• KOMUNHWA
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• no.70
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• pp.17-34
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• 2007

Jigangkooksa's Monument at Beopchonsa is a monument representing the Goryeo Era, registered as the National Treasure No. 59. Haerin was a descent of a small regional clan, who overcame a number of challenges to become the leader of the nation at the age of 75. The tower and monument built after his death are among the finest works of the Goryeo Era. The Yongwha-world of the Jigangkooksa's Monument is the expression of a new utopia, which cannot be found in numerous Buddhist arts including Buddhist holy picture's art or other Codex. After passing through the pillar of cloud where 4 heavenly birds play, the new world of vault unfolds. Below are the 13 mountains which stand for 13th Heaven. In the center stands Tusita, the sky. On the top of Tusita is a Nagapuspa. The Nagapuspa in general has wooden pillars of treasure dragon patterns with dragonhead-shaped flowers on top. On the bottom, indrajala hang down. The Yongwha-world of the Jigangkooksa's Monument is carved with patterns related to Maitreya entering Nirvana. Jigangkooksa was active in the Moonjong Kingdom, the most prosperous times of the Goryeo Era, and led the publication of the Buddhism's Collection of Sacred Writings, the holiest work of the Goryeo people. At the time, people have offered on his tower a picture of him as the owner of Yongwha-world, with the utmost respect. This was the ideal utopia perceived by the people of Goryeo.

• Conservation Science in Museum
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• v.19
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• pp.1-18
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• 2018

The Stele for National Preceptor Hongbeop from the Jeongtosa Temple site in Chungju is one of the most important stone cultural heritage items for exemplifying the style of the Goryeo era. Despite its obvious value, this relic has been stored in a weathered condition at the National Museum of Korea. It had suffered various dismantling and displacements during the Japanese colonial period and had long been exposed in the open air. The stele was selected as a subject for the Stone Monuments Restoration Project launched by the National Museum of Korea in 2015. In preparation for its outdoor exhibition as part of the restoration project, this study investigated the characteristics of its materials, produced a map of its deterioration from weathering, and carried out ultrasonic analysis of the materials to provide findings useful for conservation treatment. The materials analysis revealed that the turtle-shaped pedestal of the stele was made from two-mica granite consisting of medium-grained quartz, plagioclase, alkali feldspar, biotite, and muscovite. Its body stone is crystalline marble, the rock-forming mineral in which is medium-grained calcite in a rose-pink color with dark grey spots. The dragon top of the stele is made of crystalline marble, the major component of which is medium-grained calcite of a light-grey color. The deterioration consists of 21.5% abrasion on the stone body, with its south face most damaged, and 18.6% granular disintegration, with the north face most damaged. The ultrasonic material characterization conducted for mapping the general condition of weathering shows low values on the parts-assembly area of the turtle-shaped pedestal and on the upper portion of the stone body. It is considered that there is dislocation due to partial blistering and fracturing as well as to the differences in surface treatment. Prior to the outdoor exhibition of the stele, the surface was cleaned of contaminants and was consolidated based on the scientific investigation in order to prevent weathering from the external environment.

• Economic and Environmental Geology
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• v.46 no.2
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• pp.93-104
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• 2013

Daejiguksaptapbi (Tapbi) is a memorial stele which is inscribed with personal history of a state preceptor, Daejiguksa Beopkyeong. The Tapbi comprises tortoise-shaped pedestal, dragon top and body stone, and the body stone is remained in 255 pieces by excavation in Samcheonsaji temple site of Seoul. The Tapbi is composed of tuffaceous breccia for the body, coarse-grained pink feldspar granite for the pedestal and fine-grained granite for the top. As a result of geological survey to find a rock provenance of the Tapbi rock, the tuffaceous breccia is found in the banks of Gangwha straits, and the pink feldspar granite and fine-grained granite are found around the temple site in Mt. Bukhansan. Each rock shows similarities to the Tapbi in lithology and mineralogy. Also, geochemical data of major, some trace and rare earth elements verify their cognation in each rock type. It can be interpreted that the provenance of the body stone is distant as Gangwha area, and the provenance of the pedestal and top stones are near the temple site. The results can be utilized to restore the Tapbi by using the same rocks.

• The Journal of the Petrological Society of Korea
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• v.25 no.3
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• pp.299-310
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• 2016

The Stele for Buddhist Monk Wonjong at Godalsa Temple Site was destroyed a long time ago. Only the tortoise-shaped pedestal and the ornamental capstone in the form of a hornless dragon remain at the site and the broken stele body is stored at the National Museum of Korea today. The stele is made of two kinds of rocks that are coarse-grained biotite granite for the pedestal and the capstone, and fine-grained biotite granite including hornblende assemblages and feldspar phenocrysts for the stele body. The coarse-grained biotite granite of the pedestal and capstone showed same magnetic susceptibility and lithological characteristics with biotite granite outcrops in Yeoju area, whereas the fine-grained granite of the stele body did not. To find a provenance of the stele body stone, we investigated Korean granites in terms of magnetic susceptibility, lithology and old recordings about construction process of the stele. As a result, Haeju granite is the most likely to be a cognate rock of the stele body stone as it has same texture and lithological characteristics like color, hornblende assemblages, mineral composition and magnetic susceptibility. It is imported from Haeju (North Korea) to South Korea via China commercially, and the most suitable for a replica stone of the stele body.

