• Korean Journal of Heritage: History & Science
• /
• v.52 no.4
• /
• pp.184-205
• /
• 2019

Buddhism was introduced to Gyeonggi-Do early on and thus created various types of Buddhist culture there. Since the introduction of Buddhism into Gyeonggi-do, the there has been continuous construction of stone stupas. More stone stupas were built in southern Gyeonggi than in northern Gyeonggi-do. In particular, Anseong, Icheon, Yongin, and Yeoju were centers of construction. Looking at the characteristics of each period, stone stupas remain from the Unified Shilla Period to Joseon, indicating that stone stupas were steadily built during this period. The stone stupa corresponding to the Unified Shilla Period is meaningful in that it shows the northern limit of Shilla Buddhist culture. Since then, the stone stupas of the Goryeo Dynasty were actively constructed in the southern part of Gyeonggi-do in the early Goryeo Dynasty. By the late Goryeo Dynasty, the stupas were built throughout Gyeonggi-do, indicating that the construction of the stupa was active. In the Joseon Dynasty, stone stupas were built in temples near Hanyang and deeply related to the royal family. Stone pagodas were erected mainly on major traffic routes. Stone stupas built in Gyeonggi-do have a variety of artistic and historical significance.

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

• Korean Journal of Heritage: History & Science
• /
• v.53 no.3
• /
• pp.224-243
• /
• 2020

The rock-cut relief of two Buddhas seated side-by-side in Wonpungri is a large Buddha sculpture in relief on the side of a cliff in Wonpung-ri, Goesan. This Buddha sculpture is from the Buddhist scripture Sutra of the Lotus. <法華經> Two seated Buddhas statues were prevalent in the Balhae Kingdom, but this was not popular in Silla and Goryeo. In the main text, the time that the two seated Buddhas in Wonpung-ri was created is identified as being during the 10th century. King Gwangjong created a Buddha statue for political purposes. The relief of two seated Buddha image carved on a cliff is located on an important traffic route over the Sobaek Mountain Range. After King Gwangjong took the throne, he paid close attention to the reigning powers of Jincheon and Cheongju because the people of Jincheon and Cheongju were engaged in a power struggle against Gwangjong. The huge relief of two seated Buddhas statue shows the authority of King Gwangjong. In particular, the people of Jincheon and Cheongju had to see this Buddha statue when crossing the Sobaek Mountain Range. The image contained in the relief of the two seated Buddhas features many characteristics of the sculpture style of the Balhae Kingdom. After the fall of Balhae, many of the Balhae people settled in Mungyeong. Balhae people from Mungyeong participated in the production of the relief of the two seated Buddhas. Through the relief of the two seated Buddhas, King Gwangjong wanted to show the people of Jincheon and Cheongju that the Balhae people were supporting him. The relief of two seated Buddhas reflects the historical situation of the King Gwangjong era in the late 10^th century and the style of sculpture.

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.751-781
• /
• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• Korean Journal of Heritage: History & Science
• /
• v.49 no.2
• /
• pp.190-205
• /
• 2016

Buddhist stupas, which are a symbolic architecture of Buddhism and enshrine the Jinsinsari of Buddha, were reinvented as stone stupas appropriate for the natural soil of Korea from existing wooden stupas around the 7th century after the introduction of Buddhism. Later, the construction of a stone stupa was expanded to local areas from the central area around the 9th century; thus, stone stupas of more diverse local colors were built in a nationwide scale, and today it is called a "country of stone stupas". While focusing on the stylistic interchanges between stone stupas, which were established in each region in accordance with the localization of the establishment of stone stupas that was begun actively from the 9th century, this paper selected several cases of stone stupas among about 50 stone stupas in the Gangwondo-region. First, the study compared the stone stupas and Buddhist priest tower of Seollimwonji, Jinjeonsaji, and Geodonsaji, which are located at the same temple site as the current Buddhist priest tower, from among typical Silla style stupas that match the 9 stone stupas in the Gangwon-do region. This is because stylistic interchanges were possible while there were mutually organic relationships between Buddhist statues such as stone stupas, Buddhist priest towers, stone lanterns, and Buddhist pedestals, which used the same stone material along with the expansion of Buddhism to local areas in accordance with the spread of Zen Buddhism in the 9th century. Second, a comparison was made of the stylistic similarities between the Woljeongsa Palgakgucheong (eight sides nine-storied) stone stupa and the Sinboksaji Samcheung (three-storied) stone stupa, which are totally different in regard to the number of stories and the flat form. These two stone stupas are representative Goryeo stone stupas. The Woljeongsa stone stupa is a Goguryeo-oriented stone stupa with many sided multiple stories whereas the Sinboksaji stone stupa has been known as an early case of the insertion of the support of Tapsin in each story. Although the two stone stupas may look very different, but through close investigation it was confirmed that there were many stylistic interchanges between them and not only the seated stone Buddha statue in the cylinder jewel case in front of the stupa but also the stone stupa established by the same master. Consequently, this paper aimed not merely to mention the simple patterns of stone stupas, but, further, to trace the interchange in patterns in accordance with the construction period based on those patterns.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.4
• /
• pp.2-31
• /
• 2020

