• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.3-10
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• 2007

In the 7th century, Sachunwang-sa temple had two extra building-sites behind the Main hall. These two building-sites were found to be in peculiar form different from any another existing stone bases. The stone bases of northern put of these building-sites were decorated to molding as the protruding comers of eaves, which was pierced into a circular hole, and was carved into a form of Gomeck-ii(the stone bases lot supporting the wall). The northern building of sachunwang-sa temple was found to be used as the altar following munduru(文豆婁) method, through the observations of the archives of Samkukyusa(三國遺事) and the Abhiseka stura(skt. 灌頂經). The molding as the protruding cornets of eaves of stone bases was shaped as the roof of a building and the carving of Gomeck-ii gives a proof of the existence of the wall between columns in the altar. The hole of the stone bases protected the wooden cylinder of munduru from the exterior world. The author concludes, through this research, that the altar of Schunwang-sa temple was used lot the religious service during the war for worthship and protecting from the enemies. Also he concludes that these buildings must have been in wooden pagodas constructed upon a square plan, that is with both front and side width equal, haying a quite small scaled and low floored building with its first floor closed on all sides, being different item the usual form.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• Journal of Conservation Science
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• v.20
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• pp.55-65
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• 2007

Black surface layers collected from stone pagodas were analyzed to study the effects of carbon compounds on the blackening of stone surface layer. The total amounts of carbon was measured through elemental analyser. Organic and elemental carbon were measured by combustion ihrornatographic $CO_2$ determination after elimination of carbonates carbon with acid treatment. The elemental carbon concentration in the black surface layer measured 0.52wt.%. This value is not sufficient to explain the complete blackening of stone surface. To trace the origin of carbon in black surface layer on the stone pagoda, aerosol samples for PM 10 were collected at the near sites of the pagoda. The major components of them were soluble ions(42.8wt.%), carbon(38.4 wt.%) and crustal matter(16wt.%). From the high content(13wt.%) of elemental carbon in aerosol ran be deduced that it may be a prime origin for the elemental carbon in the black surface layer on the stone pagoda. The crustal matter in aerosol can be also a origin of silicate mineral in black surface layer and plays a important role in the darkening of black surface layer.

• Journal of Conservation Science
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• v.34 no.3
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• pp.235-244
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• 2018

The forms of stone cultural properties vary depending on the purpose of construction. In general, pagodas and statues of the Buddha (including the Maebul) are representative of stone cultural properties and demonstrate important aspects of cultural history and scientific technology. The purpose for which cultural properties were constructed may influence construction technologies, so we must carefully think about and clearly understand the purpose of construction, namely the cultural and/or philosophical history, when conducting conservation treatments now. This may be examined through the relationship between "why?" and "how?": Why did the builders construct these stone cultural properties, and how did they use such technologies? We may be deeply impressed by the form and delicacy of the sculpture, which is the "how" aspect of the technologies, but we must also understand the effect of the "why." namely the soul and/or spirit of those who created the properties. The form of stone cultural properties may be influenced by (1) the political-social sphere, (2) religion, or (3) the cultural history of the period, which have changed over time. It is important that this is the view taken in current conservation treatment.

• Journal of architectural history
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• v.19 no.2
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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.

• Journal of architectural history
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• v.21 no.2
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• pp.7-20
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• 2012

As the corner of wooden pagoda forms the roof by closely bordering left and right eaves on the various purlins and angle rafters, it is designed for every face to be recognized as front whose structure system increases load to bear proportionally. The corner of wooden pagoda is inseparable with the corner bracket set as it becomes stable thanks to the corner bracket set structurally and load burden under restrained structure makes the corner bracket set really important. Accordingly, this study could figure out some facts by analyzing corner bracket sets of Palsangjeon of Beobjusa Temple in Korea, Seokgatap of Bulgungsa Temple in China and Ojungtap of Beobryungsa Temple in Japan which were constructed with pure wooden structure. This study demonstrated that corner bracket set played a pivotal role in keeping balance of concentrated load of corner (corner of opening) in each floor that contributed to the stability of wooden pagoda structurally despite multiple duplications of floors and also figured out the outfit of corner bracket set was subject to the floor type and the cross section of Gongpo installed on top of Pyeongju. Wooden pagodas in 3 countries were two floor types of octagon and square, and employed different connection method between upper and lower floors. The difference between floor and duplication method determines the method of corner, but even different methods were sufficient to have entirety in every side by completing dynamic principle of corner bracket set even though old method had to solve the problem of concentrated load and it also confirms that it was essential Gongpo to prevent any deformation of corner.

