• Journal of architectural history
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• v.20 no.2
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• pp.55-70
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• 2011

This paper aimed at analyzing of structural carpentry terminology for bracket structure in Yingzaofashi ${\ll}$營造法式${\gg}$in the era of Song Dynasty and illuminating coinage characteristics and method of Structural Carpentry Terminology for bracket Structure through graphonomy research and system and structure of these terms. The results are as follow. The structural carpentry terminologies for structure were identified to be approximately 23 words, and terminology of bracket structure鋪作 is largely categorized into 3 categories of Type鋪作次序, Structure, Place. On the other hand, the structural carpentry terminologies for parts largely categorized into 2 categories of Bracket structure鋪作, Others. Bracket structure terminologies for parts were derived from the core of Dou枓, Gong栱, Ang昂, Fang方. The phenomena of derivation in structural carpentry terminology for bracket structure can be explained by the difference in the shape of subsidiary material and the location for usage of the subsidiary material and part of the subsidiary material and their functions.

• Journal of architectural history
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• v.27 no.2
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• pp.7-16
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• 2018

The purpose of this study is to estimate the dimensions of the Protruding distance of Seven-layered Gongpo of Baoguosi Temple Main Hall in Ningbo, China, and to analyze the meaning of the dimension through the "Yingzaofashi(營造法式)" and other similar cases. Through this study, it is clarified that the "Yingzaofashi" stipulates the limited use of the structural role of Ha-ang, but Baoguosi Temple Main Hall has expanded the structural role of Ha-ang actively by increasing the total Protruding Distance and effectively controlling the Protruding Distance of the layer where Ha-ang is placed. And as a result, the effect of lowering the total height of the protruding part was confirmed.

• Journal of the Korean Institute of Rural Architecture
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• v.21 no.3
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• pp.33-40
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• 2019

Woolyang(月梁) is a beam which whole shape is curved like a so-called moon(月). According to the ${\ll}$Yeongjobeosig(營造法式)${\gg}$, In the case of beams installed under the ceiling of a wooden building, it is used by manufacturing them in Woolyang(月梁) for maximum visual decorative effects as the shape is exposed. In order to achieve the end of a beam that is manufacturing in Woolyang(月梁), it is important to process it in a suitable size and shape for a given situation to achieve a combination with other members around it. However, in the "營造法式", the standard of production of the Woolyang(月梁) is divided into Myeongbog(明?), Chagyeon(箚牽), Pyeonglyang(平梁), and the height of each beam head is divided into 21分$^{\circ}$, 15分$^{\circ}$, 25分$^{\circ}$, but it is not possible to look at any more specific reference. In this paper, try to consider the principle of Woolyang(月梁) manufacturing and its normative contents which were indirectly proposed in the ${\ll}$Yeongjobeosig(營造法式)${\gg}$.

• Journal of architectural history
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• v.20 no.6
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• pp.115-129
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• 2011

The bracket sets which are supporting the weight of the roof, has to meet both requirements which are structural functions and act as an ornamental element. Therefore the bracket sets differ in many types from time and space and has done an important role in the history of architecture with many studies being presented. The first form of the bracket set has been found in the bronze table relics in zhong shan wang ling (中山王陵). Through the Eastern Han dynasty (A.D. 25-220) it became more specific in the shique (石闕) and huaxiangshi (畵像石) in the Han dynasty (206 B.C.-A.D. 220). Afterwards, as Buddhism was introduced to China, the bracket construction techniques shown in the Mogao Caves, Yungang Grottoes, and Longmen Grottoes has given much help for understanding the building techniques of wooden architecture. Especially the Xia-ang structure seen in the Mogao caves shows a vast development in wooden structure and a typical building would be the main hall of Fo Guang Shan monastery in Mt. Wutaishan from the Tang dynasty (A.D. 618-907). This accumulated techniques is inscribed in the 'Ying Zao Fa Shi (營造法式)' wooden structure designs which was published during the Northern Song dynasty (A.D. 960-1127) and many buildings were constructed following this technique after the publication. During this period, it is assumed that Baek-jae (B.C.18-A.D.660) in the Korean peninsula also used the Xia-ang technique, but there havn't been many studies on this field. In this thesis it is introducing the development of the building techniques and structural features of the Xia-ang wooden architecture during the Tang and Song dynasty.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.20-55
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• 2016

