• 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 Institute of Interior Design Journal
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• v.22 no.6
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• pp.58-67
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• 2013

Since environmental pollution emerges as an important issue, integration of academic discipline has been accomplished for development of environmental ethics. Combination of Buddhism and Ecology is the instance of this background. The background of this research is the assumption that from Seon Ecology standpoint, Buddhist temple would define conception of Seon Ecology specifically. The study based on advanced study about Seon Ecology, the peculiarity of Seon Ecology was dependent originations, order, the nature of Buddha, moderation, and impersonated nature. In addition, this study researched how these peculiarity has relation with traditional temples. This attempt has a significance in that finding a new approach of interpreting traditional temple and possibility of Seon Ecology Seon Ecology space formative concepts of traditional temple is cyclical allness, transitory balance, Denial of perfection and natural void characteristics from Seon Ecological studies. This study examined how characteristic of Seon Ecology is reflected in traditional temple, through analyzing Buseoksa-Anyangru, Bongjeongsa-Yeonsanam, Seonamsa simgeomdang, Songgwangsa woohwagak, Hwaamsa woohwaru which have remarkable characteristic of selection using above space formative concepts. traditional temple was filled with life coexisted with dynamics, independence, and equality within interrelationship between nature and architecture.

• Fashion & Textile Research Journal
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• v.8 no.5
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• pp.523-529
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• 2006

The purpose of this study is to investigate the costumes of the ruling class in the Asuka-Nara Period by looking at the change in the clothing law of the era. During the Asuka-Nara period, various cultures such as Buddhism, architecture, sculpture, paintings, music, and so on were introduced through vigorous exchange with Chosun and Tang. Contrary to the primitive-Kohun Period, the regulation about costumes was enacted as law in the Asuka-Nara Period this fact tells us that there was high interest in clothing. Frequent reorganization of clothing law had to do with the rank system of Japan as well as with the exchange with other countries. The clothing law of Asuka-Nara Period was mostly consisted of the regulations about costumes of the ruling class including the royal family and government officials. The law regulated different coronet and color for the clothing depending on the different rank of the government officials. The more classified the rank was, the more varied color was used. In addition, there was a variety in the costumes system; 2 piece clothing of the Kohun Period was continuously used while new types of clothing were also introduced. The royal family members and government officials wore different types of clothing such as Yebok, Jobok, and Jebok, depending on time, place, or the purpose of occasion. The costumes of this period could be inferred from the analysis of the relics.

• Korean Institute of Interior Design Journal
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• no.32
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• pp.90-96
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• 2002

Laying stress on the upper classes of Western Europe until from the seventeenth to the eighteenth century, the chinese mode in the fields of architecture, interior design and fashion was widely liked. It is called as ‘chinoiserie’into the French language. The chinese design with its quantity and ornamentation exerted an influence upon‘Rococo’in France and upon ‘Chippendale’ in England. The chinese mode that was made best use of the furniture design is the one of Ming dynasty. This was developed in relation to the interior design of ‘Siheyuan’ that is the architectural mode in those days. The furnitures at the times of Ming dynasty was raised to the position of the golden era in the history of chinese furnitures. The furniture has the technique laying stress on symmetrical proportion, simplicity. This technique showed as the formative modeling. also on the part of decoration ornamental designs showing the china ideology of Taoism, Buddhism and Confucianism it was used. In this formative modeling the ideological background of those days forms the groundwork. The combination of reason and sentiment and of heart and mind emphasizes that our emotion should be in control by the ration and our emotion and ration should be harmonized.

• Acta Via Serica
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• v.5 no.2
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• pp.25-49
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• 2020

This essay, based on an oral presentation, provides the non-specialist, with an evaluation of the Mongols' influence and China and, to a lesser extent, on Russia and the Middle East. Starting in the 1980s, specialists challenged the conventional wisdom about the Mongol Empire's almost entirely destructive influence on global history. They asserted that Mongols promoted vital economic, social, and cultural exchanges among civilizations. Chinggis Khan, Khubilai Khan, and other rulers supported trade, adopted policies of toleration toward foreign religions, and served as patrons of the arts, architecture, and the theater. Eurasian history starts with the Mongols. Exhibitions at the Metropolitan Museum of Art and the Los Angeles County Museum of Art confirmed that the Mongol era witnessed extraordinary developments in painting, ceramics, manuscript illustration, and textiles. To be sure, specialists did not ignore the destruction and killings that the Mongols engendered. This reevaluation has prompted both sophisticated analyses of the Mongols' legacy in Eurasian history. The Ming dynasty, the Mongols' successor in China, adopted some of the principles of Mongol military organization and tactics and were exposed to Tibetan Buddhism and Persian astronomy and medicine. The Mongols introduced agricultural techniques, porcelain, and artistic motifs to the Middle East, and supported the writing of histories. They also promoted Sufism in the Islamic world and influenced Russian government, trade, and art, among other impacts. Europeans became aware, via Marco Polo who traveled through the Mongols' domains, of Asian products, as well as technological, scientific, and philosophical innovations in the East and were motivated to find sea routes to South and East Asia.

