• 보존과학연구
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• s.13
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• pp.14-36
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• 1992

The investigation has been made on the rocks consisting the pagoda(12), Buddhist Statues(9) Buldaejwa and cakra(2, rewpectively), stele(5), and Flagpole wupport and stupa(6) which are stood in Weonju city, Weonju-gun, Hwoengseong-gun and Hongcheon-gun, Kangweondo. These rock-monuments range mostly in age from late Shilla Kingdom to middle Korye Kingdom. The geology around this region is mainly composed of Precambrian metamorphic rocks and mesozoic granitic rocks. The granitic rocks are largely divided into Jurassic and cretaceous ones which are slightly different in rock phase. The main rock phase consisting the monumentsare are coarse biotite granite with minor amount of hornblende in Jurassic age. Variation in rock phase is abserved even in part of the stone used in the monuments. Inclusions composed of biotite and hornblende, porphyritic texture with microcline phenocryst, igneous lineation and exfoliation according to weathering are observable in all rocks in these monuments. In the case of stele whose a body and a capstone is remained, one is composed of black slate and the other white limestone. But the turtle shaped pedestal is constituted of coarse biotite granite. These stone-monuments are strongly weathered and exfoliated out about 1∼2mm.In case of exfoliated weathering along igneous lineation, some are taken off about 3∼5mm thick. In some monuments, the degree of weathering is somewhat different according to position, grade of sculpture, and biological activity.

• SUVANNABHUMI
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• v.7 no.1
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• pp.157-186
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• 2015

Sittaung-Thanlwin region in Lower Myanmar is an ecological niche for human settlement. Evidences of human activities in the region are seen through various archaeological sites or settlements along the coastal area between the rivers Sittaung and Thanlwin (Salween). In Lower Myanmar, scholar, U Aung Myint, discovered one major site Kyaikkatha and other small scale sites, namely, Sittaung, Kawhtin, Kadaikgyi, Kadaikkalay, Katkadit, Kelatha (little Zothoke), Ayetthama, Winka, Zothoke (big Zothoke), Lagonbyi (Sampannago), Wagaru, Laming and Ye in present day Mon State. In 1980, U Aung Myint undertook an exploration program at Kyaikkatha. After the exploration, an excavation team conducted systematic digging at Kyaikkatha in March 1986. Excavation continued occasionally at Kyaikkatha throughout the years between 1995 and 2000. It is known that Kyaikkatha, the old city, reveals a kind of monumental civilization exposing four religious structures (a stupa and three monasteries). This essay looks into the distribution of features within Kyaikkatha and infers on its social, political, and religious organization. This essay is also about a new discovery of an early urban settlement located at the apex of the Gulf of Muttama (Martaban) where a lost city of Suvannahumi flourished in the ancient days. By means of aerial photographic observations, the site had been noticed recently, which was by followed some excavations. More systematic and detail surveying may be needed to know more about the site and its features for comparison to other similar settlements of through-out mainland South East Asia.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.12-46
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• 2022

Completed in 1467, the Thirteen-story Stone Pagoda of Wongaksa Temple is the last Buddhist pagoda erected at the center of the capital (present-day Seoul) of the Joseon Dynasty. It was commissioned by King Sejo, the final Korean king to favor Buddhism. In this paper, I aim to examine King Sejo's intentions behind celebrating the tenth anniversary of his enthronement with the construction of the thirteen-story stone pagoda in the central area of the capital and the enshrinement of sarira from Shakyamuni Buddha and the Newly Translated Sutra of Perfect Enlightenment (圓覺經). This paper provides a summary of this examination and suggests future research directions. The second chapter of the paper discusses the scriptural background for thirteen-story stone pagodas from multiple perspectives. I was the first to specify the Latter Part of the Nirvana Sutra (大般涅槃經後分) as the most direct and fundamental scripture for the erection of a thirteen-story stone pagoda. I also found that this sutra was translated in Central Java in the latter half of the seventh century and was then circulated in East Asia. Moreover, I focused on the so-called Kanishka-style stupa as the origin of thirteen-story stone pagodas and provided an overview of thirteen-story stone pagodas built around East Asia, including in Korea. In addition, by consulting Buddhist references, I prove that the thirteen stories symbolize the stages of the practice of asceticism towards enlightenment. In this regard, the number thirteen can be viewed as a special and sacred number to Buddhist devotees. The third chapter explores the Buddhist background of King Sejo's establishment of the Thirteen-story Stone Pagoda of Wongaksa Temple. I studied both the Dictionary of Sanskrit-Chinese Translation of Buddhist Terms (翻譯名義集) (which King Sejo personally purchased in China and published for the first time in Korea) and the Sutra of Perfect Enlightenment. King Sejo involved himself in the first translation of the Sutra of Perfect Enlightenment into Korean. The Dictionary of Sanskrit-Chinese Translation of Buddhist Terms was published in the fourteenth century as a type of Buddhist glossary. King Sejo is presumed to have been introduced to the Latter Part of the Nirvana Sutra, the fundamental scripture regarding thirteen-story pagodas, through the Dictionary of Sanskrit-Chinese Translation of Buddhist Terms, when he was set to erect a pagoda at Wongaksa Temple. King Sejo also enshrined the Newly Translated Sutra of Perfect Enlightenment inside the Wongaksa pagoda as a scripture representing the entire Tripitaka. This enshrined sutra appears to be the vernacular version for which King Sejo participated in the first Korean translation. Furthermore, I assert that the original text of the vernacular version is the Abridged Commentary on the Sutra of Perfect Enlightenment (圓覺經略疏) by Zongmi (宗密, 780-841), different from what has been previously believed. The final chapter of the paper elucidates the political semantics of the establishment of the Wongaksa pagoda by comparing and examining stone pagodas erected at neungsa (陵寺) or jinjeonsawon (眞殿寺院), which were types of temples built to protect the tombs of royal family members near their tombs during the early Joseon period. These stone pagodas include the Thirteen-story Pagoda of Gyeongcheonsa Temple, the Stone Pagoda of Gaegyeongsa Temple, the Stone Pagoda of Yeongyeongsa Temple, and the Multi-story Stone Pagoda of Silleuksa Temple. The comparative analysis of these stone pagodas reveals that King Sejo established the Thirteen-story Stone Pagoda at Wongaksa Temple as a political emblem to legitimize his succession to the throne. In this paper, I attempt to better understand the scriptural and political semantics of the Wongaksa pagoda as a thirteen-story pagoda. By providing a Korean case study, this attempt will contribute to the understanding of Buddhist pagoda culture that reached its peak during the late Goryeo and early Joseon periods. It also contributes to the research on thirteen-story pagodas in East Asia that originated with Kanishka stupa and were based on the Latter Part of the Nirvana Sutra.