Koguryo's tomb mural paintings in North Korea are our precious cultural heritage which have been designated as UNESCO World Heritage property receiving high praise in the following criterion, i) exceptional creativeness of human being, ii) representative value showing the stage of development in construction history of East-Asia, iii) aesthetic superiority iv) uniqueness of building construction including tombs' ceiling. Mural paintings have been found from almost 100 tombs of the Koguryo dynasty out of 130 which are scattered across Huanren County, Lianoning Province, Ji'an, Jilin Province in China and Pyongyang in North Korea. Especially, most of them are gathered in Pyongyang from 4th and 5th century. Peculiarly, some of them have been constructed before King Jangsu's transfer of the capital to Pyongyang(AD 427). It can be regarded that Pyongyang territory had been under control of Koguryo and to become a new capital in the near future. And dense emergence of such tombs since the capital transfer from Gungnae City to Pyongyang during the reign of Jangsu is linked closely to the construction of tombs for rulers under strengthen royal authority of Jangsu and centralized system of authoritarian rule. Tomb mural paintings describe the owner's figure pictorially based on the truth just as in his living years. General lifestyles of ruling powers and sovereigns can be seen from the wall paintings portraying several buildings with various styles, figures, manners of living, which are considered that the tomb owner had led politically and sociologically in his life. In spite of not enough proofs to approve figure of architectures or "Gong-Po" in wall paintings on the tombs as those of Koguryo, it is persuasive with consideration for painting and decoration inside the tomb like wooden building in real life for the purpose of reenacting and continuing the tomb owner's luxurious life after death. "Du-Gong-Po-Zak" had appeared in company with Koguryo tomb murals and it can be found in most of the murals. And the emergence of substantial "Gong-Po-Do" can be counted more than a century ahead of the figure in murals. It could be a reasonable assumption as regards Koguryo tomb murals time of appearance match up with production period of Gahyungmyunggi(家形明器) and Hwasangseok(畵像石) Hwasangjeon(畵像塼) Design in the Mural Painting of the East-Han(東漢) Ancient Tombs in China. On this study, architectural "Gong-Po"s described in Koguryo tomb murals are categorized largely in "Bi(non)-Po-Zak-kye", "Jun(semi)-Po-Zak-kye", and "Po-Zak-kye" based on presence of "Ju-Du", "Cheom-Cha", and "Cheom-Cha-Sal-Mi" with developmental aspect, and, "Po-zak" is subdivided as "Bi(non)-Cheul-Mok" and "Cheul-Mok" types.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.134-153
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• 2009

This study is to examine closely the frame structure of buildings in the royal palace of Josen dynasty, focused on inner buildings of Changgyeonggung(昌慶宮) which is built in 19th century, through considering the member size of main structure and analyzing the slope of a rafter. The plans of a size on main member are as follows ; firstly, a length of the perimeter column was accorded with Gunggwolji(宮闕誌) and the planning size of interior column was shown to a Chon(a Korean inch, 寸) unit. The slope of long common rafter that is formed between the perimeter and interior columns was grasped with limits of a definite value. This is that the perimeter column is trimmed to a Chon unit, as Yeongchunheon(迎春軒), In the roof frame of Korean traditional timber architecture, the slope of rafter, first of all, is to decide the slope of long common rafter and then to decide a height of ridge piece settled whole height of a building. And it is regulated with position and height of a post so as to set up middle rafter. Especially, the slope of long common rafter, it is not to be decide through scale of a building but through a length of the perimeter column and composition of bracket structure. And in case middle rafter, the process of its slope is to devide the central bay on the side of a building into equality, and then to adjust position and length of a post.