• Journal of Conservation Science
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• v.18 s.18
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• pp.19-32
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• 2006

The stone pagoda of the Bunhwangsa temple made by piling small brick-shaped stones. The major rock forming stone bricks are andesites with variable genesis. Rock properties of the pagoda roof stone suffer partly including multiple peel-offs, exfoliation, decomposition like onion peels, cracks forming round lines and falling off stone pieces. The stylobates and tabernacles in all the four directions the pagoda are mostly composed of granitic rocks. Those rock properties are heavily contaminated by lichens and mosses with the often marks of inorganic contamination by secondary hydrates that are dark black or yellowish brown. Within the four tabernacles and northern pagoda body situated to relatively high humidity. There are even light gray precipitate looking like stalactites between the northern and western rocks of the body Their major minerals are calcite, gypsum and clays. The stone lion standing in the southeast and northeast side are alkali granite, while that in the southwest and northwest lithic tuff. Total rock properties of the pagoda are 9,708 pieces, among the all properties, fractured blocks are 11.0%, fall out blocks are 6.7% and covered blocks by precipitates are 7.0%, respectively. The pagoda has highly deteriorated the functions of the rock properties due to physical, chemical and biological weathering, therefore, we suggest that this pagoda has need to do long term monitoring and synthetic conservation researches.

• The Journal of the Petrological Society of Korea
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• v.24 no.1
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• pp.11-24
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• 2015

In this study, the stone used for three storied pagoda of Bulguksa Temple, which is easy to access due to works for dismantle and restore will be analyzed on the basis of petrographic study, magnetic susceptibility, and ${\gamma}$-ray spectrometer, and identify petrographic characteristics. Also we will select candidate areas of fresh rock to change the stone used for three storied stone pagoda as from its provenance is presumed. According to the results of visual inspection, the stones used for the three storied stone pagoda are similar to the features of Namsan granite, which is distributed around Gyeongju-si, and when it comes to the section of the stupa finial, the features of all the parts from the stupa finial is similar to Namsan granite except for the section of Jeweled cover. On the other hand, the color, the composition, and the mineral size of the stones in the section from the part of jeweled cover are similar to Tohamsan granite. As a result of none-destruction inspection, it seems that the stones used for the three stories stone pagoda except for the section of jeweled cover are similar to the values for the magnetic susceptibility and the ${\gamma}$-ray spectrometer. On the other hand, Jeweled cover and the values of Tohamsan granite are alike. Namsan granite is appropriate in case that the stone used for three storied stone pagoda must be replaced to fresh rock because of damage by weathering. Meanwhile, Namsan granite is seperated from Yangsan fault. Due to this fact, Namsan granite appears to not only Mt. Namsan in Gyeongju, but also Dongcheon-dong, Gyeongju, and Huenggok-ri, Pohang. As a result, these two areas are suitable to the candidate area to change the stone used for three storied stone pagoda.

• Journal of architectural history
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• v.1 no.1 s.1
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• pp.88-105
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• 1992

This dissertation aims to investigate the structure of Palsangjeon, a five story wooden pagoda in Pubjoo Temple which is the only wooden pagoda existing in Korea, by a comparative study of the Palsangjeon with Japanese counterparts. By doing so, the writer of the present investigation attempts to find out its structural originality. The main finding of this study are as follows. The upper part of Palsangjeon is constructed with square log frameworks called GuiTl and Sacheon-Ju around the central column. The four walls along Sacheon-Ju from the 1st level to the 3rd well resists the outside horizontal piressure. And Gui-Tl structure on the 5th level copes much better with shear force. So this frame consisting of Sacheon-Ju and log frameworks might be viewed an semi-core system, This core is supported once again by the frame of Go-Ju. That is to say. Go-Ju supports frame of Sacheon-Ju. And the frame of Pyeong-Ju on the 4th and the 5th levels also supports it. The frame of Go-Ju is supported by the frame of Pyeong-Ju on the 1st and the 2nd levels. So this structure is designed to resist the wind and also keep the balance by properly distributing vertical pressure. The plan and the elevational structure of Palsangjeon keep the balance by the perfect symmetric structure. And the frame of Sacheon-Ju forming semi-core system can resist both the lateral load and the vertical pressure for the balance of its structure. The five story pagoda in Horyuji used to stand on a central which is desigend to support the main body of the pagoda from the first level. The principles of balance is used between the Ha-Aag and short to react the rafter. Sacheon-Ju and edge column is against the lateral load. The structural jointing system is stable thanks to the log framewroks formed on every level. The five story pagoda in Horyuji poseses the structual system originated from the ancient wooden pagoda. The pagoda is found to express simple, sincere and straight forward form. On the other hand, it could be seen as a stucture resisting the earthquake and the lateral load, Palsangjeon is an excellent building which religions function is well harmonized with its structure and appearance. It not only functions extremely well as a regions place like other pagodas, but also excellently shows how multi-story wooden building should be structured.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.4-25
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• 2010

This study was carried out on scientific conservation treatment based on material characteristics, provenance interpretation, and deterioration diagnosis for seven-storied Jungwon Tappyeongri stone pagoda in Chungju. As a result, main rock of the pagoda is biotite granite with magnetite-series (average $5.86{\times}10^{-3}$ SI unit), containing partly basic xenolith, pegmatite veinlet and feldspar phenocryst. As a result of the provenance presumption of the host rock, a rock around the Songgang stream was identified the same origin. Therefore the rock is appropriate for materials of the pagoda restoration. The deterioration assessment suggested that the pagoda was seriously exfoliated (2.7 to 5.5%), discolored (39.8 to 58.9), and contaminated with repair materials (3.5 to 9.4%), and bioorganisms (19.3 to 24.4%). Accordingly, conservation treatment was carried out based on preliminary investigation for stable conservation of the pagoda. Overall processes were sequentially proceeded by restoration of the replacement stone, cleaning, joining and consolidation. This study sets up an integrated conservation system from preliminary investigation to conservation treatment of the pagoda. Also, the study will contribute for establishing the future-oriented customized conservation treatment.

