• Journal of architectural history
• /
• v.26 no.2
• /
• pp.43-52
• /
• 2017

While going into troops for writing in the vignette style(小品文) in opposition to the Classical Chinese(古文), Yi Ok stopped by Songgwangsa Temple in Wanju. The things he felt during this stop were recorded in the Temple Chapter("寺觀") written in 1795. Therefore, the present dissertation evaluates the Songgwangsa Temple of the time based on this Temple Chapter. Data in the Temple Chapter draws attention to the fact that it records the layout of the temple in detail. Thus the study was able to confirm the change in layout by reviewing relevant records about repair. This reveals that the form of layout in general has been maintained although there were changes involving the relocation of the buildings and their names. Furthermore, the original Buddhist building was changed to a quarter for the monks. Also, in terms of layout after the 18th century, there are frequent name changes of the Myeongbujeon(冥府殿) and Nahanjeon(羅漢殿). After two repairs, in order to find the appearance of a Daeungjeon(Main Buddhist hall) with a two-storied structure of five bays at the front, the study evaluated the Geugnakjeon at Muryangsa Temple and the Daeungbojeon at Magoksa Temple. The evaluation revealed that the 'Jeol' used in the Temple Chapter were small pillars erected on a ridgepole just like the Geugnakjeon at Muryangsa Temple, and that the angle rafters were installed to corner bays in rectangular form. The intellectual Yi Ok left behind invaluable architectural data that reveals the Songgwangsa Temple of the 18th century.

• Journal of the Korean Institute of Rural Architecture
• /
• v.7 no.3
• /
• pp.109-118
• /
• 2005

This study is to find out the plan intention of the central space through visual analysis on the east and west stone pagodas relative to a main Buddhist hall, and the relation between the stone pagodas in Hwaeomsa.(華嚴寺) According to the analysis of it in this study, we make conclusions as follows; 1) The east and west stone pagodas was arranged with overlapping each Daeungjeon(大雄殿) and Gakhwangjeon(覺皇殿) for the view of a specific viewpoint, on the right of Bojeru(普濟樓). 2) The centering around a compositive axis which connect Gakhwangjeon, stone lantern, and stairs, the axis of two stone pagodas is not coincident. 3) Courtyard in Hwaeomsa is separated by high a stone wall for reinforcement, but it is integrated into visual perception owing to height of two stone pagodas connected visual line to Daeungjeon and Gakhwangjeon.

• Korean Journal of Heritage: History & Science
• /
• v.45 no.3
• /
• pp.212-223
• /
• 2012

Pigments used paintings, ornaments, weapons and various objects have been recognised as important elements to ascertain the history, manufacturing technique and cultural migration. Since the understanding of composition of pigments by analysis began in 1963, its technique and methodology has much advanced in recent years; recent study used the portable X-ray Fluorescence as non-destructive analysis has been practiced in particular. However the study on pigments necessitates overall and systematic research because it is difficult to understand periodical and regional use of pigments. by fractional studies. Therefore this research investigates the coloring materials and painting techniques of the scroll painting depicting preaching scene of Sakyamuni Buddha in Daeungjeon Hall, a main hall of Bulguk temple, through scientific analysis and comparison of various pigments which had been applied to the buddhist paintings of Joseon Dynasty. Consequently, it is confirmed that the scroll painting used pigments of white lead[$2PbCO_3{\cdot}Pb(OH)_2$] for ground layer and used mixture of different pigments such as cinnabar (HgS) minium($Pb_3O_4$) malachite($2CuO{\cdot}CO_2{\cdot}H_2O$) hematite($Fe_2O_3$) gold(Ag) for presenting various colors on the painting layer. It has been also believed that mineral pigments were applied to the scroll painting, yet it is difficult to confirm whether it is natural or synthetic pigments because the crystal structures of pigments were not analyzed. The results of this study, however, provide useful reference data for the understanding of the components of pigments and manufacturing techniques of buddhist scroll paintings, in particular, of Joseon Dynasty.