론

키워드 보기


초록 보기


						
This article examines the political meaning of Timur's pilgrimage of mausoleum and influence of sufi saint and mausoleum that make it possible, and also examines the people who exaggerate or distort historical facts in order to use that influence. The Account about Timur's pilgrimage of mausoleum in Zafar-nama is not the unnecessary insertion of Sharaf ali al-Din Yazdi who want to establish Timur's legitimacy of Islamic King, but the intentional political activity of Timur. The three sufi saints' mausoleums who was selected by Timur have been famous, influential local figures. Timur tried to strengthen their power of influence through financial support and reconstruction of mausoleum, and dominate the region effectively by using them.
But because of their political and financial influence in their own area, sometimes people purport themselves to be descendants or disciple of those sufi saints but their claims are suspicious. They have tried to change historical fact of those days and today by using records like hagiography, autobiography and genealogy which are usually completed by personal compilation. So it is necessary to treat carefully when using those records as this article examines.

UCI(KEPA)

간행물정보

  • : 사회과학분야  > 인문지리
  • : KCI등재
  • :
  • : 반년간
  • : 1738-0200
  • :
  • : 학술지
  • : 연속간행물
  • : 1996-2020
  • : 272


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1탁발(拓跋) 선비(鮮卑)의 동물 문양

저자 : Silicheva Svetlana

발행기관 : 중앙아시아학회 간행물 : 중앙아시아연구 25권 1호 발행 연도 : 2020 페이지 : pp. 1-23 (23 pages)

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This article presents a study only on the animal ornaments reflected in the artefacts founded in the tombs of Tuoba Xianbei. Ornaments and motifs represent important part of a culture - it's spiritual side which means it shows morals, believes and ideas about afterlife. In their turn those aspects lead people's daily life, their behavior, their relations with each other and other nations. That is why a study on the animal ornaments, and nature ornaments in whole, is a must in understanding daily life of the nation in connection with its spiritual culture.
Animal ornaments in the current article are divided into three big groups: mammals and birds and mythological creatures. Mammals are represented by ungulates (even-toed and odd-toed) and carnivora. Birds are divided only in two types: real and mythological. In connection to these typical motifs author gives personal opinion on each ornament as well as description of them and their possible or explicit relations with other cultures.
Then author cannot leave such question as differences of relevant ornaments between Tuoba and Murong Xianbei. Therefore, there are presented some points from the Tuoba perspective, which means there are some more different parts but they are connected with Murong Xianbei's tradition. And for the conclusion author pinpoint discussed differences in brief and present them in the tables for the convenience.

2장육불(丈六佛)의 기원과 고대 중국 불교미술에서의 전개

저자 : 김세정 ( Kim¸ Sejeong )

발행기관 : 중앙아시아학회 간행물 : 중앙아시아연구 25권 1호 발행 연도 : 2020 페이지 : pp. 25-58 (34 pages)

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This study examines the origin and development of “the Sixteen-foot (丈六)” from the literature and visual sources in China. The Sixteen-foot is 1 zhang (丈) 6 chi (尺) or 16 chi, which means the height of Sakyamuni Buddha in many Chinese Buddhist text. The Buddha statue which was made in accordance with the concept is called as the Sixteen-foot Buddha (丈六佛). This is generally categorized between 4 meter and 6 meter size because the official chi was altered with the change of country and periods. The concept of the Sixteen-foot as a height of the Buddha began appearing in the Chinese literature from the early third century. This term is sometimes referred to as the Eighteen-foot (丈八) but the meaning is basically the same. It was confirmed that many records show the Sixteen-foot has been actually used to produce images of Buddha since early Eastern Chin periods. Especially, a number of examples of the Sixteen-foot Buddha statue remain among the ancient Buddhist art of China. However, this concept was not included in India original text. The height of the Buddha was described as the symmetry of a banyan tree in India literature. Actually, within the tradition of early Indian Buddhist art, the size of Buddha statue is almost a life-size. In other words, the making of Buddha statue of a large scale compared to the Sixteen-foot Buddha was not common in India. Making of colossal Buddha statue was confirmed in Central Asia such as Kizil Cave, but it was also distinct from the making of the Sixteen-foot Buddha. Therefore It was clear that the concept of Sixteen-foot was established and developed independently in China. Moreover, it seems that the Sixteen-foot was later passed on to Korea and Japan as well, playing an important role in the making of the Buddha statue, which seems to require further research. I hope that this study will shed light on how important the size of the Buddha statue, which has been excluded from the main field of art history, is in order to understand the original meaning and context of the image.

