• 한국문화재보존과학회:학술대회논문집
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• 2005.11a
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• pp.219-225
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• 2005

• 한국문화재보존과학회:학술대회논문집
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• 2007.05a
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• pp.18-19
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• 2007

• 한국문화재보존과학회:학술대회논문집
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• 2004.03a
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• pp.64-70
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• 2004

• 한국문화재보존과학회:학술대회논문집
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• 2007.10a
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• pp.79-80
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• 2007

• 보존과학연구
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• s.29
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• pp.19-44
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• 2008

Sam-jon-bul or Three Buddha Image Carved on rock surface which is called Sam-jon-bul in Taean, state-designated national treasure No. 307, made in Baek-je Period, has two Buddha images and one Bodhisattva. The detached part of the Sam-jon-bul from wall rock has been attached through conservation treatment in 1995. Few study has been done on weathering condition of petrological point of view and damage while the surface of the Sam-jon-bul has been under serious weathering (relief) of loosing stone particles, and discoloration. In this study, it was made weathering damage maps, which show physical property of the material and state of damage of Sam-jon-bul, in order to dialogize how far the weathering has been done. It has been considered continuing on-site monitoring as necessity when Sam-jon-bul was covered with dew, which may have been caused by change in weather in and out of the protect building. It is necessary to set up detailed conservation plan for it by doing regular diagnosis on the influence of the protect building and weathering of Sam-jon-bul.

• Journal of the Korea Convergence Society
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• v.8 no.2
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• pp.127-135
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• 2017

So far, it has been a general opinion that 'Hunminjeongeum' creation was made only by King Sejong himself under Jiphyeonjeon scholars' help. However, this paper stresses that 'Hunminjeongeum' was made not only by King Sejong but also by Sinmi's positive effort on King Sejong's secret order, and examines the possibility of the culture-convergence contents related to these tales as well. To reveal the ground, the method of this research was proceeded particularly focusing on following texts: Sejongsillok, Munjongsillok, Hangukbulgyojeonseo, etc. The result was as followings. 1) King Sejong's absolute trust in Sinmi, 2) Sinmi's outstanding linguistic talent in Sanskrit. 3) King Sejong's donation of Amitaba-Triad Buddha images to Bokcheonsa Temple and Sejong's granting a respecting title of 'Wugukise Hyeogakjonja' to Sinmi. 4) Sinmi's vow to educate and spread 'Hunminjeongeum' based on Buddhism, and 5) Sejo's visit Sinmi at Bokcheonsa Temple. Furthermore, if the tales related to 'Hunminjeongeum' creation are activated into a type of national or regional events or festivals without remaining simply in a story level, it would be a good way to spread the excellence of convergence K-culture with various culture contents.

• 보존과학연구
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• s.26
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• pp.141-164
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• 2005

Most of the stone cultural properties is exposed to the weathering factor(rain, windetc.), so the shelter is constructed for reduction of its direct effect. But the shelter is indicated some problems that inharmoniousness of the surroundings, in section disturbance for insufficiency of light, the loss about the value of cultural properties and so on. So we have investigated on environmental condition (temperature, relative humidity, wind etc.) at the Standing Stone Buddhist Triad in Bae-ri, Gyeongju and Rock-carved Triad Buddha in Seosan because check the effect of the shelter. As the result, the Standing Stone Buddhist Triad in Bae-ri, Gyeongju is located a pine wood and a lot of bamboo grow naturally in nearing. Environmental difference on inside and outside of the shelter is not found because opened on all sides. But there is so dim for the direction of the sunlight that can't see the Standing Stone Buddhist. The base rock of Rock-carved Triad Buddha in Seosan well develop with crack and break, and the vegetation(trees, moss, lichen etc.) grow naturally in surroundings. Environmental difference on inside and outside of the shelter is found because closed on all sides and opened the front gate only inspection time. Inside of the shelter was too calm(air-velocity not detected) and humid(over 75%RH). Also the surface is occurred the dew(at 2-4 pm) and the efflorescence for effect of the water(rain, dew etc.). Besides the head of the central Buddhist is so dangerous for crack.

