• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.5
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• pp.117-124
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• 2020

This study examined ornamental metals used as architectural members among metal artifacts excavated from ancient Buddhist temples and palaces in Korea. Through this, we approached the decorative characteristics of ancient architecture eaves. 1. The decorations used in eaves of Korean ancient architecture include roof-end tiles and ornamental metal. Through excavation examples, the technique of attaching ornamental metal to the rafters and corner rafters of high-ranking architectures in the 7th and 8th centuries (ornamental metal for rafter end, ornamental metal for corner rafter end), and tosu iron in the 10th century It seems to be fashionable. 2. Several buildings were built in ancient Buddhist temples and palaces. At this time, they differentiated ornamental metal according to the hierarchy of the building. The higher the hierarchy, the greater the difference in the number of ornamental metal installations, materials, and decoration techniques. In addition, ornamental metal used in eaves is an important factor in the discrimination of the times as the type, number of members, and patterns change depending on the era. 3. The great feature of the eaves metal decoration excavated in the 7th and 8th centuries is the attachment of ornamental metal to the rafters and horsetails. This seems to create a sense of grandeur by removing the weight of the roof and giving the impression constructed regardless of gravity by supporting it with non-material materials.

• Journal of architectural history
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• v.25 no.6
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• pp.27-34
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• 2016

There were lots of changes of the wooden structure in the middle of Joseon Dynasty. It was the time of replacement from Jusimpo (simple bracket system) to Ikgong (wing-like bracket system) and each bracket had shown mutual variation as well as itself. The aspects of change were discovered that the decorative elements of Ikgong and Dapo (multi-bracket system) had accepted from each other. It was clearly shown that not only the Ungung (carved cloud-shape) and Chotgaji (shape of the acuminate leaf) of Ikgong had affected to Dapo, but also Gaang (pseudo-pointing cantilever) of Dapo had affected to Ikgong. It was mostly found in the Buddhist architecture because there was the conservatization of ruling hierarchy as well as the active growth of Buddhist society.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.744-754
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• 2015

Buddhist temple construction at East Asia is considered one of the most important architecture activities together with the capital city and palace, where the pagoda is positioned at the center of a Buddhist temple as the most important element of Buddhist architecture enshrining Buddha's Sary. Accordingly, this study was performed to examine the procedure of how to build brick pagodas through the stone pagoda's internal structure between $7^{th}{\sim}9^{th}$ century while disassembling and repairing Andong Jotap-ri five-story brick pagoda. As a result, as the brick pagoda destruction phenomenon, there was a slip phenomenon by side forces, member's plastic temperature, and mixed material differences. Second, like a stone pagoda, brick pagoda is classified and constructed by the design and structural parts. According to the analysis, the design part is formed by the most edge brick, and the structure part places stone material at the buffer zone in the design brick from most edge brick and intra-center, i.e., at the space to support a side force while the top weight is vertically led. When building a brick pagoda, putting a wood pole at inside center plays the role as holding parts. In addition, the center axis is connected to the bottom of the steel pole hole, A steel pole hole has holes to safely settle down and decide the position. Because of them, the steel pole is self-loaded, which may be installed by wood rather than immovable steel.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.227-266
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• 2020

