• Digital Contents
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• no.9 s.16
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• pp.12-16
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• 1994

• 공원문화
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• s.70
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• pp.44-48
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• 1998

• Journal of Korean Library and Information Science Society
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• v.41 no.2
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• pp.209-228
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• 2010

The purpose of this paper is to introduce 4 different Jeolla-do editions of Bumoeunjungkyeongeonhae(父母恩重經諺解) which were newly found recently. Editions of Eunjungkyeong(恩重經) translated in Korean reach 36 editions including these 4 editions. Among 36 editions, 14 editions were published in Jeolla-do. 3 editions of these newly found editions have attachments of 'Sipbeopgyesong(十法界頌)' and 'Sippaljiok(十八地獄)'. The feature of these attachments' form was started since 1563 edition of Songgwangsa in Jeolla-do. In particular, 1628 edition of Baegamsa and 1653 edition of Naejangsa have same attachments. Therefore it is presumed that these 2 editions were copied and engraved based on Songgwangsa edition.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.154-175
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• 2020

Most Korean Buddhist paintings from the late Joseon period were produced through collaborative projects (bulsa) between clans of Buddhist monks and monk artists (hwaseung), in which the monk clans would select themes and iconography for works that would then be produced by the artists and their school. Thus, any attempt to understand the Buddhist paintings of this period must consider not only the stylistic characteristics of the monk artists, but also the conditions at the respective temple at the time of production. Applying this methodology, this paper examines the collaboration between the Buhyu monk clan and the monk artist Uigyeom and his fellow artists (hereinafter, the "Uigyeom School") that took place in Honam (湖南) and surrounding areas in the eighteenth century. In particular, the paper reveals the strong influence that the Buhyu clan exerted on paintings that the Uigyeom School produced in 1724 and 1725 at Songgwangsa Temple, the clan's main temple. Following the paintings for Songgwangsa Temple, the Uigyeom School actively participated in similar projects at regional temples under the auspices of the Buhyu clan in Honam, Hoseo (湖西), and Yeongnam (嶺南). Consequently, the Buhyu clan granted Uigyeom several honorable titles-including "Hoseon" (毫仙), "Jonsuk" (尊宿), and "Daejeonggyeong" (大正經)-that were rarely conferred to a monk artist. Such acclaim helped Uigyeom's style of Buddhist painting to become widespread throughout the three southern provinces of Korea. The paintings for Songgwangsa Temple exemplify how the Buhyu clan and Uigyeom School collaborated to visualize the thoughts and philosophies of the Buhyu clan. For the Uigyeom School, this project served as the foundation for building the reputation and esteem of Uigyeom, who became one of the most esteemed and influential monk artists of the late Joseon period. As such, the paintings created for Songgwangsa Temple in 1724 and 1725 have great significance not only for Korean Buddhism, but also for art history in general.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2018.11a
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• pp.101-102
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• 2018

• Korean Journal of Heritage: History & Science
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• v.22
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• pp.89-110
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• 1989

• Journal of architectural history
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• v.26 no.4
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• pp.7-17
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• 2017

Suncheon Songgwangsa has unique ventilation roofs. In the meantime, these roofs have been known as a characteristic element of Songgwangsa architecture and a unique element of Korean traditional architecture. I would like to review the installation time of the ventilation roof and check the installation time through Songgwangsa's records and photographs. According to the results of this study, it was confirmed that the ventilation roofs installed in various buildings including the temple of Songgwangsa were installed between the 1920s and 1930s. This can be summarized by comparing the history of Songgwangsa and the history of each building of Songgwangsa by comparing the paintings of Songgwangsa in 1886 and 1915 with the photographs of 1920s and Songgwangsa in the 1930s. It is a matter of further study whether the installation of the ventilation roof of Songgwangsa Temple is influenced by the Japanese occupation period.

• Journal of Conservation Science
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• v.26 no.1
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• pp.43-60
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• 2010

This study was investigated quantitative and objective making techniques for molding clay of Four-guardian statues in Songgwangsa temple. Also, basic data about the provenance of molding clay was acquired for the restoration using same materials when the conservation treatment is carried out. As a result, molding clay used the Four-guardian statues was identified the very similar soil regardless of layers and objects. But molding clay differed in particle sizes and contents of organic matters according to the first layer to finish layer in relatively thick parts. Also, it was used one kind of soil without the layer distinction in thin parts. The restoration soil was applied to genetically similar soil as molding clay of the Four-guardian statues, and showed a difference of careful selection degree according to the layers. As a result of the provenance interpretation, the soil distributing presumed provenance was confirmed the same origin as molding clay. Therefore, the soil is appropriate for the materials of conservation treatment. This result will contribute inorganic material research and conservation treatment for the clay molded Four-guardian statues in Korea.

• 보존과학연구
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• s.34
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• pp.102-108
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• 2013

The purpose of this investigation is to Dancheong documentary project of Tangible cultural in Jeollabukdo. The colored pigments of Nahanjeon Hall in Songkwangsa Temple analyzed and composition and repair period for each pigments were compared. The result are that blue color is Ultramarine blue($Na_6Al_6Si_6O_{24}S_4$), green color is Yangrok($Cu(C_2H_3O_2)_2{\cdot}3Cu(AsO_2)_3$), orange color is Jangdan($Pb_3O_4$), yellow color is Chrome yellow($PbCrO_4$). It is difficult to distinguishable from coloring period by analysis of pigments of Nahanjeon Hall.

• Journal of architectural history
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• v.26 no.2
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• pp.43-52
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• 2017

While going into troops for writing in the vignette style(小品文) in opposition to the Classical Chinese(古文), Yi Ok stopped by Songgwangsa Temple in Wanju. The things he felt during this stop were recorded in the Temple Chapter("寺觀") written in 1795. Therefore, the present dissertation evaluates the Songgwangsa Temple of the time based on this Temple Chapter. Data in the Temple Chapter draws attention to the fact that it records the layout of the temple in detail. Thus the study was able to confirm the change in layout by reviewing relevant records about repair. This reveals that the form of layout in general has been maintained although there were changes involving the relocation of the buildings and their names. Furthermore, the original Buddhist building was changed to a quarter for the monks. Also, in terms of layout after the 18th century, there are frequent name changes of the Myeongbujeon(冥府殿) and Nahanjeon(羅漢殿). After two repairs, in order to find the appearance of a Daeungjeon(Main Buddhist hall) with a two-storied structure of five bays at the front, the study evaluated the Geugnakjeon at Muryangsa Temple and the Daeungbojeon at Magoksa Temple. The evaluation revealed that the 'Jeol' used in the Temple Chapter were small pillars erected on a ridgepole just like the Geugnakjeon at Muryangsa Temple, and that the angle rafters were installed to corner bays in rectangular form. The intellectual Yi Ok left behind invaluable architectural data that reveals the Songgwangsa Temple of the 18th century.