Special Features of the Popularization of Bodhidharma
DOI:
https://doi.org/10.4312/as.2016.4.1.131-149Keywords:
Bodhidharma, Korea, Japan, visual representation, popularizationAbstract
According to tradition the founder of Chan or meditational Buddhism, Bodhidharma, originated from India, yet his legend and first representations are more typically associated with China and his legendary figure is frequently seen in the visual art and popular culture of the East Asian countries. In my paper I focus on the visual representations of Bodhidharma as they became popular in Korea and Japan, attempting to show the basic differences in the popularization of the visual images of Bodhidharma in these countries, focusing mainly on the visual appearance and iconography. The power of the image is seen in the commercialization of representations of Bodhidharma, particularly in Japan, where this practice occurred much earlier than in Korea and developed different traditions compared to those in China, where the legend came from.
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References
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Yu, Hyeong-jae. 2002. 108 Dalma (108 Bodhidharma). Seoul: Baekam Publishing.
Chen, Shih-hsiang. 1985. Biography of Ku K’ai-chih. Chinese Dynastic Histories Translations 2. Berkeley: University of California Press.
Choi, Sun-taek. 1998. Hangukeui seonseohwa. Seoul: Hakmun.
Daruma ten. 1988. “Bodhidharma Exhibition.” Tōkyō: Shinjuku Isetan Bijutsukan, 4 (10): 16.
Eliade, Mircea. (1978) 1997. Vallási hiedelmek és eszmék története (original title: Histoire des croyances et des idées religieuses). Budapest: Osiris Publishing.
Faure, Bernard. 1986. “Bodhidharma as a Textual and Religious Paradigm.” History of Religions 25 (3): 187–198.
–––. 1987. “The Daruma-shū, Dōgen and Sōtō Zen.” Monumenta Nipponica 42 (1): 25–55.
Fo-jih Ch’i-sung (1007–1072), and Tōrei Enji (1721–1792). 1964. “Damoduolo Chanjing.” Taishō Shinshū Daizōkyō Kankokai T.15. No.618. Tōkyō: Taishō Issaikyō Kankōkai.
Greve, Gabriele. 2007. “Daruma Museum and Gallery Pages” blog, Ohaga: G. Greve, (posted on 25. 12. 2007). Accessed July, 28, 2008. http://darumasan.
blogspot.com/.
Hong, Ip-ik, and Yi Byeong-gyo. 1993. Dalmado: Hwabeop immun gamsang baektae. Seoul: Jayu Segye.
Hong, Cha-seong, and So Cheon-seok. 1974. Hongssi seonbulgijong. Sakbuk: Jayu.
Hyers, Conrad. 1973. Zen and the Comic Spirit. Philadelphia: Westminster Press.
Im, Deok-su. 1999. “Yeondam Kim Myeongguk eui Seonhwa yeongu.” MAdiss., Department of Buddhist Art and Culture, The Graduate School of Buddhism, Dongguk University. Seoul: Korea.
Jung, Kwang. 1979. The Mad Monk: Paintings of Unlimited Action. Berkeley: Lancaster-Miller Publishers.
Katkova, Eva. 2004. “Matreshka.” Siberian Vernisage: The site of Russian folk crafts art, Novosibirsk City: The Siberian Vernisage Fund, 2004–2008. Accessed July 31, 2008. http://www.sibvernisage.ru/en/goods/matr_240/.
Kidō, Chūtarō. (1932) 1978. Daruma to sono shosō. Tōkyō: Heigo Shuppan-sha.
Kim, Chang-bae. 1999. Hanguk eui Dalmado. Seoul: Ehwa Munhwa.
–––. 2007. Hanguk eui Modeun Dalma. Seoul: Seoyemun’inhwa.
Kim, Nami. 2000. Geurimeuro mannaneun Dalma. Seoul: Shikongsa.
Kōjō. 1964. “Denjutsu Isshin Kaimon.” Taishō Shinshū Daizōkyō Kankokai 74: 639. Tōkyō: Taisho Issaikyo Kankokai.