The purpose of this paper is to review the representative Buddhist policies enforced during the reign of Gwanghaegun (光海君), the 15th king of the Joseon Dynasty, and the aspects of the Buddhist community affected by them. Through this, the influence and dynamism of Buddhism during the reign of Gwanghaegun will be revealed. Some of the findings will run contrary to what is popularly known about Joseon Buddhism and the policy of Sungyueokbul (崇儒抑佛), 'Revering Confucianism and Supressing Buddhism.' During the Joseon Dynasty, Neo-Confucianism was taken as an ideological background, and consequently, Buddhism was ostracized by the ruling class who advocated the exclusion of heretical views. This also characterized King Gwanghaegun's reign during the Mid-Joseon Dynasty. In reality though, the ruling class held mixed opinions about Buddhism, and this influenced the Buddhist community in the Gwanghaegun Period. The military might of Japan demonstrated during the Japanese Invasion of Korea in 1592, led the ruling class to recognize Buddhism, and as a result, the status of Buddhism rose to a certain extent. Based on its elevated status and the aftermath of the Japanese Invasion of Korea, the Buddhist community engaged in social welfare activities inspired by the notion of requiting favors, and the Buddhist community gained recognition for providing relief services. As a result, the number of monks increased, and the economic situation improved as land ownership was granted to temples and monks. This is the means by which the Japanese Invasion of Korea influenced the Buddhist policies of the Gwanghaegun Period and changed the religious topography of Buddhism. During the reign of King Gwanghaegun, the ruling class regarded Buddhism as heretical, but offered posthumous titles to monks who engaged in meritorious services during the Japanese invasions of 1592~1598. Favorable and/or preferential treatment was also granted to some Buddhist monks. In addition, monks began to perform labor projects that demanded organizational and physical strength, such as those which related to national defense and architecture. However, throughout the Gwanghaegun Period, the monks were paid a certain amount of compensation for their labor, and the monks' responsibility for labor increased. This can be understood as a partial reconciliation with Buddhism or an acceptance of Buddhism rather than the suppression of Buddhism often presented by historians. As for policies which affected Buddhism, the Buddhist community showed signs of cooperation with the ruling class, the creation and reconstruction of temples, and the production of Buddhist art. Through close ties with the ruling class, Buddhism during the Gwanghaegun Period saw the Buddhist community actively responded policies that impacted Buddhism, and this allowed their religious orders to be maintained. In this way, it was also confirmed that the monk, Buhyu Seonsu (浮休 善修) and his disciple Byeogam Gakseong (碧巖 覺性), took up leadership roles in their Buddhist community. The Buddhist-aimed policies of Gwanghaegun were implemented against the backdrop of the Buddhist community, wherein the ruling class held mixed opinions regarding Buddhism. As such, both improvements and set backs for Buddhism could be observed during that time period. The ruling class actively utilized the organizational power of Buddhism for national defense and civil engineering after the Japanese invasions of 1592~1598. Out of gratitude, they implemented appropriate compensation for the Buddhists involved. The Buddhist community also responded to policies that affected them through exchanges with the ruling class. They succeeded in securing funds and support to repair and produce Buddhist temples and artworks. A thoughtful inspection of the policies towards and responses to Buddhism during the Gwanghaegun Period, shows that Buddhism actually enjoyed considerable organizational power and influence. This flies in the face of the general description of Joseon Buddhism as "Sungyueokbul (revering Confucianism and supressing Buddhism)."

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.5
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• pp.102-112
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• 2010

The purpose of this study is to identify the architectural design elements of secondary shrines in traditional Buddhist temples in Korea. For this study, a survey of six kinds of secondary shrines (Myemgbujem, Yeongsanjeon, Eungjinjem, Yaksajeoun, Gwaneumjeon, Mireukjeon), according to specified design elements(building sizes, roof styles, Gongpo, Dancheong, shape of Datjip), was conducted. The results of this study are summarized as follows; Myeongbujem is built in every temples(25 examples), most having simila1ities in sizes and architectural elements(roof, Gongpo structure, Dancheong, Datjip). The majority of Yemgsanjeon(l4 examples) and Eungjinjem shrines(l5 examples) are mostly 3-Gan sized buildings, having a Matbaejibung and Ikkmg structural system. Gwaneumjeon, on the other hands, has 1he most elaborate architectural elements. Among 12 cases, 8 buildings have Paljakjibung, 9 buildings have Silk-Dancheong in innerspace, and Datjip are included in six buildings. Yaksajeon shrines are small in mnnber, but most of these shrines have a Dapo structure, and, despite of their size, are designated as cultural properties.

