• Journal of Korean Society of Archives and Records Management
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• v.1 no.2
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• pp.159-183
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• 2001

The praying sentences of the script of Saddharmapundarika-sutra NO.5 which was made by prayer Bang-Ui, prince Ik-An, was investigated and the cover painting, Byonsangwha(Buddha's preaching painting), and letter style written in the script were discussed in this study. The cover painting on the script is known to be followed to the style of the cover painting as shown in a set of 7 rolls of Saddharma pundarika-sutra of the Horim Museum collection. It is not so difficult to say that the characteristics of cover painting of the script would be suceeded to those of scripts of the end of Koryo and the early Choseon Dynasty. Lotus and its surround was decorated with arabesque figure whose stems were drawn with golden paste and the arabesque figures were done with silver paste. However, for the expression of lotus and arabesque pattern the special feature of drawing style that was originated from the end of Koryo Dynasty to draw the outline with broad line and/or the hardness of drawing line became much more deepened than ever. It is not different to think that this characteristics should be those of Choseon Dynasty. On the Byeonsangwha(buddha's preaching painting) the painting of scattered flowers on stairs of Sumera-Mandala and the scheduled clouds (underseen from heaven) were as similar as to the Byeonsangwha style of the end of Koryo and the early Choseon Dynasty. However, the image of Shakyamuni and/or the halo(光背) is nearly same as the characteristics shown on the Beonsangwha of Saddharma pundarika-sutra of Nesosa' collection, a set of seven rolls which was completed in the 15th year of king Taejong(AD 1415). It is apparent that these characteristics are those of Choseon Dynasty. After king Chungsean in Koryo Dynasty, letter style of Chao Meng-Fu was shown in the script of late Koryo Dynasty as a new letter style.

• Journal of architectural history
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• v.12 no.4 s.36
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• pp.7-26
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• 2003

This article works on the development process of the Buddhist Temple with two pagodas in the Eastern Asia. in 7-8th centuries. This study was motivated from the observation that why there are many the Buddhist Temple having two pagodas only around the late 7th century, roughly around 670 A.D.. This period corresponds to the Silla Dynasty(in Korean History) and Hakuho Period(in Japan History) among the Eastern Asia while the composition of the temple being changed as Buddhism spreads out from China. The results of this study are the followings. The appearance of the Buddhist Temple having two pagodas was resulted from the representation of the Ideology in Botabpum(dogma of pagoda security) of the Saddharmapundarika Sutra, that is to say, two Buddhas sit side by side and iconography of Esoteric Buddhism dogma supports the spirit for defending one's country. Buddhist Temple having two pagodas in China had separate tab-won(areas with pagodas outer temple building block). Buddhist Temple having two pagodas in Korea had begun with sacheunwangsa temple in Unified-Silla. But it had two pagodas with inner temple area instead of outer. This was different from the composition of China. It can be related to the layout of the temple haying two pagodas in East-Jin(in China History) and the sculpture of two pagodas in Ungang-stonecave(in China). Thus the layout of the Buddhist Temple having two pagodas in Silla had been originated from that of China, but was developed to the main temple layout on her own accord. As Japanese Temple having two pagodas had been influenced diplomatically, it had two pagodas inner area as like the layout in Shilla. But later under the influence of Tang it was modified to the layout having them in separate area. And this influence can be seen for example Tangchojaesa temple. For the more, We call see that the diplomatic trends according to the policies in East asia affected to Buddhism and then naturally also to the layout of the Buddhist Temple.

• 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.