• Korean Journal of Heritage: History & Science
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• v.25
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• pp.24-51
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• 1992

• Journal of architectural history
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• v.26 no.2
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• pp.7-14
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• 2017

Rafter is a member for roof and plays a role in protecting shaft members under rafter such as pillar, beam and girder from natural environment and to fix by supporting finished materials of roof. It is common in the Korean architecture that rafter cross-section is paired with circular form and Buyeon cross-section is paired with the square shape. However, while there are not many, some architectures have rafter end header in the square shape. The aim of this study is to examine the square shape cases of rafter end header with special reference to stone structure. As a result, among stone structure related to Bangyeon, the majority case is seen at Palgakwondang type Seungtap. It was shown in the Seungtap of monk of Gusanseonmun school in the later Unified Silla to the early Goryeo period that succeeded Seodang Jijang.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.52-63
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• 2016

The Stupa of Buddhist Monk Soyo in Baegyangsa temple, Jangseong, was erected to pay a tribute to the achievement of the Buddhist monk Soyo, who worked for Baegyangsa temple as a chief monk, and is a bellshaped stupa with the detailed pattern of a Korean traditional buddhist bell. It is composed of pinkish-grey sandstone and the body of the stupa was damaged by longitudinal cracks on the front and back areas and the exfoliation caused break-out in the most part of the sculpture on the left and right areas. According to the ultrasonic test and infrared thermography analysis for physical deterioration diagnosis, most weathering aspects appeared on the body of the stupa and some exfoliated part that could not be seen with the naked eye was detected 6.1% and 5.9% on the left and right side respectively. Hyperspectral imaging analysis was also carried out to assess biological deterioration. According to the result, the surface of the stupa was covered 71.8 ~ 79.9% with vegetation like algae, lichen and moss. NDVI(Normalized Difference Vegetation Index) was higher relatively on the bottom part near the ground, right and back areas of the stupa. Therefore conservation treatment for the exfoliated part and bio-deterioration is necessary and the environment condition needs to be fixed to prevent extra damages on the stupa.

• Journal of architectural history
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• v.28 no.1
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• pp.25-34
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• 2019

"Stupa of Buddhist Monk, YeomGeo"(844) is known as the earliest Seon-stupa relic remains in Korean peninsula, from which, during late Silla and ealy Goryeo period, there were more than 30 of stupa was built on such canon. and became the well-known material culture in Seon Buddhism in late Silla period. In $9^{th}$ century, with the JeonDeong(delivering the light of Seon)from Tang to Silla, the culture of "GeonTapIpBi(building the pagoda and erecting stele)" was also moved in. And it was right after the style of monk's stupa had been methodically changed in china, from having the room in stupa for the corpse, named as "QuanShenSheLi", to the lessened stupa that contain the cremated. Analyzing the "Master ChengGuang's stupa"（807）and its stele, it can be found the correspondences of octagonal plan and the subjects of ornamentation to that of Stupas built in Silla, reveals they were made by the same canon. By the document in the stele, surmising the historical cause of alteration in Chan stupa, there was the most famous zen master ShenHui at the time, who has the most important role of making the NanZongChan to get the authenticity in Chan Buddhism. His reliqury was the first ${\acute{s}}ar{\bar{i}}ra$ casket discovered among Chan monks' relics, consequentially it was to influence to Chan cuture and size the monks 'stupa for his ${\acute{s}}ar{\bar{i}}ra$. The stupa of master ChengGuang, by its shape and geological location, is the lost piece in the Puzzle of Chan stupa culture between Silla and Tang.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.190-205
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• 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
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• v.56 no.1
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• pp.64-78
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• 2023