• Journal of architectural history
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• v.16 no.5
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• pp.7-20
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• 2007

Bong-amsa Temple is a special temple in the custody of Jogye sect, a branch of Buddhism in Korea. Due to limited public access to this temple, its Geungnakjeon(paradise shrine) has been little known to outside. But it is known that the Geungnakjeon has been not yet explored from academic standpoints in terms of its historical establishment as well as applications, and it would be two-storied wooden pagoda or the like. In order to examine its historical establishment, this study investigated historical records related to Bong-amsa Temple and its intrinsic architectural style. As a result, it was estimated that the building was established around the transitional period ranging from the late Koryo dynasty to the early Joseon dynasty. And it was found that the Geungnakjeon is not the two-storied wooden pagoda, but the unique building including an incidental component called Chayanggan(遮陽間; a sort of stepped penthouse) in Korea. In order to examine its possible applications, this study compared this building with other Buddhist funeral articles in forms similar thereto, such as Buddhist pagoda(僧塔), sarira container(舍利器) and Gamnodo(甘露圖) which depicts Byeoknyeon Daeban(碧蓮臺畔; a palanquin carrying malignant spirit). Then, this study estimated its possible applications on the basis of relevant historical literatures. As a result, it was found that this building was used as Wondang(願堂; a sort of Buddhist prayer house) to wish royal family's going to Nirvana after death, and it was not Confucian-style architecture popularized in the era of Joseon dynasty, but Buddhist-style architecture built widely from the era of Koryo dynasty to the early Joseon dynasty.

• Journal of architectural history
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• v.16 no.6
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• pp.101-120
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• 2007

This paper aims at studying on the medium of cultural interchange regarding who did and how to introduced the new trend of architecture during the period of Koryo Dynasty. Before the era of Koryo Dynasty, Kyungjang(Sutra Pitaka, 經藏) was mainly centered in Kyeongnu with a substantial function of storage. In the early Koryo Dynasty, however, Daejangjeon(大藏殿), which was spatialized for worship, began to appear. Normally, fixed walls were installed and the Sutras were enshrined inside Daejangjeon, while Jeonryunjang (revolving wheel sutras), a type of rational bookshelf, was introduced, and a new trend became developed in Kyungjang construction. Jeonryunjang(revolving wheel sutras, 轉輪藏) is a dharma instrument with a rotational function so that one revolution gives an effect of reading the enshrined Sutra one time, and began to be created actively in the period of the Northern Song. It is considered that the introduction of Jeonryunjang(revolving wheel sutras) to Daejangjeon was resulted from Haejokuksa(慧照國師) Damjin(曇眞) who visited the Kangnam areas in the Northern Song at that time. The Kangjeol areas in the Northern Song, where Damjin concentratively itinerated three times, were the place in which Jeonryunjang was created in many temples. Since Damjin, historical materials and excavated data regarding constructing Jeonryunjang have been discovered in the Buddhist temples, which are related to his pupils and dharma lineage. The only existing Jeonryunjang of Yongmusa Temple in Korea is the one that Joeung Daesunsa, who succeeded to the dharma lineage of Haesokuksa, promoted, and supports strongly such introduction of Jeonryunjang by Haesokuksa.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.2
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• pp.1-13
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• 2001

