02526nas a2200121   4500000000100000008004100001100001500042245007800057300001200135490000700147520223600154022001402390                                       d1 aYoon SoHee00aThe ritual mantra text and the melody’s features of Samhwoasa Suryukjae  a271-3060 v323 aIn this study I researched the Samhwa temple’s Suryuk sanskrit mantra chants from 2012 to 2018. This ritual is designated as the 125th National Intangible Cultural Heritage. As a result, I learned that the Bogongyang․Bohoihyang mantra offering was sung only five times, unlike during the Alyetnyeok Suryuk ritual in Yeongnam province when it is sung 23 times. Then, the Samhwa-sa Suryuk-jae performers sang twice more, regardless of the ritual text. I believe they wished to demonstrate their desire to offer and share more with existence and to raise the ritual atmosphere with mantra chants accompanied by rhythmical percussions beats.By this we can infer that the Korean Suryuk ritual focused on acknowledging services. Although influenced by China, it is different to the Chinese ritual which was done as a Dharma ceremony. The Korean Suryuk ritual begain to perform in Koryo dynasty in that time it was not widespread. It was nationalized from Josun Dynasty for consolate to console those victimized by national founding war.There were four kinds of melody style as in the Areannyeok Suryukjae. The first was a slow melismatic, the second fast syllabical with a two metric beat, whilst the third was light and fast rhythmical with three metric beat. Bugongyang mantra with a cheerful rhythm and 3 metric beat was specific and differed from Chinese lettered songs. Significantly, they sung and danced the Cheonsu Darani, a prayer to Avalokitesvara Bodhisattva, a little more frequently in Samhwa temple. It was the same with Jinkwoansa’s Suryuk ritual, designated the 126th National Intangible Cultural Heritage in Seoul. With the exception of Gyeongnam province’s temple, most prefer the Cheonsu Dharani performance.In particular the Bogongyang mantra, with its cheerful rhythm and 3 metric beat, specifically differed from Chinese lettered songs and was the same as the Areannyeok Suryukjae. Most mantra chants had a fast and syllabic melody, especially the specific figure of the Bogongyang Mantra with its rhythmical melody and three metric beat accompanied by numerous percussion instruments. The three metric beat in four time relates to the trisyllable pattern and phonogram of the Sanskrit and Korean languages.  a1229-1846