• Journal of architectural history
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• v.12 no.3
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• pp.39-52
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• 2003

The purpose of this study is to show the constructional activities conducted by the Buddhist craftsmen of Bumeo-sa, especially to focus on the government constructions at Dongrae province in the 1700s. The result is as follows: 1) In the early 1700s, Bumeo-sa developed to become a great Buddhist temple and was be able to possess a large number of workers and craftsmen. On the base of these workforce and skill, the Buddhist craftsmen of Bumeo-sa played the most leading roles for the government constructions until the late of 1700s. 2) Though the conditions of finance and workforce at Dongrae province were not good enough at that time, several huge government constructions could be promoted successively, owing to Bumeo-sa's supports. 3) Above all, the Buddhist craftsmen in Bumeo-sa monopolized the construction of Dongrae Hyangyo in the middle of the 1700s. But the private craftsmen got replaced their main roles in the government and temple constructions since the late of the 1700s.

• Journal of the Korea Furniture Society
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• v.19 no.5
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• pp.365-374
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• 2008

Understanding of the properties of woods is important in wood utilization. Until now, traditional wooden houses(Korean-style house, Buddhist temple, royal palaces) and furniture have been made of domestic woods with the experience of a craftsman rather than the scientific knowledge on woods. Because of concrete-based houses and imported wood products and furniture, even wood craftsmen decrease in number, too. This study was carried out to collect wood samples growing in Korea and to measure wood characteristics. Anatomical, physical and mechanical properties of 37 wood species were investigated.

• Korean Journal of Heritage: History & Science
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• v.50 no.2
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• pp.4-25
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• 2017

The Hoeamsa Temple of Yangju City was established at least during the late Korea Dynasty. This temple was rebuilt several times with the support of the royal family from the late Korea Dynasty to the early Joseon Dynasty. It was continually rebuilt in association with JiGong monk, HyeKeun monk, and MuHak monk. Hoeamsa temple was leading the Buddhist culture as a Buddhist center of the Joseon Dynasty . It was destroyed in the late Joseon Period. This site has been excavated several times since 1997. Various roofing tiles were unearthed. Of these tiles the edge of eaves are the artifacts showing the best features of this era. In this temple site has been excavated a variety of Sanskrit roof tiles. These tiles were made using superior technique. On the roof tiles are engraved Sanskrit mantras with a variety of 1 to 9 words. The jeongbeopkkye mantra(oṃ raṃ) and six-word mantra(oṃ ma ṇi pa dme hūṃ) were discovered the most. These mantras were believe to expel several evils from the Buddhist temple. It must have been that the six-word mantra culture became prevalent and provided a turning point in the history of Korean Buddhism. We can clearly know when some of the Sanskrit roof tiles were first manufactured. These roof tiles are the absolute standard of the other Sanskrit roof tiles excavated from different Buddhist temples. The master craftsmen must have been very skilled, understood the mantra very well, and had deep faith in the Sanskrit mantra. Hoeamsa Temple is a milestone in studying the Sanskrit roof tiles. More studies on various aspects are expected to be followed.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.12-23
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• 2008

This study reports the costume changes and the factors of the changes from stone status in joseon dynasty. It can be summarized as follows: First, the artisan for the statues is one of the most important factors for the costume changes. The artisans who were involved in building the King's tomb were also made the stone statues for scholars' tombs. This results in that the style of the King's tomb influenced the costumes of stone statues for scholars' tombs. Some craftsmen who were buddhist monks also influenced the introduction of buddhist arts. Second, the stone statues are classified into 3 types according to the dead's social position: the civil officer statues, the military official statues, and the servant statues are installed for the civil officer, the military officers, and others, respectively. This principle was applied well. However, the civil official statues are mainly installed in late joseon dynasty because the civil officers are socially preferred to the military officers in late joseon dynasty. Third, there are two types of civil officer statues; Gongbok type and jobok type. Civil officer statues of Gongbok type were mainly installed in early joseon dynasty and civil officer statues of jobok type were begun to be installed in the early 16th century. Civil officer statues of Gongbok type were fade out after the late 17th century. Fourth, there are three reasons why civil officer statues of jobok type were installed at the officers's tombs 270 years earlier than at the Kings' tombs: 1) Introduction of Daemyunghoejeon and its application, 2) an establishment of a system that requires to prepare jobok individually, and 3) self-confidence of scholars' class on political and cultural maturity.

