• Journal of architectural history
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• v.27 no.2
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• pp.63-78
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• 2018

Pagodas in Myanmar can be largely divided into Zedi and Pato. Zedi is a developed form of the early domed pagodas in India and Sri Lanka, which can be found in the introduction of Buddhism in Myanmar and the comparison of early pagodas in India, Sri Lanka and Myanmar. On the other hand, Pato is where statues of Buddha were enshrined, which is why many scholars referred to it as a temple. However, this study proposes that Pato shall be referred to as a temple-style pagoda in a form unique to Myanmar, based on the origin of Pato, definition of pagodas, and Sarira Enrichment Record of Pato. Moreover, it seems more appropriate to name this type of structure Stupa Temple(塔殿) or Stupa Shrine(塔堂) rather than a Buddhist temple(佛殿) or Buddhist shrine(佛堂) for clear distinction. Pato, or temple-style pagodas, has a ${\acute{S}}ikhara-style$ structure at the center like Ananda Pato upon entering the Pagan (Bagan) kingdom period, on which Zedi-style structures are built. As a result of examining the integration of various Buddhist schools and religions focused on Theravada during the period of King Anawrahta and King Kyanzittha, the ${\acute{S}}ikhara-style$ structure is a symbolic representation of the fact that Theravada embraced Hinduism. The common features shared by pagodas in Myanmar are the centrality of place and the verticality of $y{\check{a}}ngti{\bar{a}}n$ (looking up to the sky) in terms of shape. All temples are placed at the most important and central space, and their forms represent strong religious $y{\check{a}}ngti{\bar{a}}n$ and verticality. These are the features that stand out most among various pagodas in Buddhist countries.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.136-161
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• 2000

This paper is a study on the design of the gilt-bronze sarira caskets discovered in 1959 and 1996, from a east and a west three-story stone pagodas in Gameunsa Temple site which was built in 682. One of the most interesting discoveries is the ceiling with Bokdu(覆斗) design which can be seen in Dun-Huang grotto of China, reflected upon the ceiling structure of the cover (outer casket) and the square box (inner casket). The structure of these sarira caskets, as art crafts, directly represents architectural structure of Dun-Huang grotto that was made during the early T'ang period of China. Moreover, the sarira caskets are decorated with ornate designs and these designs also can be seen on the murals of Dun-Huang grotto. Accordingly, those sarira caskets tell us creative ability and international taste of Silla's craftsmen. By tracing the origin of structure and design pattern of the sarira caskets to Central Asian and Chinese architectures, it is able to understand international style of the sarira caskets of Gameunsa Temple site.

• Journal of architectural history
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• v.22 no.5
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• pp.23-35
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• 2013

This study aims to investigate the architectural characteristics of the Da-bo stupa by examining the correlation among architectural languages and by studying the features of its architectural components and transitional changes shown in Da-bo stupa line drawings in Dunhuang Mogao Grottes. The results are as follows. 1st, the Da-bo stupa of Dunhuang faithfully follows the sutra of lotus, and although the form changes, the fundamental essence of Bo-tap-yong-chul and two seated Buddhas provided by the Gyun-bo-tap-pum in the sutra of lotus is consistent. 2nd, the pagoda body can be periodically divided into parasol, stupa, and royal palace types. The parasol type has an incomplete tower body, which makes distinguishing each of its architectural components difficult. The stupa type appeared between the early (AD 618-712) and middle (AD 766-835) Tang dynasty. It combines the form of Indian stupa type and East Asian wood structural architecture. The royal palace type, which appeared between the peak period of the Tang (713-765) and Sung Dynasties, shows the standardized pattern of the Da-bo stupa described as two seated Buddhas and Bo-tap-yong-chul. 3rd, the use of a stylobate does not appear in the early construction of Da-bo stupa, only in the later period, in the form of high pillars. Forms include many Su-mi-jwah and three-way stairways and Dab-do, but as time passes, the forms are simplified to the form of high pillars. 4th, the purpose of early Da-bo stupa was to provide space for Da-bo-yu-rae of Gyun-bo-tap-pum; hence, it did not have sangryoon(the top part). However, after it was influenced by general pagodas, sangryoon was established. Toward the Tang Dynasty, sangryoon has come to emphasize the forms of boryoon(nine wheels) or dome. However, this form is eventually simplified to only retain bo-joo(the orb).

• Journal of Science of Art and Design
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• v.13 no.1
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• pp.61-86
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• 2008

Buddhism and Buddhist art originated in India, but when they were introduced to different countries, they created an international environment. Buddhism was introduced as cultural package, with written texts, visual images, rituals, and the organization of monasteries. Buddhist art originated in India during the reign of King Asoka and then was developed under the political, intellectual, artistic, religious, social and natural environments of the regions. The stupa and the chaitya halls create monastic environment. The natural environment of the trade routes and caravans in the Central Asian deserts preserved brilliant-colored murals and helped spread tram India to China. When Buddhism and Buddhist art were introduced to China, Korea, and Japan, Buddhism became a part of government institution and social organization. Gigantic statues were carved in caves in mountains for political purposes. The Chinese transformed the stupa into a square pillar and created pagodas with tiled roofs in tower forms. Koreans not only transmitted the Buddhist art from China to Japan, but it also changed it with originality in the iconography of the pensive bodhisattva images and in the architecture of Seoggulam. The official ideology of Neo Confucian philosophy brought the rise of Chan Buddhism. Zen monasteries in Japan created unique environments by establishing the Zen Buddhist garden. to prompt believers to meditate. An important development in Buddhist art is the Esoteric Buddhist art in China and Tibet. This category belongs to the intellectual, religious as well as artistic environments. The Tibetan deities with consorts in their embrace symbolize the union of the god and the devotees. Buddhist art created a unique environment that was spread out to many nations and changed greatly over time.