• Korean Institute of Interior Design Journal
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• no.10
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• pp.11-20
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• 1997

This paper, based on the surveys on 43 cases in whole Korea, aims to analyze the architectural principles extracted from the religious dogmas and to propose the direction of the expression of tradition in Korean religious architecture. Buddhist temples in the modern cities. Catholic churches, Anglican churches, Protestant churches have similar problems and attitudes on the expression of traditiov. They have not yet various subjects on the expression of tradition as 'tradition' is not distinguished from 'transmission'. It is not caused only by the general phase of Korean modern architecture, but also by the lack of the practical theology which extract architectural principles from religious dogma and history. I proposed 'Architectural vocabulary', 'Architectural syntax', 'Architectural idea', and 'Symbolization of interior space' , 'Architectural zeitgeist' as the ideal approach.

• Korean Journal of Environment and Ecology
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• v.26 no.5
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• pp.787-800
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• 2012

The purpose of this study was to investigate the vegetation structure of Bulguksa around Buddhist Temple Forest in the Gyeongju National Park. To do so, forty-two plots($100m^2$) were set up and surveyed. The surveyed plots were divided into four groups according to the analysis of classification by TWINSPAN; (I) Pinus densiflora-Pinus koraiensis community, (II) Pinus densiflora community, (III) Pinus densiflora-Acer palmatum community, (IV) Acer palmatum-Pinus densiflora community. The results of vegetation structure analysis were; Bulguksa around Buddhist Temple Forest in the Gyeongju National Park were dominated by Pinus densiflora. IV community, influx of Acer palmatum in Pinus densiflora community, Acer palmatum-Pinus densiflora community are believed to be a change to the community. But, recent spontaneously is growing Quercus variabilis, Quercus aliena, Quercus serrata, Quercus mongolica in understory and shrub layer. Later, it is expected that Pinus densiflora competition. The forest vegetation age of the study area is Pinus densiflora were dominant trees in forest was 30~100 years, old while that of Acer palmatum was 30~36 years old.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.159-169
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• 2011

This research aims to discover how the pure land(Sukkavati), which had the greatest impact on ordinary people since the Shilla period, are represented in the Buddhist temples. This study first looked into the seven landscapes of the pure land, which are written on the $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$ a reliance on $s{\bar{u}}tras$ of the Pure Land School. Then, their meaning in the modern world were interpreted. Next the research moved on to the next step to see how the spirit and ideas of the pure land are shown in temples of the Pure Land School. Korean temples of the Pure Land School were found to faithfully embody the landscapes of the pure land in the $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$. One might say that those landscape traits of the temples surveyed are common among all Korean buddhist temples, but in the temples of the Pure Land School. those traits consistently reflect special concepts, forming their landscape identity. But ponds, on which the $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$ and the picture of $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$ put huge emphasis and drawn without an exception, were hard to find among the temples surveyed. This means that previous idea that a pond was an indispensible part in the temples of the Pure Land School needs to be corrected.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.67-80
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• 2022