• Journal of architectural history
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• v.22 no.5
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• pp.47-64
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• 2013

The purpose of this paper is to examine the foundation and subsequent reconstruction years of Unsoo-sa Daeoong-jeon in Busan, especially based on the five records of this building. Moreover, this paper aims to analyze the possibility of the architectural type changes by comparison with nearby Buddhist buildings. The results of this study are summarized as follows. First, Unsoo-sa Daeoong-jeon was built in 1655. Afterward, it had been repaired through five times, but most members of it's wood-framework were found to had been prepared and constructed in 1655. Second, such as the gongpo type, roof type, module system, intercolumnar distance and proportion of intercolumnar distance and column-height, the architectural type of this building is similar to nearby Sinhung-sa Daekwang-jeon. This was because the identical monk-craftsmen carried out the many constructions of nearby temples with their architectural skills at the same period. Third, in particular, the style and created-time of the front gongpos are different from those of the rear gongpos. That is why the front gongpos were replaced when Unsoo-sa Daeoong-jeon was reconstructed in 1771.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.52-69
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• 2021

The transcriptions of Buddhist sutra in the Goryeo Dynasty are more elaborate and splendid than those of any other period and occupy a very important position in Korean bibliography. Among them, the transcriptions made on indigo paper show decorative features that represent the dignity and quality that nobles would have preferred. Particularly, during the Goryeo Dynasty, a large number of transcriptions were made on indigo paper, often in hand-scrolled and folded forms. If flexibility was not guaranteed, the hand-scrolled form caused inconvenience and damage when handling the transcription because of the structural limitations of the material that is rolled up and opened. It was possible to overcome these shortcomings by changing from the hand-scrolled to the folded form to obtain convenience and structural stability. The folded form of the transcription utilizes the same principle as the folding screen, so it is a structure that can be folded and unfolded, and it is made by connecting parts at regularly spaced intervals. No matter how small the transcription is, if it is made of thin paper, it is difficult to handle it and to maintain its shape and structure. For this reason, the folded transcription was usually made of thick paper to support the structure, and the cover was made thicker than the inner part to protect the contents. In other words, the forded form was generally manufactured to suit the characteristics of maintaining strength by making the paper thick. Because a large amount of indigo paper was needed to make this type of transcription, it is assumed that there were craftsmen who were in charge only of dark dyeing the papers. Usually, paper dyeing requires much more dye than silk dyeing, and dyeing dozens of times would be required to obtain the deep indigo color of the base of the transcription of Buddhist sutra in the Goryeo Dynasty. Unfortunately, there is no record of the Goryeo Dynasty's indigo blue paper manufacturing technique, and the craftsmen who made indigo paper no longer remain, so no one knows the exact method of making indigo paper. Recently, Hanji artisans, natural dyers, and conservators attempted to restore the Goryeo Dynasty's indigo paper, but the texture and deep colors found in the relics could not be reproduced. This study introduces the process of restoring indigo paper in the Goryeo Dynasty through collaboration between dyeing artisans, Hanji artisans, and conservators for conservation of the transcription of Buddhist sutra in the late Goryeo dynasty, yielding a suggested method of making indigo paper.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.179-222
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• 2005

Studies prosecuted on relics in those 17 bronze workshops that have been thus far excavated show that these workshops may be roughly classified into a royal workshop, a state-operated workshop and a private workshop depending upon by whom they were operated. Workshops in the Gyeongju area developed from a small royal handicraft manufacturing to a large state-operated handicraft manufacturing scale, and then later on gradually changed to a private handicraft manufacturing industry. The royal bronze workshops were operated in a small scale, as shown from the relics excavated at Wolseong(月城), Imhaejeonji(Anapji:雁鴨池) and their neighborhood places around Hwangnam_dong(皇南洞). The state-operated bronze workshops are concentrated upon one point around Dongcheon-dong(東川洞), Gyeongju city. On the other hand, in the state-operated workshop stage, a broad street was built by a workshop, which is presumed to aim to thoroughly transport materials needed for the workshop. And the point that wastes from bronze workshops were used for road repairs indicates that road repair works were carried at the bronze workshops near the road. The private workshop as a new type of workshop was operated by the aristocracy. For that purpose, craftsmen belonging to state-operated workshops or individual artisans were absorbed into the aristocracy-operated workshops. These types of workshops were pervaded throughout the city. When private workshops came to emerge in the houses of the aristocracy, the operating subjects of workshops began to change from state-operated to private workshops. Temple workshops were located at a Buddhist temple within the Court and directly produced things needed for the court, including bronze foundries. As aforementioned, through the presence of bronze workshops operated in the Silla Court, we can identify the relationships between their technical level and trading areas and among their origin, supply and demand sources, along with phases of social life in those days.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.