• Journal of the Korean Wood Science and Technology
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• v.34 no.1
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• pp.15-22
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• 2006

ln order to manage efficiently many ancient wooden buildings, which have been preserved as cultural properties in Korea, the internal state of wood members should be evaluated exactly and periodically by a NDE (non-destructive evaluation) method. A research project was planned to develop an X-ray CT (computed tomography) system as a NDE method for wood, which could be easily applied in field. This paper includes the first part of this project. First of all, to establish a measuring procedure of wood density using X-ray radiography, the correlation between X-ray intensity and the film brightness was evaluated. Also, initial X-ray intensity was quantified with various radiate conditions controlled by the tube voltage and tube current. And then, the effects of density, annual ring angle, and thickness on the mass attenuation coefficient of wood were examined. Finally, Beer's law was modified with the above results and adopted to calculate the density of wood. As a result of this study, the measuring procedure of wood density was established using a portable soft X-ray device and this procedure was verified with some small wood specimens. This results will he used valuably for the following researches to develop a portable X-ray CT system.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.134-153
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• 2009

This study is to examine closely the frame structure of buildings in the royal palace of Josen dynasty, focused on inner buildings of Changgyeonggung(昌慶宮) which is built in 19th century, through considering the member size of main structure and analyzing the slope of a rafter. The plans of a size on main member are as follows ; firstly, a length of the perimeter column was accorded with Gunggwolji(宮闕誌) and the planning size of interior column was shown to a Chon(a Korean inch, 寸) unit. The slope of long common rafter that is formed between the perimeter and interior columns was grasped with limits of a definite value. This is that the perimeter column is trimmed to a Chon unit, as Yeongchunheon(迎春軒), In the roof frame of Korean traditional timber architecture, the slope of rafter, first of all, is to decide the slope of long common rafter and then to decide a height of ridge piece settled whole height of a building. And it is regulated with position and height of a post so as to set up middle rafter. Especially, the slope of long common rafter, it is not to be decide through scale of a building but through a length of the perimeter column and composition of bracket structure. And in case middle rafter, the process of its slope is to devide the central bay on the side of a building into equality, and then to adjust position and length of a post.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.105-135
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• 2007

Since now, the study of wooden pagodas in ancient Korea have been proceeded to the site plan, the devices and the goods of sarari containers and the reconstruction. They are based on the result of archaeological excavations and the historical material documents. But the study of the foundations of wooden pagodas have been unsatisfactory. In this paper, the investigations of the wooden pagodas in the Three Kingdoms are proceeded. Through this action, we have checked the method of the foundations, the type and installation of Simchoseok(central base stone) and the erection of Simju(central base pillar). In the result of this study, three types were in the method of the foundations-the construction of the upper on the surface of the earth, the construction of the upper and lower on the surface of the earth. And we know the types of the installation of Simchoseok were the underground-type central base stone and the ground-type central base stoned. The factors of the central base pillars were changed with the rising of central base stones from the lower on the surface of the earth to the surface of the foundation. This change was needed to construct the larger wooden pagodas than the ones of the past. In especially, the large wooden pagodas with the ground-type central base stoned were appeared in the king of Baekje, Muwang(A.D. 600~640). We assume that the method of the construction of larger wooden pagodas like that was forwarded to Silla and Japan.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.151-168
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• 2004

The Mireuk Temple Stone pagoda is the largest scale of the existing Stone Pagoda in Korea. A research until now postulates that the Stone pagoda at Mireuk Temple site is composed of nine stories total. However it does not have any records of the detail, dimension, and related methods, etc, even though it is a tectonically large scale building. Only one source of the description is based upon a story which is a sort of Korean myth or traditional story (Samkukyousa, Mu dynasty), although a historical description from a myth or a story is a polemical issue and still needed research in order to prove the truth. One of the ways to make a proof of the truth is an architectural research from the typology of the plane. The types of the plane are differentiated from each era. Therefore, the typology of the plane presents a reason or a proof for the age of the pagoda. Furthermore, the typology of the plane is crucial part in the research of the historical style and it could help the historical style of the Mireuk temple stone pagoda. Research until now shows that the Mireuk temple stone pagoda is the genesis of the stone pagoda shaped after wooden one. It is impossible to find any previous one from the stone pagoda at Mireuk Temple site in Korea. So it is easier to find any previous example from the history of China because Buddhist pagoda-most pagodas are something to do with Buddhism-in Korea is introduced by India via China. This research presents the periodical variation of stone and brick pagoda in both countries. It concludes that the Mireuk temple stone pagoda has $7^{th}$ century's plane type.