SipWooDo (十牛圖: Painting of Ten Bulls), a Buddhist painting, is a kind of Zen Sect Buddhism painting, which is shown as a mural in many of main halls of Korean Buddhist temples. MokWooDo has been painted since Song Dynasty of China. It paints a cow, a metaphor of mind and a shepherd boy who controls the cow. It comes also with many other types of works such as poetry called GyeSong, HwaWoonSi and etc. That is, it appeared as a pan-cultural phenomenon beyond ideology and nation not limited to Chinese Buddhist ideology of an era. This study, therefore, selects MokWooDo chants that represent Confucianism, Buddhism and Taoism to compare the writing purposes, mind discipline methods and ultimate goals of such chant literatures in order to integrate and comprehend the ideologies of such three schools in the ideologically cultural aspect, which was not fully dealt with in the existing studies. In particular, the study results are: First, the SipWooDo of Buddhist School is classified generally into Bo Myoung's MokWooDo and Kwak Ahm's SimWooDo (尋牛圖: Painting of Searching out a Bull). Zen Sect Buddhism goes toward nirvana through enlightenment. Both MokWooDo and SimWooDo of Buddhist School are the discipline method of JeomSu (漸修: Discipline by Steps). They were made for SuSimJeungDo (修心證道: Enlightenment of Truth by Mind Discipline), which appears different in HwaJe (畫題: Titles on Painting) and GyeSong (偈頌: Poetry Type of Buddhist Chant) between Zen Sect Buddhism and Doctrine Study Based Buddhism, which are different from each other in viewpoints. Second, Bo Myoung's MokWooDo introduces the discipline processes from MiMok (未牧: Before Tamed) to JinGongMyoYu (眞空妙有: True Vacancy is not Separately Existing) of SsangMin (雙泯: the Level where Only Core Image Appears with Every Other Thing Faded out) that lie on the method called BangHalGiYong (棒喝機用: a Way of Using Rod to Scold). On the other side, however, it puts its ultimate goal onto the way to overcome even such core image of SsangMin. Third, Kwak Ahm's SimWooDo shows the discipline processes of JeomSu from SimWoo (尋牛: Searching out a Bull) to IpJeonSuSu (入鄽垂手: Entering into a Place to Exhibit Tools). That is, it puts its ultimate goal onto HwaGwangDongJin (和光同塵: Harmonized with Others not Showing your own Wisdom) where you are going together with ordinary people by going up to the level of 'SangGuBori (上求菩提: Discipline to Go Up to Gain Truth) and HaHwaJungSaeng (下化衆生: Discipline to Go Down to Be with Ordinary People)' through SaGyoIpSeon (捨敎入禪: Entering into Zen Sect Buddhism after Completing a Certain Volume of Doctrine Study), which are working for leading the ordinary people of all to finding out their Buddhist Nature. Fourth, Shimiz Shunryu (清水春流)'s painting YuGaSipMaDo (儒家十馬圖: Painting of Ten Horses of Confucian School) borrowed Bo Myoung's MokWooDo. That is, it borrowed the terms and pictures of Buddhist School. However, it features 'WonBulIpYu (援佛入儒: Enlightenment of Buddhist Nature by Confucianism)', which is based on the process of becoming a greatly wise person through Confucian study to go back to the original good nature. From here, it puts its goal onto becoming a greatly wise person, GunJa who is completely harmonized with truth, through the study of HamYang (涵養: Mind Discipline by Widening Learning and Intelligence) that controls outside mind to make the mind peaceful. Its ultimate goal is in accord with "SangCheonJiJae, MuSeongMuChee (上天之載, 無聲無臭: Heaven Exists in the Sky Upward; It is Difficult to Get the Truth of Nature, which has neither sound nor smell)' words from Zhōngyōng. Fifth, WonMyeongNhoYin (圓明老人)'s painting SangSeungSuJinSamYo (上乘修真三要: Painting of Three Essential Things to Discipline toward Truth) borrowed Bo Myoung's MokWooDo while it consists of totally 13 sheets of picture to preach the painter's will and preference. That is, it features 'WonBulIpDo (援佛入道: Following Buddha to Enter into Truth)' to preach the painter's doctrine of Taoism by borrowing the pictures and poetry type chants of Buddhist School. Taoism aims to become a miraculously powerful Taoist hermit who never dies by Taoist healthcare methods. Therefore, Taoists take the mind discipline called BanHwanSimSeong (返還心性: Returning Back to Original Mind Nature), which makes Taoists go ultimately toward JaGeumSeon (紫金仙) that is the original origin by changing into a saint body that is newly conceived with the vital force of TaeGeuk abandoning the existing mind and body fully. This is a unique feature of Taoism, which puts its ultimate goal onto the way of BeopShinCheongJeong (法身淸淨: Pure and Clean Nature of Buddha) that is in accord with JiDoHoiHong (至道恢弘: Getting to Wide and Big Truth).