3티무르의 聖廟순례와 마와라안나흐르의 토착 수피

저자 : 이주연 ( Lee¸ Ju-yeon )

발행기관 : 중앙아시아학회 간행물 : 중앙아시아연구 25권 1호 발행 연도 : 2020 페이지 : pp. 59-94 (36 pages)

다운로드

(기관인증 필요)

초록보기

This article examines the political meaning of Timur's pilgrimage of mausoleum and influence of sufi saint and mausoleum that make it possible, and also examines the people who exaggerate or distort historical facts in order to use that influence. The Account about Timur's pilgrimage of mausoleum in Zafar-nama is not the unnecessary insertion of Sharaf ali al-Din Yazdi who want to establish Timur's legitimacy of Islamic King, but the intentional political activity of Timur. The three sufi saints' mausoleums who was selected by Timur have been famous, influential local figures. Timur tried to strengthen their power of influence through financial support and reconstruction of mausoleum, and dominate the region effectively by using them.
But because of their political and financial influence in their own area, sometimes people purport themselves to be descendants or disciple of those sufi saints but their claims are suspicious. They have tried to change historical fact of those days and today by using records like hagiography, autobiography and genealogy which are usually completed by personal compilation. So it is necessary to treat carefully when using those records as this article examines.

4몽골 만주시르 사원의 마애부조 도상 연구

저자 : 주경미 ( Joo Kyeongmi )

발행기관 : 중앙아시아학회 간행물 : 중앙아시아연구 25권 1호 발행 연도 : 2020 페이지 : pp. 95-126 (32 pages)

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The Manzushir temple is situated at the southern part of the Great Bogd Khan Uul, the most sacred mountain of Ulaanbaatar, Mongolia. There are remained several Buddhist rock carvings at Manzushir temple in Mongolia, but they have not yet been studied by any scholars of Mongolian history or Buddhist art history in the world. In this paper, I conduct the first survey of the iconography and dating of the three most important Buddhist Rock carvings in Manzushir temple.
Manzushir temple was first established as a Tibetan Buddhist monastery under the Geluk order during the early eighteenth century for the purpose of worshipping the Bodhisattva Manjusri, with the support of the second Jebtsundamba Khutuktu, one of the famous living Buddha in Mongolian Buddhism. This buddhist temple had a high status in Mongolian Buddhism until the early twentieth century but was burned to the ground by the modern Mongolian Communists in the 1930s. However, several inscriptions of a bronze cauldron and an iron Buddhist bell in the temple show us the early history of this Buddhist temple. According to the inscriptions, the bronze cauldron was made in 1727 and the iron Buddhist bell was made in 1768.
The three main Buddhist rock carvings of Manzushir temple are carved on each of three big natural rocks with wooden canopies. The first rock carving represents six Tibetan Buddhist images that are all related with Tsongkhapa, the most famous Buddhist teacher in the Geluk order. The main image in the center is of a sitting Tsongkhapa image with a sword and a sacred book, representing the incarnation of Bodhisattva Manjusri. The other five images represent two of his disciples, two Taras, and a Yama Dharmaraja. The second rock carving is a representation of the four-armed Bodhisattva Avaloketesvara, sitting on a lotus pedestal. The last and the biggest rock carving on the top of the mountain slop is the image of Chagaan Övgön (čaγan ebügen), who is a mountain god of Mongolian Buddhist and folk tradition. This image might have been created in the early eighteenth century by the governor of that time to protect the sacred mountain. These three Buddhist rock carvings might have been carved during the eighteenth century for the Buddhist monastery and the sacred mountain Bogd Khan Uul with the support of the most powerful Mongolian governors and monks of that time.

5报刊所见民国时期中国对“丝绸之路”概念认知的嬗变

저자 : Wang¸ Jianhua

발행기관 : 중앙아시아학회 간행물 : 중앙아시아연구 25권 1호 발행 연도 : 2020 페이지 : pp. 127-141 (15 pages)

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The concept of the “Silk Road” was first put forward by a German geographer Richthofen in 1877. This word has experienced complex processes of communication from academics to societies, from professional terms to established cultural concepts. On the basis of combing the reports on the Silk Road in the newspapers and periodicals during the period of the Republic of China, and by analyzing the texts, this paper restores the process of people's acceptance and cognition of the Silk Road in that period.¡
The acceptance and use of the “Silk Road” in Chinese academic circles is not a process of information dissemination, but a process of adopting the nominal name and superficial definition of “Silk Road” in China. As an academic concept, the Chinese academic circles had not yet fully applied it in the first half of the twentieth century, let alone the Chinese people's full understanding the narration of the Western "Silk Road" and its affiliated historical contexts. Before the emergence of the Chinese term “絲綢之路”(Silk Road) in 1942, with the deepen in go facademicre search and public reports in the media, the public started to have preliminary understanding of the Silk Road. However, it was only a vague concept, and the geographical routes and locations it referred to was not specific. This road was regarded not only as a trade route, but also as an important channel for the exchange of religious civilizations between the East and the West, and its connotation and types were very extensive. It was only since 1940s that the concept of “絲綢之路” became widely known to Chinese public.

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