CheomSeongDae (瞻星臺) is a stone structure built in Gyeongju, the former Silla Dynasty capital, during the reign of Queen Seondeok (632~647AD). There exist dozens of hypotheses regarding its original purpose. Depending on to whom you ask, the answer could be a celestial observatory, a religious altar, a Buddhist stupa, a monumental tower symbolizing scientific knowledge, and so on. The most common perception of the structure among lay people is a stargazing tower. Historians, however, have suggested that it was intended as "a gateway to the heavens", specifically the Trāyastriṃśa or the second of the six heavens of Kāmadhātu located on the top of Mountain Sumeru. The name "Cheom-seong-dae" could be interpreted in many different ways. 'Cheom (瞻)' could refer to looking up, staring, or admiring, etc.; 'Seong (星)' could mean a star, heaven, night, etc.; and 'heaven' in that context can be a physical or religious reference. 'Dae (臺)' usually refers to a high platform on which people stand or things are placed. Researchers from the science fields often read 'cheom-seong' as 'looking at stars'; while historians read it as 'admiring the Trāyastriṃśa' or 'adoring Śakra'. Śakra is said to be the ruler of Trāyastriṃśa' who governs the Four Heavenly Kings in the Cāturmahārājika heaven, the first of the six heavens of Kāmadhātu. Śakra is the highest authority of the heavenly kings in direct contact with humankind. This paper examined the usages of 'cheom-seong' in Chinese literature dated prior to the publication of 『Samguk Yusa』, a late 13th century Korean Buddhist historical book that contains the oldest record of the structure among all extant historical texts. I found the oldest usage of cheom-seong (瞻星臺) in 『Ekottara Āgama』, a Buddhist script translated into Chinese in the late 4th century, and was surprised to learn that its meaning was 'looking up at the brightness left by Śakra'. I also found that 'cheom-seong' had been incorporated in various religious contexts, such as Hinduism, Confucianism, Buddhist, Christianism, and Taoism. In Buddhism, there was good, bad, and neutral cheom-seong. Good cheom-seong meant to look up to heaven in the practice of asceticism, reading the heavenly god's intentions, and achieving the mindfulness of Buddhism. Bad cheom-seong included all astrological fortunetelling activities performed outside the boundaries of Buddhism. Neutral cheom-seong is secular. It may help people to understand the nature of the physical world, but was considered to have little meaning unless relating to the spiritual world of Buddhism. Cheom-seong had been performed repetitively in the processes of constructing Buddhist temples in China. According to Buddhist scripts, Queen Māyā of Sakya, the birth mother of Gautama Buddha, died seven days after the birth of Buddha, and was reborn in the Trāyastriṃśa heaven. Buddha, before reaching nirvana, ascended from Jetavana to Trāyastriṃśa and spent three months together with his mother. Gautama Buddha then returned to the human world, stepping upon the stairs built by Viśvakarman, the deity of the creative power in Trāyastriṃśa. In later years, King Asoka built a stupa at the site where Buddha descended. Since then, people have believed that the stairway to the heavens appears at a Buddhist stupa. Carefully examining the paragraphic structure of 『Samguk Yusa』's records on Cheomseongdae, plus other historical records, the fact that the alignment between the tomb of Queen Seondeok and Cheomseongdae perfectly matches the sunrise direction at the winter solstice supports this paper's position that Chemseongdae, built in the early years of Queen SeonDeok's reign (632~647AD), was a gateway to the Trāyastriṃśa heaven, just like the stupa at the Daci Temple (慈恩寺) in China built in 654. The meaning of 'Cheom-seong-dae' thus turns out to be 'adoring Trāyastriṃśa stupa', not 'stargazing platform'.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.100
• /
• pp.50-80
• /
• 2021