Kōkan, Shiren (1278–1348). 1921–1922. Genkō Shakusho vol.15–16. Edited by Takakusu Junjirō et al. Dai Nihon Bukkyō zensho. Tōkyō: Yoseido. (Reprinted: Suzuki gakujutsu zaidan edition. Tōkyō: Kodansha 1970–1973, vol. 62, p. 66–230.)
Kōshū (1276–1350). Keiran Shūyōshū (T.76.2410, 532b).
Kuranaka, Susumu. 1996. “Shōtoku Taishi Kataoka Setsuwa no Keisei.” Man’yo 10: 61.
McFarland, H. Neil 1986. “Feminine Motifs in Bodhidharma Symbology in Japan.” Asian Folklore Studies 14: 167–91.
–––. 1987. Daruma: The Founder of Zen in Japanese Art and Popular Culture. Tokyo and New York: Kodansha International.
Mecsi, Beatrix. 2008. “The Power on Images on Texts Re-Examined: The Case of Bodhidharma’s Crossing and the Mass-Consumtion of Bodhidharmaimages in Japan and Contemporary South Korea.” Oriental Archive (Archiv Orientalní), Quarterly Journal of African and Asian Studies 76: 217–49.
–––. 2014. “Bodhidharma in China, Korea and Japan: Models for representations and commercialization of the legendary founder of Chan Buddhism in East Asia.” FACE TO FACE, 16–50. Global Art Monograph Series.
Miklós, Pál. 1973. A Sárkány Szeme. Bevezetés a Kínai Piktúra Ikonográfiájába. Budapest: Corvina.
Nihon shoki. 1987. Translated by Inoue Mitsusada. Tōkyō: Chūō Koronsha.
Nishimura, Sei. 1985. “The Prince and the Pauper. The Dynamics of a Shotoku Legend.” Monumenta Nipponica 40 (3): 299–310.
Wang, Qi, and Siyi Wang, eds. 1988. Sancaituhui (Kor. Samjaedohwi). Shanghai: Shanghai guji chubanshe.
Sancaituhui (Kor. Samjaedohwi). 2001. Seoul: Dongguk University.
Steiner, Evgeny. 2013 “Zen Portraits Chinzō: Why do They Look as They do?” Terebess Asia Online (TAO). Accessed February 1, 2016. terebess.hu.
Yoshino, Hiroko. 1995. Daruma no Minzokugaku: On’yo gogyo kara toku. Tōkyō: Iwanami Shoten.
Yu, Hyeong-jae. 2002. 108 Dalma (108 Bodhidharma). Seoul: Baekam Publishing.
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Additional Files
- Figure 1. Kim Myeongguk (b. 1600-d. after 1662), Tryptich, 17th century, [Ink on silk, hanging scroll, 96.6 x 38.8 cm each], Collection of Tokyo University of Arts. Reproduced in Choi Sun-taek, [Korean Seon Painting], pl.21.
- Figure 2. Unknown painter, Huineng (from Sancaituhui), Ming period (1609) [print]. Reproduced in Sancaituhui, edited by Wang Qi, and Wang Siyi, 317.
- Figure 3. Unknown painter, Bodhidharma with Huike, Joseon period, [wall painting], Geukrakjeon, Daewonsa, Boseong, South Jeolla Province, Republic of Korea.
- Figure 4. Kim Hongdo (1745-1806), Standing Figure on a Reed, 19th century, inscription: “Crossing the sea on a reed.” Colors on paper. Gansong Art Gallery, Seoul. Reproduced in Choi Seon-taek [Korean Seon Painting], pl. 40.
- Figure 5. Daruma dolls in Japan. Photograph taken by the author in 2007.
Published
29. 02. 2016
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Some Characteristics of Japanese and Korean Buddhism
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Copyright (c) 2016 Beatrix Mecsi
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How to Cite
MECSI, Beatrix. 2016. “Special Features of the Popularization of Bodhidharma”. Asian Studies 4 (1): 131-49. https://doi.org/10.4312/as.2016.4.1.131-149.