• Journal of the Korean Wood Science and Technology
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• v.49 no.6
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• pp.643-657
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• 2021

In order to establish a strategy for revitalizing wood culture, a survey was conducted on the level of public awareness of wood culture and the experience of wood cultural resources by type. According to the survey, 31.4% of respondents had the images of cultural heritage such as palaces, temples, Hanoks, and cultural assets for wood cultural resources. The main reasons for having no image of wood cultural resources were the ambiguous concept and lack of interest in wood cultural resources. The importance of wood cultural resources classified into seven categories was in the order of cultural heritage, architecture of wood, cultural facilities, cultural festivals, wood products, cultural education, cultural contents. In the survey on the necessity and sufficiency of information on wood cultural resources, 46.7% of respondents needed more information to experience of wood cultural resources, while 64.8% of them had lacked information about wood cultural resources. More than half of the respondents wanted to experience of wood culture within next year, but about 20% of respondents participated in seven kinds of wood cultural resources, except wood products used in daily life. Based on these results, a systematic strategy should be developed to expand the opportunity for the public to experience of wood cultural resources and to promote them to public.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.246-263
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• 2019

The stone Buddha statue of Sangunsa Temple at Bukhansan in Goyang, Gyeonggi Province, is an excellent example of stone Buddha statues created in the late 15th century. On the base of the figure, there is an inscription, which informs that it was produced in 1497. In recognition of this significance, it was recently designated as a tangible cultural asset in Gyeonggi-do. Thus, this paper tried to evaluate the value of the statue by analyzing iconography and style. The characteristics of a typical 15th-century style that the Buddha statue of Sangunsa Temple shows are the form of ushnisha, the way clothes are worn, the form of a w-shaped chest muscle, and the simple lotus pedestal. On the other hand, the elongation of the waist and the disappearance of the waistband on undergarments are new forms of Buddha statues in the 16th century. Besides, parting the hair in the middle of the head and leaf-shaped short ribbon draped on undergarments are unique features that only appear on the statue of Sangunsa Temple. Sangunsa has been known to be built in the early 18th century based on Bukanji compiled by Seongneung in 1745, and Bongeunbonmalsaji composed in 1943. However, the statue was created in the late 15th century, before the establishment of the temple in the early 18th century. Therefore, this paper briefly reviewed the history of Sangunsa Temple, focusing on the initial period, referring to the historical sites and the relics that were passed on to the temple, as well as the literature records. The data newly referred to in the study are as follows: Sangunsa Stone Pagoda, presumed to be from the Goryeo Dynasty; the Stone Buddha Statue of Sangunsa; Wooden Amita Triad Buddha Statue of Sangunsa. According to the data and contrary to previously-held beliefs, Sangunsa Temple is believed to have been operating since the Goryeo Dynasty. It can be inferred through analysis of the stone Buddha statue of Sangunsa Temple that the size of the Temple before the 18th century was not very large.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3192-3202
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• 2014

This study has its purposes on analyzing specific features of the elements according to scales of 32 main buddhist sancta among wooden temples with gable roof that are nationally designated as cultural assets, and analyzing influences and proportional relations between main and submaterials, so that it could be basic and objective data for restore and repair cultural assets in the future. Results of the study are following. First of all, the average plane proportion of doritong (facade) and yangtong (side) in 3-room building is about 1.31:1, while it is 1.70:1 in 5-room building. Secondly, as a result of analyzing the locational proportion and thickness of pillars at each location, floor room turned out to have wider space between pillars than that of edge room or side room in both cases of 3 and 5-room buildings. In the mean time, for the average thickness of the pillars in 3-room building, it was 491mm for corner pillars, 433mm for general pillars in cases of 3-room building, while it was 595 and 511mm respectively in cases of 5-room building. The reason why corner pillars are 60~80mm thicker than general ones in average, is determined to considered structural stability and optical illusion. For the third, as a result of analyzing the influences on pillar thickness, eaves projection and eaves height according to the scale(dimension) of buildings, 3-room buildings have outstanding correlation as its scale(dimension) goes bigger, while 5-room ones are not very much influenced by its scale(dimension). For the fourth, as a result of the relation between pillars and eaves, both of 3 and 5-room buildings have longer-projected and higher eaves as their pillars go taller; especially height of eaves turns out to have very close relation between length of pillars. In addition to that, both of 3 and 5-room buildings have much projected eaves as the eaves go higher.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.32-53
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• 2018