This article examines the background and meaning of the construction of Josadang Hall in Buseoksa Temple, Yeongju, by Seolsan Cheonhee(1307~1382) in the late 14th century through the characteristics of the hall's mural. Six guardian deities(the Four Heavenly Kings in the center, Indra and Brahma on each side of the kings) are depicted on the southern wall(location of the entrance) of the Josadang, facing the statue of the great monk Uisang(625~702 AD) on the north wall. This mural is the oldest among Korean temple murals and exhibits very unique characteristics. In general, scenes from the scriptures are depicted on the back wall of the central statue. In contrast, the Josadang mural depicts only the guardian deities facing the main statue with no scene description. The appearance of the deities, who seem to protect the main statue of the monk Uisang, and their expressions, as if drawn from relief statues, are not seen in other murals. Nevertheless, it is similar to the stupas of the Seon(Ch. Chan 禪) sect monks established from the late Silla(57 BC~935 AD) through early Goryeo(918~1392 AD), with guardian deities on their surface. The iconography of the deities is a classic form of the late Silla to early Goryeo. The fact that the Josadang was built to commemorate Uisang, who founded the Korean Hwaeom sect(Ch. Huayan sect, 華嚴宗), and that guardians were placed to protect Uisang's statue reveals the concept of worship for the monk who founded the sect. As a result, the reason Cheonhee built the hall can also be understood as an extension of the ideology behind the construction of the stupas of the Seon sect monks. The problem, however, is that Cheonhee is a monk of the Hwaeom sect, and Buseoksa is a representative temple of the Hwaeom sect, not the Seon sect. Therefore, to better understand the background of the hall's construction, this article examined the situation of Goryeo Buddhism in the 14th century as well as the activities of Seolsan Cheonhee. Since Ganhwa Seon(Ch. Kanhua Chan, 看話禪) was dominant in the 14th century, Cheonhee went to study in the Yuan Dynasty(1271~1368 AD) at the age of 58 and was approved by Chinese Ganhwaseon monks before taking the position of Guksa(國師 national monk). However, he was eventually pushed to Buseoksa Temple, where he worked hard to rebuild it. Cheonhee most likely sought to expand the Hwaeom sect, which had been shrinking compared to the Seon sect, by enhancing power with the reconstruction of Buseoksa. The desire that the Hwaeom sect, which was losing its power due to the rise of the Seon sect in the 14th century, attempted to develop it by building Josadang hall, is well revealed by the Josadang murals.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.35 no.6
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• pp.453-460
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• 2017

High voltage power transmission lines have been to keep the proper dip for maintenance. Powerline dips at a random point are conventionally measured by the direct or indirect observation but it is not only unsafe but labor-intensive. Therefore in this study we applied the photogrammetric technique to remotely measure the powerline dips. Since it is not easy to extract conjugate points from linear powerlines, we exploited the epipolar lines acrossing the powerlines for 3D mapping of the powerlines and dip measurements. The vertical mapping accuracy estimated at two field-surveyed power line points was 15~16cm that are within 5% of deflection at the points and less than 3% of the powerline dip.

• Journal of Conservation Science
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• v.34 no.3
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• pp.235-244
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• 2018

The forms of stone cultural properties vary depending on the purpose of construction. In general, pagodas and statues of the Buddha (including the Maebul) are representative of stone cultural properties and demonstrate important aspects of cultural history and scientific technology. The purpose for which cultural properties were constructed may influence construction technologies, so we must carefully think about and clearly understand the purpose of construction, namely the cultural and/or philosophical history, when conducting conservation treatments now. This may be examined through the relationship between "why?" and "how?": Why did the builders construct these stone cultural properties, and how did they use such technologies? We may be deeply impressed by the form and delicacy of the sculpture, which is the "how" aspect of the technologies, but we must also understand the effect of the "why." namely the soul and/or spirit of those who created the properties. The form of stone cultural properties may be influenced by (1) the political-social sphere, (2) religion, or (3) the cultural history of the period, which have changed over time. It is important that this is the view taken in current conservation treatment.

• Journal of Conservation Science
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• v.34 no.3
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• pp.211-225
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• 2018

The Stupa of the State Preceptor Jigwang from the Beopcheonsaji temple site in Wonju (National Treasure No. 101) was built in the Goryeo Period (around the 11th century), with very excellent style and techniques. It was returned to the Korea after being taken to Osaka of Japan without notice in 1912, and was severely damaged during the Korean War. Subsequently, the Stupa was restored using restoration materials like mortar, and relocated to the National Palace Museum of Korea. Surface contaminants in the Stupa primarily existed around the restoration materials. Black discoloration, which indicates a high discoloration grade, signified a high possession rate in the north and inner regions of the Stupa, which may be related to the relative moisture maintenance time. Most surface contaminants were calcite and gypsum; the black discoloration area underwent secondary discoloration due to air pollution. Moreover, the stone properties exhibited a relatively low discoloration grade, exhibiting crystallized contaminants that partly covered the rock-forming minerals. Overall, the Stupa deteriorated due to discoloration and being covered by lime materials, which were dissolved as the mortar degraded. Hence, it required contaminants removal, surface cleaning and desalination during conservation treatment, in order to control the rate of physicochemical deterioration by contaminants.

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