Beginning in the Wei-Chin and Liu Ch´ao era(AD. 220-589), an awareness of natural beauty emerged as the major interest of scholars which created such a social atmosphere that served as the foundation of prosperous Chinese art. During the T´ang period, the desire to achieve natural beauty began to dominate every field of art including gardening. This study covers the T´ang period when scholars began to be conscious of aesthetics. The main objective of this study is to examine the significance of natural beauty as interpreted by Wangwei, an artist representative of the period, and of Wangchuan Villa in relation to aspects of garden theory. This study is mainly based on Wangwei´s anthology, landscape painting describing Wangchuan Villa, and historical records related to the Villa. The summary of conclusions of this study is as follows: 1) Wangwei´s concept of natural beauty is a combination of objective natural beauty and pastoral beauty, which stresses the essential beauty of nature. Moreover, he considered nature as a religious Utopia. 2)Wangchuan Villa, where Wangwei stayed until his death, was a place of seclusion representing his idea of natural beauty. There, he was able to realize the paradise of Buddhism full of zen aspirations. 3)From the perspective of garden theory, Wangchuan Villa can be classified as a suburb villa in terms of location, as a landscape garden in terms of elements, and as a villa based on a typical private land system in terms of forms. In addition, it may be considered as a garden that laid the foundation to realize a field of non-visible image and non-visible landscape, which is fundamental element of scholarly garden design.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.113-124
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• 1999

The purpose of this study is to search into the relation between the chinese seclusion culture and the gentleman's gardens by means of the historical and aesthetic approach. The periodic limits of this study is from pre-Qin to Tand. For gentleman's gardens in Tang dynasty at once got out of the noble's gardens which had imitated the imperial gardens until Tang, and became the origin of the gardens of the literati appearing in post-Tang dynasty. The major findings are as follows : First, in pre-Qin period, the origin of the seclusion culture is classified as the metaphysical seclusion of Taoism and the physical seclusion of Confucianism. Although Pu, Yuan, and Uou which could be said the first step of the chinese gardens were inquired, the clear relation between the seclusion and them is not found. Second, during Qin-Han dynasty, the role of the gardens, as the settings of the seclusion, are comparatively minor, too. But uan Kuang-Han's garden considerably escaped from that of pre-Qin in the aspect of function, and it has the characteristics of recreation. Third, during Wei-Chin and Liu dynasty, two types of the seclusions emerged. One is the small seclusion, and the other the Great Seclusion. Though, as formerly, the contemporary gardens did not escaped from the imperial gardens, Shi Chong's garden can be the setting of the Court Seclusion. But the seven Righteous in Bamboos' and Tao Yuan-Ming's settings of the seclusion were real natural environments rather than gardens. Forth, in Tang dynasty, in spite of relatively low status, Bai Ju-Yi's theory of the middle Seclusion enabled gentlemen to make seclusion in sinecures unlike the court Seclusion. The theoretical background of the Middle Seclusion was Zen Buddhism and the State Examinations System and Bai Ju-Yi's private social position also had an important effect on it. In Tang dynasty, there being nobiliary gentleman's gardens, Bai Ju-Yi's garden, Lushan Caotangyuan, was the setting of the Middle Seclusion. It can be called a real gentleman's garden, for it is simple and small unlike the imperial gardens or the nobiliary gentleman's gardens.

• Journal of Environmental Science International
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• v.12 no.9
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• pp.921-934
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• 2003

The purpose of this study is to identify the characteristics and differences of borrowed landscape in traditional arbors and temples in Jeonbuk province. And this study is attempted to widespread the width of understanding the traditional landscape borrowing method for contributing in modem reception and creation of landscape architectural culture. For this, 30 traditional arbors and 30 traditional temples in Jeonbuk province were selected. The orientation of the place of view point, distance, vertical and horizontal angle were surveyed for identifying the structure of borrowed landscape. Furthermore main element, auxiliary element and a media of borrowed landscape were surveyed also. Two hypothesis were established for verifying the feasibility and real effectiveness of research results. First, the willingness of borrowed landscape shall be being in establishing traditional arbors and temples. Second, this willingness of borrowed landscape shall be accomplished in arbor space more positively than in temple space. The results of this study are as follows; 1. In temples, the surrounding landscape adapted in Buddhism principles are principally expressed, whereas in arbors, congregating landscape, variety landscape, background landscape for establishing good view point and enframed landscape are induced for making authoritative landscape as various borrowed landscape techniques. 2. The distance to borrowed landscape in temples is involved in far landscape region, whereas that in arbors is in middle and near. In comparative with temples, the arbors shows variety in distance to the borrowed landscape objects. 3. Down view borrowing is used generally in arbors, whereas upper view borrowing is used in temples at the view angle to the borrowed landscape objects. 4. Borrowed landscape objects are more considered factors than view scope in arbors. Main elements for borrowing landscape are very various arbors, but those are simple as mountains and peaks in temples. And natural elements are much more than artificial things in arbors as a media of borrowing landscape in comparative with temples.