• 헤리티지:역사와 과학
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• 제33권
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• pp.210-255
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• 2000

This study aims to classify the framework and arrangement of interior columns (Naeju) which are used in single-story Buddhist halls into several types, and to develop a theory on the process of changes among those types. Since interior columns are building materials which hold up the roof structure and make partitions in the interior space of halls, their framework and arrangement is closely linked to the development of building technology and is expected to reflect new architectural needs. The kinds of interior columns classified by the shape of framework are goju, chaduju, oepyonju, naepyonju. The arrangement of interior columns can he classified by two methods: One which counts the number of the interior column arrangements in a hall, and the other whose classification relates with the side wall columns - Jeongchibup and yijubup. With the combination of these classifications, we can divide the framework and arrangement of interior columns into 8 types From the remains of Korean and Chinese Architecture, we can presume that before the late-Goryo period, jeongchibup had always been applied in the construction of Buddhist halls, and gamju(column reducing) had only been used in examples of small scale. After the founding of Choseon Kingdom, however, national policy had weakened the economic power of Buddhist temples. Because of that, large-scale outdoor Buddhist mass was replaced by small-scale indoor mass, and for this reason, though the scale of Buddhist halls became smaller, the need for a broad interior space became stronger. Thus in early-Choseon period, reduction of interior columns became widely spread. Those types of framework and arrangement of interior columns where yijubup was applied were developed because the rear interior columns arrangements, in order to expand the interior space, have moved backward. Among these types, yiju-goju and yiju-chaduju were developed for the Buddhist halls with paljak roof(hipped-gabled roof), where the load of their side eaves caused structural problems at the side walls. And oepyonju type was for the small-scale and middle-scale Buddhist halls which needed more interior space but didn't want the extension of roof structure. From the local and periodic distribution of each types, we can conclude that the types jeongchi-goju, jeongchi-chaduju and yiju-chaduju have been settled as typical technique of local carpenters. Oepyonju was developed later than the other types, but for its merit of low cost, it became a popular type across the nation.

• 대한건축학회논문집:계획계
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• 제34권9호
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• pp.129-140
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• 2018

The purpose of this study was to reconsider existing hypotheses on the orinination and changes of changbang-anchogongs and their types and suggest an alternative hypothesis. The earliest changbang-anchogongs in $17^{th}$ century is presumed to originate as imitations of chungbang ppaelmoks for ornamental and reinforcing parts for changbangs. They were framed whole sides of buildings equally, and were used in small numbers of extant royal buildings and Buddhist halls. From late $17^{th}$ century, enlarged dragon shape changbang-anchogongs applied to Buddhist halls maily to decorate and strengthen front side of buildings. As a result of exchange between changbang-anchogongs and Ikgong type brackets, combined changbang-anchogongs in Buddhist halls were invented for stronger connection with upper bracketing units and have been spread during $18^{th}$ century. Danpyeongbang anchogongs were originated by the connection between short pieces of pyeongbangs and early type of anchogongs similar to ppaelmoks. They belong to minority subtype, but were drawn in illustrations by mistake, as parts of main halls of royal palaces from $19^{th}$ century, because of painter's confusion about new techniques for changbang-anchogongs. Combined changbang-anchogongs for royal buildings were presumed to be invented in 1790s by stimulation from a Buddhist hall related to royal tomb. However, unlike Buddhist precedence, they were used to reinforce and decorate whole sides, even corners, of buildings, and their frameworks and shapes were imported from Daeryang-anchogongs at flanks of ritual halls in royal tombs and royal shrines from $17^{th}$ century.

• 건축역사연구
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• 제26권2호
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• pp.67-74
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• 2017

A very unique case is found in the architectural remains related to the north and south square-platform at the lecture hall site of Hwangnyongsa, that of Anyangsa, and the estimated lecture hall site of Beopsusa as they are not observed in the other lecture halls. The platform has been discovered at only those three Buddhist temples from Goryeo, and its case has not been found in ancient Buddhist temples of China and Japan. This study thus set out to investigate the north and south square-platform at lecture hall sites by examining in details its architectural remains at the three Buddhist temples and reviewing the Buddhist literature about the lecture halls of ancient Buddhist temples. Based on the findings, it was estimated that the architectural remains of north and south square-platform at the lecture hall sites of Buddhist temples were those of platform for Buddhist sermons or those of high chair platform. While the north square-platform involved the remains of north high chair for the Lecturer that gave lectures on the Buddhist scriptures, the south one did those of south high chair for the Reader who recited the Buddhist scriptures.

• 건축역사연구
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• 제25권6호
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• pp.7-16
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• 2016

The purpose of this study is to find framework schema of early J usimpo-style Buddhist halls (Geungnakjeon Hall of Bongjeongsa Temple, Muryangsujeon Hall of Buseoksa Temple, and Daeungjeon Hall of Sudeoksa Temple). Though the halls are known as built in the late Goryeo Period, they show the influence of the architectural style of the early Unified Silla Period. To find the adopted modules and proportions of these halls, this study conceived a schematic diagram based on the whole frame structure taking reference from the Cai-Fen system in Yingzao Fashi. In these three halls, the heights of each cross-beam (Dori) are made up by the layers of member and member units. This study computes the values of Cai, Zhi, and Fen which can apply to both the section and the plan. The vertical section structure is determined by combining the standard member heights (Cai) and the standard unit heights (CaiZhi). The bays of columns are made by multiples of the standard member width (Fen).