• Conservation Science in Museum
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• v.27
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• pp.103-124
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• 2022

This study examined the properties of the materials used in the three-story pagoda at Jangha-ri, Buyeo. It was performed in order to identify the objective condition of the pagoda and establish an appropriate plan for the conservation treatment of the pagoda. According to the study, the average total magnetic susceptibility was 3.71 (10^-3 SI unit), and at least four types of granite with different origins were likely used in the production of the pagoda. The ultrasonic velocity averaged 1,519m/s, and the coefficient of weathering showed an average of grade 4. The thermal gradient between the cement (restoration materials) and original materials was identified through thermal imaging. In some areas, the cement restoration materials required replacement with new stone materials with properties similar to those of the original stone materials. Taking into account these results, a map of weathering damage was prepared and appropriate conservation treatment plans were established based on the findings of previous studies. Since the pagoda had suffered severe biological damage and discoloration, surface contaminants were removed through wet cleaning with distilled water and a brush. The exfoliated areas were reinforced on the site by mixing epoxy resin with powdered stone with the same properties as the original stone materials of the pagoda.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.234-257
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• 2024

Great Dharani Sutra of Undefiled Pure Light (Gwi) (LKH 10703) donated by the family of the late Lee Kun-Hee to the National Museum of Korea in 2021 is a calligraphy album consisting of sixty-two leaves compiled using butterfly binding. It contains Great Dharani Sutra of Undefiled Pure Light, "Record of the Production of Mugujeong Pagoda by the Order of King Munseong," a postscript by Kim Jeonghui, and an appreciation record by Oh Sechang. This paper has revealed that this album is identical to the material that Suematsu Yasukazu introduced in Volume 15 of the journal Cheonggu hakchong in 1934 and that it includes elaborate copies of Great Dharani Sutra of Undefiled Pure Light and "Record of the Production of Mugujeong Pagoda by the Order of King Munseong" on yellow Chinese paper, both of which were excavated from inside the Mugujeong Pagoda at Changnimsa Temple in Gyeongju in 1824. It has also reconfirmed that it is highly probable that the Great Dharani Sutra of Undefiled Pure Light that Jo Byeongsun, the former director of the Seongam Old Books Museum, unveiled in 1998, is a transcription of the original sutra excavated from Mugujeong Pagoda at Changnimsa Temple in Gyeongju. Moreover, it has concluded that the Great Dharani Sutra of Undefiled Pure Light owned by Park Cheolsang is likely to be another example of copying the transcription of the original sutra excavated from the Mugujeong Pagoda at Changnimsa Temple in Gyeongju. In the album of copies donated by the estate of Lee KunHee, six of the Chinese characters promulgated by Empress Wu were used fifteen times in total. Four of the characters of Empress Wu were utilized ten times in the Great Dharani Sutra of Undefiled Pure Light (national treasure, Bulguksa Temple collection) found among the reliquaries from the Three-story Stone Pagoda at Bulguksa Temple in Gyeongju and were also seen in the album of copies donated by the estate of Lee Kun-Hee. The use of the same characters of Empress Wu and other variant characters suggests that both the album of copies donated by the estate of Lee Kun-Hee and the Bulguksa sutra were based on an edition distributed in the Unified Silla Period during the eighth century. Kim Jeonghui confirmed the exchange of calligraphy between Korea and China through studies on bronze and stone epigraphs. He believed that the Great Dharani Sutra of Undefiled Pure Light and "Record of the Production of Mugujeong Pagoda by the Order of King Munseong" excavated from Mugujeong Pagoda at Changnimsa Temple were authentic materials showing the elegant calligraphic styles that prevailed before the Ouyang Xun style. Thus, the album of copies donated by the estate of Lee Kun-Hee holds great historical and artistic significance in that it is a rare example of Kim Jeonghui's evidential study of a transcribed sutra and an original record of the production of a pagoda from the Unified Silla period.

• 한국문화재보존과학회:학술대회논문집
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• 2003.03a
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• pp.19-19
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• 2003

• Proceedings of the KSEEG Conference
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• 2005.04a
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• pp.175-178
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• 2005

• The Journal of the Petrological Society of Korea
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• v.19 no.4
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• pp.283-292
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• 2010

The Suljeongri east three-story stone pagoda in Changnyeong (National Treasure No. 34) has been damaged mainly by lots of cracks. The stones used for this pagoda are medium-granied equigranular pinkish biotite granite. Measured magnetic susceptibility values are of from 2 to 9 (${\times}10^{-3}$ SI unit). From the ${\gamma}$-ray spectrometer mesurement K, eU, and eTh contents of the stones are 3 to 7%, 8 to 19 ppm, and 11 to 35 ppm, respectively. Comparing the petrographical and chemical characteristics between the stones of the pagoda and the country rocks near Suljeongri, it is suggested that the most similar rock could be equigranular biotite granite in the western slope of the Mt. Hwawangsan. Vertical, horizontal and diagonal cracks are intensely developed at the lower part of the stone pagoda. Biotite granite has intrinsic microcracks defined as rift and grain rock cleavages. Both rock cleavages are assumed to have led to the crack growth and consequent mechanical damage of the pagoda. It seems that vertical cracks have been grown parallel to the principal compressional stress, and that horizontal cracks to the reacting tensional stress. Diagonal cracks seems likely to have been resulted from conjugate rift and grain rock cleavages.