• 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 Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.36-48
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• 2010

The objectives of this study are to research and analyze the positioning of Mt. Back Hwa(白華山) and the characteristics of its neighboring cultural scenery based on the Two Seated Buddah Temple, a small Buddhist temple of Taeul in Taean and to view both landscape geographic codes and religious attractions over Mt. Back Hwa by discussing its expression and meaning for the scenery scattered or nested over this districts. The panoramic view of west shows the character of Mt. Back Hwa as a magnanimity of Buddhist Goddess of Mercy which is viewed as a view point field no less than its location as a landscape target and its singularity as a rocky mountain. The ancient castle, signal beacon post and the small Buddhist temple of Taeul to be read importantly in the old map and SinjeungDongkukyeojiseungram(新增東國輿地勝覽) form the core of place identity, and a number of carve(engrave) letters such as Eopungdae(御風臺), Youngsadae(永思臺), etc. show the prospect of this mountain and monumentality derived from place characteristics. In addition removing of Taeiljeon, a portrait scroll of Dangun, national ancestor makes possible to guess the national status hold by Mt. Back Hwa in advance and to know that it has symbiotic relationship with indigenous religion and shares with the universal locality which have been continued for a long time through a portrait scroll of Dangun enshrined in Samsunggak. More than anything else, however the Rock-carved Buddha Triad in Taean, Giant Buddha of Baekjae era enshrined in the small Buddhist temple of Taeul is not only why Mt. Back Hwa, magnanimity of Buddhist Goddess of Mercy exists but also a signifier. In spite of such a placity, the union ideas of confucianism, buddhism and doctrinism of buddhism prevailed in the Late Joseon Dynasty allows the cultural phenomenon of taoism to be read in the same weight through Ilsogae(一笑溪) and Gammodae(感慕臺) which are mountain stream and pond area respectively centered in the carve letter, 'Taeeuldongcheon(太乙洞天)' constructed in front of the small Buddhist temple of Taeul, the Baduk board type of rock carvings engraved over them and a number of traces of carve letters made by confucian scholars since the Middle of Joseon Dynasty. The reason such various cultural sceneries are mixed in Mt. Back Hwa is in the results of inheritance of religious places and fusion of sprit of the times, and the various type of cultural scenery elements scattered in Mt. Back Hwa are deemed as unique geographic code to understand the multi-layered placity and the characteristics of scenery of Mt. Back Hwa in Taean.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.60-79
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• 2015

The study examined reconstruction and building plan of Buyeo Muryangsa Temple in the 17th century and reviewed its construction process and supporting power since the Imjin War of 1592. In addition, The architectural features and design plan of Geukrakjeon that is the most important position in the reconstruction were examined. The reconstruction process of Muryangsa Temple is as follows. Firstly, the study reviewed the reconstruction order of Muryangsa Temple that was progressed in a short period of time from 1624 to 1636. In doing so, the reconstruction period was adjusted from 1633 to 1624 so that the construction order of Muryangsa Temple might be the reconstruction of Geukrakjeon in 1624, Gwaebul in 1627, Sojosamjonbul in 1636 and Beomjong in 1636. Secondly, as the reconstruction of Muryangsa Temple was progressed in a short period of time of 13 years, it was assumed there was great supporting power. In particular, it was found that Jinmukdaesa who lead the construction of Wanju Songgwangsa Temple had an impact on the construction of Muryangsa Temple.It was conjectured that Shin family of the royal family as the supporting power of Songgwangsa through the support of Jinmukdaesa had an impact on Muryangsa Temple. Thirdly, the study reviewed architectural features of Geukrakjeon which has the most important meaning of the reconstruction of Muryangsa Temple. By comparing other reconstructed temples, the architectural style of Muryangsa Temple was examined. In particular, features of Gongpo and furniture were reviewed. In doing so, Muryangsa Temple, the study proposed a possibility that Geukrakjeon would be constructed by an artisan in the same genealogy of Wanju Hwasamsa Temple Geukrakjeon. Finally, the design plan of the building was reviewed with Yongcheok of 309mm used for the construction of Geukrakjeon. Geukrakjeon had perfect proportion compared with other reconstructed temple in the late Joseon period, and golden ratio of 1:1.41 was applied in many areas of building. the study also proposed that the stable design of Geukrakjeon was carried out by the building plan of overall Garam at the time of reconstruction of Muryangsa Temple in the late Joseon period.