• 건축역사연구
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• 제24권3호
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• pp.17-29
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• 2015

This study is about the change of multi-storied buildings in Hanyang, the capital city of Joseon Dynasty. The changes are divided into 3 phases in the viewpoint of architectural types and building types. The first phase is from the early Joseon Dynasty to the time of Japanese invasion to Korea and Sungryemun remains until now. The second phase is from 1592 to the the first half of the 18th century. Many multi-storied Buddhist halls were rebuilt at that time. In the final phase, many multi-storied gate buildings and multi-storied main buildings of palaces were rebuilt. And there are differences between the Buddhist buildings and the main buildings of palaces. By the way the change that architectural style of the Buddhist buildings and the main buildings of pal were switched and mixed occurred. For example, Anguksa Daeungjeon adopted the style of multi-storied gates and Injeongjeon adopted the style of multi-storied Buddhist halls. These phenomenon was result from periodical situation the monk carpenter and his disciple took part in governmental construction like Janganmun.

• 건축역사연구
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• 제6권1호
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• pp.27-45
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• 1997

• 건축역사연구
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• 제6권2호
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• pp.9-22
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• 1997

The results of analyzing opening types in the rear elevations of ninety-six buddhist temples which would be existence can be summarized as follows ; 1) Opening types in the rear elevations of buddhist temples in the Koryo Dynasty were various as the type of doors and windows, and the type of combining with walls. but the fact had something in common that whole door was the swinging pannel one, and the type of the whole window was the lattice and the mullioned casement one. 2) The type of the lattice windows were disappered and the only type of the mullioned casement windows were put in an apperance in the early period of Cho-sun Dynasty. 3) The type of doors + walls and the type of doors + windows in the rear elevations of buddhist temples of the seventeenth century were absolute. Especially the mullioned casement windows were used mainly in buddhist temple of the type of doors + windows. 4) The type of doors + windows in the rear elevations of buddhist temples of the eighteenth century did not be seen, but types of doors + walls and walls + walls which were much enclosed, were mainly put to use in those.

• 건축역사연구
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• 제19권2호
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• pp.43-66
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• 2010

In that the Buddhism is the religion founded by Buddha, the settlement of Buddha's existence is very important in the temple building arrangement which symbolizes the Buddha's world. What symbolizes the Buddha in the temple are the pagoda and the Buddhist image. Among them, the Buddhist image is directly connected with the Golden Hall. This kind of double structure is settled as a typical pattern for the arrangement of buildings such as halls and pagodas. The earlier one between the pagoda and Buddhist image is the pagoda, of course. It can be inferred that, through the gradual expansion of the Buddhist images, the gravity was transferred from the pagoda to the Golden Hall. But, if the Buddhist image can be connected with the Golden Hall in that it was the product reflecting the requests on the Buddha and his teaching, the internal origin of the Buddhist image should also go back to the early Buddhism. In fact, the gravest building in Venuvana - vihara or Jetavana - anaehapindasyarama was the Golden Hall, the Buddha's residence. And in the summit of Grdhrakuta or Jetavana - anaehapindasyarama where Buddha stayed long, there is the gandha - kuti the Buddha's place till now. It means that the symbolic request on the Buddha and his teaching had existed even before the Buddhist image and that this tendency could be connected with the generation of Buddhist image. This paper is to show that the hall / pagoda structure generalized in the building arrangement of later age was originated not just from the Buddhist image and the sarira pagoda but from the gandha - kuti and the hair pagoda, and therefore the two should coexist inevitably. It is an attempt to develop a little more in the ideological perspective the general theory that the pagoda and the Buddhist image were fused into one precinct of temple later in their respective origins. That is, it tries to recognize the relation of pagoda and hall not as the conflicting one but as the complementary one.

• 건축역사연구
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• 제4권2호
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• pp.9-24
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• 1995

Near the Capital Seoul in 19th century, a special architectural form was created by the Buddhist monks who were related with Royal families. Their temples, so called 'won-dang', were constructed as supplicating places for their patrons' happiness and heavenly bliss. Among buildings of a Won-dang temple, 'Great Hall', which was accepted as a new building type, was the most important, the earliest constructed, and the biggest one. This boiling type contained the complex functions of small chaples, living rooms of monks, kitchen and dining, and pilotied pavillions. This Great Hall was located at the front of Won-dang temples, the main worship halls were at the behind. The type of Won-dang was needed for the high female who were its powerful patrons, and was oliginated from the small Buddhist temples in rural areas. And the type was able to be domiciled itself at the Capital areas because of the existing architectural fondness of the regional architects and the patrons in high class.

• 한국의류산업학회지
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• 제9권3호
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• pp.270-277
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• 2007

Buddhist temples and halls signify paradise on earth. Buddhist sutras refer to paradise as a place where flowers fall down like snow, fragrance and music fill the air, flowers blossom and butterflies fly. The Kkot Mun of Buddhist temples are an essential part of the creation of this paradise and are ornamented with elaborate sculptures of flowers and animals. The ornamentation of the Kkot Mun is truly admirable for its artistry and beauty. Although the Kkot Mun is an element of Korean traditional Buddhist architecture, it could also be applied to costume work. I thought the characteristic elements of the Kkot Mun for the costume work were the flower, the lattice and the transparent effect that was made with the lattice and Dagjongee. I used the technique of strap cutting, strap twisting and cut-out for the lattice of Kkot Mun and flower making, knitting, cut-out and quilting for the flower of Kkot Mun. I represented the transparent effect of Kkot Mun with the lapped materials. I selected six remarkable Kkot Mun of Korean temples, revised shapes of these and made six costume works. These six costume works would be the suggestion of costume design if an element of Korean traditional architecture was applied to modern costume making.