• Journal of architectural history
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• v.17 no.4
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• pp.65-82
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• 2008

The wooden pagoda sites which have been confirmed in Baekjae's former territory so far have flattened surface of the earth or foundation pert made by digging up the earth. In particular, the latter is found more often in the pagoda sites of Baekjae, which is essential and absolutely necessary because of the characteristics of pagoda structure. The wooden pagoda sites with foundation part made by digging up the earth under the stylobate are found at Yongjeongli ruined temple site of Woongjin area, and at Neung-sa temple site, Wangheung-sa temple site, Geumgang-sa temple site, and Mireuk-sa temple site of Sabi period. They are also observed at Hwanglyong-sa nine-storied wooden pagoda of Shilla and at Biin five-storied stone pagoda of early Goryeo. They are important data improving that the construction technologies of Baekjae continued to be applied to build stone or wooden pagodas, transcending time and space. Recently, the site assumed as a wood pagoda site of Hanseong area was examined in Gyeongdang sect ion of Pungnap mud fortification. If this is proved to be a real wooden pagoda site, this digging-up construction technology of foundation part ann be concluded to be a traditional engineering technology of Baekjae which was frequently used from Hanseong period to Sabi period. On the other hand, this digging-up construction technology of foundation part has been found only at pagoda sites and main building sites of temple ruins, and it helps examine their symbolism.

• Journal of architectural history
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• v.19 no.4
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• pp.71-90
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• 2010

The names of Seokgatab and Dabotab are almost generalized among the people along with Bulguksa the most well-known temple in Korea. But, despite this generalized situation, the names of Seokgatab and Dabotab have not secured the clear standpoint till now. It is because the names of Seokgatab and Dabotab can be found only in the 18C documents like and . More complicatedly, in the record of the Goryeo sarira case found during the dismantling of Seokgatab, the name of Seokgatab was 'Mugujeonggwangtab' or 'Seoseoktab'. This paper is to secure the nominal validity of Seokgatab and Dabotab to remove the confusion due to their names and to raise the efficiency of studies related with Bulguksa in the future. First, their names and the problems related with them were summarized in Chapter 2. Based on this critical consciousness, Chapter 3 deals with the tragedy of Asadal related with the creation of the stone pagodas and its symbolic re-interpretation. In this process, we can see that there could be a viewpoint of the great comprehension in them through the completion of 'the Buddhist Nation'. Then, the architectural features of Seokgatab and Dabotab were analyzed in the ritual view point of . Finally, in Chapter 4, on the basis that the viewpoint of one specific sect can not be predominantly applied in the construction of Buddhist land, it is held that Avatamsaka Idea and Saddharma-pundarika Idea can coexist without any conflict. It is shown in the fact that Seokgatab and Dabotab can make harmony together in the Avatamsaka Idea while keeping their names. With these efforts, we can clearly see that the peculiar titles of Seokgatab and Dabotab can be said to secure sufficient validity.

• Journal of architectural history
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• v.22 no.5
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• pp.23-35
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• 2013

This study aims to investigate the architectural characteristics of the Da-bo stupa by examining the correlation among architectural languages and by studying the features of its architectural components and transitional changes shown in Da-bo stupa line drawings in Dunhuang Mogao Grottes. The results are as follows. 1st, the Da-bo stupa of Dunhuang faithfully follows the sutra of lotus, and although the form changes, the fundamental essence of Bo-tap-yong-chul and two seated Buddhas provided by the Gyun-bo-tap-pum in the sutra of lotus is consistent. 2nd, the pagoda body can be periodically divided into parasol, stupa, and royal palace types. The parasol type has an incomplete tower body, which makes distinguishing each of its architectural components difficult. The stupa type appeared between the early (AD 618-712) and middle (AD 766-835) Tang dynasty. It combines the form of Indian stupa type and East Asian wood structural architecture. The royal palace type, which appeared between the peak period of the Tang (713-765) and Sung Dynasties, shows the standardized pattern of the Da-bo stupa described as two seated Buddhas and Bo-tap-yong-chul. 3rd, the use of a stylobate does not appear in the early construction of Da-bo stupa, only in the later period, in the form of high pillars. Forms include many Su-mi-jwah and three-way stairways and Dab-do, but as time passes, the forms are simplified to the form of high pillars. 4th, the purpose of early Da-bo stupa was to provide space for Da-bo-yu-rae of Gyun-bo-tap-pum; hence, it did not have sangryoon(the top part). However, after it was influenced by general pagodas, sangryoon was established. Toward the Tang Dynasty, sangryoon has come to emphasize the forms of boryoon(nine wheels) or dome. However, this form is eventually simplified to only retain bo-joo(the orb).

• Journal of Conservation Science
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• v.32 no.4
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• pp.561-570
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• 2016

This research was a technical case study for the authentic restoration of the seven-storied Simgoksa stone pagoda after disassembly and reconstruction using three-dimensional image analysis. During disassembly and reconstruction, the pagoda's properties were analyzed in terms of the overall modification and displacement of the pagoda. Distortion was minimized by ensuring structural stability during the reconstruction process. Also, the original site of the pagoda was examined in order to utilize it fully during rebuilding. Before reconstruction of the pagoda, moss and lichen on the stone surfaces were removed by scientific surface cleaning. The foundation of the pagoda was reinforced with rammed earth than was similar to the original foundation using a mixture of soil and quicklime. The results are expected to provide valuable data for the reconstruction of other stone pagodas.