• Korean Journal of Heritage: History & Science
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• v.44 no.2
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• pp.58-75
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• 2011

This study aimed to demonstrate that photographic reading can be used to decipher epigraphs more effectively and accurately than conventional rubbing of epigraphy. When using the rubbing technique, the reading rate varies for the each epigraph depending on the time, person, and rubbing method. Thus, we compared the results of conventional rubbing to photographic reading focusing on unread and misread letters. According to the results, some letters were different from those in the reference books, and some letters that could have been readable via photographic reading were misread or read as different letters. In its undamaged state, the Pyeongwangtapbi Monument of Seonggak Daesa is supposed to contain a total of 2,049 letters, and 1,763 of them have been deciphered. This study corrected a total of 308 letters that had not been deciphered or deciphered inconsistently in existing literatures. However, it should be noted that the epigraphs of the Pyeongwangtapbi Monument of Seonggak Daesa read using the rubbing technique were made at least 30-100 years ago, and the photographic reading was performed in 2010. Thus, the overall condition is not perfectly identical. If we read and compare in the same condition, we may obtain even more reliable results. Therefore, based on this study of photographic reading, further studies regarding the correction of the contents of epigraphy should be performed.

• 보존과학연구
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• s.6
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• pp.39-47
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• 1985

• Electric Engineers Magazine
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• v.180 no.8
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• pp.22-33
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• 1997

전기설계 및 감리자는 그 건축물의 목적과 사용용도 그리고 계획설계자의 의지를 충분히 파악하지 않으면 좋은 설계와 감리가 될 수 없다. 건축물이란 일단의 대지 위의 지붕과 벽 또는 기둥으로서 거주 작업, 저장, 등의 용도에 쓰이는 것을 말한다. 또 여기서 부속되는 대문, 담장, 굴뚝은 물론 지하실, 지하상가와 같은 지하구축물과 탑비, 기념상, 선전탑, 기타 지붕과 벽 등이 없는 것이라도 여기에 포함된다.

• Journal of the Korean Society of Food Culture
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• v.3 no.1
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• pp.7-16
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• 1988

An epigraph is an inscription mainly on a metal or stone monument, but some cases on bones or tortoise carapaces, ceramics, and coins. The '茶' inscriptions in 251 epigraphs in Korea are on 16 monuments, one tile, and one ceramic. By kingdom 5 belongs to shilla and 13 to Korea. The first '茶' inscription in on the Changsung-Tap of Borimsa Temple in Changhung-Kun, Chullanam-Do, which was established in 884 A.D. Religiously most of them are related to Buddism. Tea was most valued among valuables like gold, perlume, beads, etc. and so bestowed by kings. The study of epigraphs shows that our tea culture had most prospered diring the Kingdoms of Shilla and Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.110-118
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• 2015

Borimsa Temple in Jangheung, one of the Goosanseonmoon of Shilla Dynasty, calls for a study in the field of landscape architecture because it has very significant elements in cultural and ecological landscaping aspects. This study examined the changes in landscaping elements of Borimsa Temple since the 17th century in order to newly recognize cultural landscaping value of space composition elements for traditional temple and to verify landscape architectural position. For research method, literatures such as Sajeonggi (事蹟記), Joongchanggi, a surveyed map by Fujishima Gaijiro in 1928 and Joseon Gojeogdobo (朝鮮古蹟圖譜) and modern documents including Borimsa Temple Precision Ground Survey Report and photographic records of National Archives of Korea and provincial governments were examined together with a field survey in order to trace changes in landscape elements such as buildings within the temple site, pond and temple forest. The results are as the following: First, for geographical locations of Borimsa Temple, it is located in an auspicious location and Shipyuknahansang and Cheonbul were placed in a supplementary purpose according to the contents of Bojoseonsatapbi. Compared to Namhwaseonsa Temple in China, it has a similar environmental composition but the fact that buildings were placed on platforms is a distinctive difference. Second, architectural landscape of Borimsa Temple went through the Japanese colonial era and Korean War and still going through changes today. Thus, there shall be some appropriate measures such as to establish an archive of past landscape data. Third, the contents of Borimsa Temple Sajeonggi suggests that the pond of Borimsa Temple had been in a indeterminate form with stones on the outer edge. Its name could have been Yongcheon (湧泉) according to the contents of Joongchanggi. Also, the current landscape, in comparison with past photographs, is a result of changes from surface raise occurred by ground reinforcement within the temple site. Fourth, Jangsaengpyoju (長生標柱) mentioned in Bojoseonsatapbi and Borimsa Temple Sajeonggi was thought to be the dried juniper tree in front of Daewoongbojeon, which can be found in past photographic documents but, it is now assumed to be Seokbihyeong (石碑形) considering the Gukjangsaeng and Hwangjangsaeng of Dogapsa Temple of the similar time period. Moreover, Hongsalmoon mentioned in Joongchanggi was established by King's order after the Manchu war of 1636 in praising of Buddhist monks those who had volunteered to fight for the country. Fifth, it is apparent in Borimsa Temple Joongchanggi that geomancy was a consideration in landscaping process of Borimsa Temple, and the record indicates that pine trees, bo trees and persimmon trees were planted. Sixth, tea tree forest was verified of its historical root that is Seongchailyeo from Unified Shilla through passing down of Jeong Yak-yong's Goojeunggoopo method and relevant documents of Seon Master Choui and Yi Yu-won. Seventh, nutmeg tree forest suggests that nutmegs were used in national ceremonies and for medical uses. The nutmeg tree forest was also verified of its role as Naehwasoorimdae (a forest built to prevent fire from spreading) through aerial photographs and placement of a forest reserve.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.