The $Sh{\bar{o}}s{\bar{o}}-in$(正倉院) is the detached storage building for Japanese treasures that belongs to $T{\bar{o}}dai-ji$ in Nara, Japan. The reason why $Sh{\bar{o}}s{\bar{o}}-in$ collections are drawing attention is that Japanese artifacts, sculptures, paintings, and other objects that were introduced through the Silk Road, such as Sasanian Persia and India, and those that were introduced from the Unified Silla and Tang China. In addition, hundreds of well-preserved documents of $Sh{\bar{o}}s{\bar{o}}-in$ collections play an important role as a historical reference material covering not only the social situation of the time but also the history of exchange of cultural diplomacy and the change of Buddhist doctrine. In particular, some of collections of $Sh{\bar{o}}s{\bar{o}}-in$ were made in China and may have been imported or received as gifts, but many of the artifacts made in Baekje and Unified Silla are becoming more and more important. This paper examined the research status of $Sh{\bar{o}}s{\bar{o}}-in$ metal crafts of Korean and foreign scholars, and examined the association with the relics of $Sh{\bar{o}}s{\bar{o}}-in$ through metal crafts excavated from the Korean Peninsula. The research on the future direction of $Sh{\bar{o}}s{\bar{o}}-in$ collections should be summarized as follows. 1. Systematization of state-level support and single window for the research of $Sh{\bar{o}}s{\bar{o}}-in$ collections 2. Accurate listing and database of $Sh{\bar{o}}s{\bar{o}}-in$ collections 3. The positive implementation of joint research with Japan and invitation of researchers related to $Sh{\bar{o}}s{\bar{o}}-in$ collections 4. The exchange exhibition between the Korean National Treasures and the $Sh{\bar{o}}s{\bar{o}}-in$ collections 5. Expansion of the research base through the publication and support of books related to $Sh{\bar{o}}s{\bar{o}}-in$ collections.

• The Korean Journal of Mycology
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• v.47 no.2
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• pp.131-142
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• 2019

The Bupjusa and Seonamsa temples are located at places with geographically different condition, and therefore, differ with respect to building's structure and layout. In addition, evident difference can be appeared by the regional climate. For the 2 years, we studied the concentration and diversity of the seasonal airborne fungi inside and outside of the 2 temples. In Seonamsa temple, airborne fungi concentration in the indoor and outdoor air was higher and the species diversity in the indoor air was lower, whereas, concentration variation was larger than that of Bupjusa temple. A total of 173 fungal isolates (including 54 genera) and 162 isolated (including 49 genera) were obtained from the indoor air of Bupjusa and Seonamsa temple, respectively. Whereas, 80 fungal isolates (including 33 genera) and 74 isolates (including 39 genera) were collected form the outdoor air of Bupjusa and Seonamsa temple, respectively. However, more fungal varieties were observed to be distributed inside Bupjusa and outside Seonamsa temples. Amongst all the fungi identified, ascomycetes were more dominant (plus or minus 90% points), followed by basidiomycetes and zygomycetes; which more presented in outdoor air than in indoor air. The airborne fungi concentration in spring (month of April) and autumn was higher than in any other season, for Seonamsa and Bupjusa temples, repectively. Genus Cladosporium was isolated from each site and season, with its dramatic increase noted in autumn. In addition, the highest basidiospore(s) number was obtained after the rain. Consequently, the results suggest that Seonamsa temple was more susceptible to biological damage than Bupjusa temple was.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.80-95
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• 2016

This study sought to disclose the problems surrounding the erroneous explanation of the title of the musical script 'Jeongdaeeop,' which is Jongmyojeryeak(Jongmyo Shrine ritual music), shown in Daeakhubo, Korea's treasure No.1291. Daehakhubo imitated and adopted expressions like 1 Byeon(change) and 1 Pyeon(edition), shown in the music written in the Annals of King Sejong, the foundation of Jongmyojeryeakbo music. Originally, 'Jeongdaeeop' recorded during the reign of King Sejong consisted of 6-Byeon and 13-Pyeon compositions, except Inlet and Outlet tunes. King Sejo, however, while rearranging this music into Jongmyo Shrine Mumuak music, reduced it to 9 tunes. And, when registering such arrangements in the musical scripts in the Annuals of King Sejo, he did not list the explanation of the titles as in the Annals of King Sejong. He just listed the nine tunes. In contrast to the musical scripts in the Annals of King Sejo, in Daeakhubo the details of Byeon and Pyeon under the nine tune titles are listed as in the Annals of King Sejong. This study revealed that Byeon and Pyeon expressed in Daeakhubo were the results of arbitrarily transcribing the different Byeon and Pyeon of 'Jeongdaeeop' and 'Balsang' in the Annals of King Sejong into the revised 'Jeongdaeeop' during the reign of King Sejo. Thus, under the titles of each score in 'Jeongdaeeop' of Daeakhubo are written the explanations of the muscial scores shown in both 'Jeongdaeeop' of the Annals of King Sejong and 'Balsang' of the Annals of King Sejong. Thus, the story of the son Ikjo is described even ahead of the story of the father Mokjo, and stories totally different from the original movements are described, creating overall errors. Such errors were presumably caused by powers that created the false musical script 'Sokakwonbo' during the Japanese colonial rule of Korea and disguised it as a traditional musical script.