This paper critically examines the history of the theories connected to the Wongaksa Temple Pagoda that have developed over the last 100 years focusing on the original number of stories the pagoda would have reached. Part II of this paper retraces the dynamic process of the rediscovery of the Wongaksa Temple Pagoda by Westerners who traveled to Korea during the port-opening period. Koreans at the time viewed the Wongaksa Temple Pagoda as an object of no particular appeal or even as an eyesore. However, Westerners appreciated it as a wonder or magnificent sight. Since these Westerners had almost no prior knowledge of Buddhist pagodas, they were able to write objective travelogues. At the time, these visitors generally accepted the theory common among Joseon intellectuals that Wongaksa Temple Pagoda once had thirteen stories. Part III focuses on Japanese government-affiliated scholars' academic research on the Wongaksa Temple Pagoda after the proclamation of the Korean Empire and the Japanese Government-General of Korea's subsequent management of the pagoda as a cultural property during the colonial era. It also discusses issues with Japanese academic research and management. In particular, this portion sheds light on the shift in theories about the original number of stories of the Wongaksa Temple Pagoda from the ten-story theory supported by Sekino Tadashi (關野 貞), whose ideas have held a great influence on this issue over the last 100 years, to the thirteen-story theory and then to the idea that it had more than thirteen. Finally, Part IV addresses the change from the multi-story theory to the ten-story theory in the years after Korea's liberation from Japan until 1962. Moreover, it highlights how Korean intellectuals of the Japanese colonial era predominantly accepted the thirteen-story theory. Since 1962, a considerable quantity of significant research on the Wongaksa Temple Pagoda has been published. However, since most of these studies have applied the ten-story theory suggested in 1962, they are not individually discussed in this paper. This retracing of the history of theories about the Wongaksa Temple Pagoda has verified that although there are reasonable grounds for supporting the thirteen-story theory, it has not been proved in the last 100 years. Moreover, the number of pagoda stories has not been fully discussed in academia. The common theory that both Wongaksa Temple Pagoda and Gyeongcheonsa Temple Pagoda were ten-story pagodas was first formulated by Sekino Tadashi 100 years ago. Since the abrasion of the Wongaksa Temple Stele was so severe the inscriptions on the stele were almost illegible, Sekino argued that the Wongaksa Temple Pagoda was a ten-story pagoda based on an architectural analysis of the then-current condition of the pagoda. Immediately after Sekino presented his argument, a woodblock-printed version of the inscriptions on the Wongaksa Temple Stele was found. This version included a phrase that a thirteen-story pagoda had been erected. In a similar vein, the Dongguk yeoji seungnam (Geographic Encyclopedia of Korea) published by the orders of King Seongjong in the late fifteenth century documented that Gyeongcheonsa Temple Pagoda, the model for the Wongaksa Temple Pagoda, was also a thirteen-story pagoda. The Wongaksa Temple Stele erected on the orders of King Sejo after the establishment of the Wongaksa Temple Pagoda evidently shows that Sekino's ten-story premise is flawed. Sekino himself wrote that "as [the pagoda] consists of a three-story stereobate and a ten-story body, people call it a thirteen-story pagoda," although he viewed the number of stories of the pagoda body as that of the entire pagoda. The inscriptions on the Wongaksa Temple Stele also clearly indicate that the king ordered the construction of the Wongaksa Temple Pagoda as a thirteen-story pagoda. Although unprecedented, this thirteen-story pagoda comprised a ten-story pagoda body over a three-story stereobate. Why would King Sejo have built a thirteen-story pagoda in an unusual form consisting of a ten-story body on top of a three-story stereobate? In order to fully understand King Sejo's intention in building a thirteen-story pagoda, analyzing the Wongaksa Temple Pagoda is necessary. This begins with the restoration of its original name. I disprove Sekino's ten-story theory built upon flawed premises and an eclectic over-thirteen-story theory and urge applying the thirteen-story theory, as the inscriptions on the Wongaksa Temple Stele stated that the pagoda was originally built as a thirteen-story pagoda.