• Journal of architectural history
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• v.14 no.2 s.42
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• pp.41-55
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• 2005

Temple with Multi-Buddha's Pavilions is a temple consisting of more than 2 Buddha's Pavilions. Individual Buddha's Pavilions tend to form distinguished area, or to keep independent axis from other Buddha's Pavilions. This study is to understand the philosophy of layout of individual Buddha's Pavilions located in the Temple with Multi-Buddha's Pavilions. To investigate a relationship to layout of individual Buddha's Pavilions on the basis of Buddhism doctrine makes us to understand philosophies about temple layout which temple constructors had. Bulkooksa, a temple having several pavilions placed in parallel, integrates diverse philosophies such as Vairocana Buddha-Ksetra from Vairocana Buddha's Pavilion, Sakyamuni Buddha-Ksetra from both Sakyamuni Buddha's Pavilion and two stupa, and Amitayus Buddha-Ksetra (Sukhavati) from Amitayus Buddha-Ksetra Pavilion. Sakyamuni Buddha's Pavilion and Amitayus Buddha's Pavilion are placed east to west in parallel, and Vairocana Buddha's Pavilion is placed behind them. Beobjusa, a temple having several pavilions placed cross axis, combines three axes such as the first, main axis linking Kumkang Gate - Chunwang Gate - Palsang Pavilion - Amitayus Buddha's Pavilion - Sakyamuni Buddha's Pavilion, the second axis linking Palsang Pavilion -Maitreya Pavilion, and the third axis linking Amitayus Buddha's Pavilion - Avalokiteshvara Pavilion. Relationship among each Buddha's land is clearly expressed by means of this cross axis layout of Buddha's Pavilions, reflecting a philosophy of rebirth in Nirvana that Wonhyo and Eusang propagated. Buseoksa, a temple having several pavilions placed the before and the behind, combines three Buddha's lands such as Maitreya Buddha-Ksetra, Amitayus Buddha-Ksetra and Vairocana Buddha-Ksetra, by means of arrangement of Maitreya Pavilion, Anyang Pavilion and Amitayus Buddha's Pavilion at bended axis, and east facing Amitayus Buddha. By investigating the philosophy of Temple layout with Multi-Buddha's Pavilions in this study, Buddha's Land conception, for people, that ancient Korean temples have, is understood.

• 보존과학연구
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• s.34
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• pp.110-122
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• 2013

The Seven-story Stone Pagoda of Jeongamsa Temple consists of dolomitic limestone. The surface of the stone stupa is efflorescene. There are spaces between parts in the stereobate and part of roof at the fifth story and above. The space between parts is colonized by biological contaminants. There are breakaway parts in the third, fifth, sixth, seventh story. The dry and wet cleaning of all the biological contaminants, efflorescene. The steam cleaning of rest of efflorescene. The use of poultice with oxalic acid, were done to remove the rust. Breakaway parts are inosculated by L30 and Por-rok. Spaces between parts are waterproofing by Porrok. After treatment, the efflorescene of part of waterproofing are comparatively scarce. So waterproofing is effective at reduced efflorescene and waterproof.

• 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.

• Conservation Science in Museum
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• v.4
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• pp.57-61
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• 2003

From the stupa of Sujongsa-Temple, located in Yangpyeong, Gyeonggi-do province, was excavated a celadon jar with lid, a gilt-bronze nine-storied miniature pagoda and a silver-plate hexagonal miniature shrine, etc. Among them, the gilt-bronze miniature pagoda has been known as a gilt-bronze product since most of its surface has copper tint and the base part has bronze corrosion. Its formal title registered on the Cultural Properties Administration also begins with "a gilt-bronze". However, it was supposed to be a gold product in many aspects: the color and status of the surface, degree of the bronze corrosion creation and the metal thread joining the wind bell. So the necessity to prove its material by a scientific analysis was raised. We examined it with nondestructive method. The results were traces of open-working on many parts of the surface, but no traces of gilding. Moreover, as we perform an XRF analysis, the main component were gold and silver(16%) and some impurities such as copper and iron were found. Therefore, it could be inferred that this miniature pagoda is a gold product.

• Korean Journal of Heritage: History & Science
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• v.35
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• pp.100-118
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• 2002

Originally, Gyeongcheonsa pagoda was located in Busosan, Jungyeon-ri, Gwangdeok-myeon, Gaepung-gun, Gyeonggi-do,but it has suffered from being taken out to Japan illegally in 1907 and being returned to Korea in 1918. After returned to Korea, Gyeoncheonsa Pagoda had been neglected and restored in 1960. It had been exhibited outside the Gyeingbokgung Palace after restoration, but many problems were raised. It was taken to pieces in 1995 and it is conservation and restoring today. However, the top of pagoda is necessary to be researched about its archetype because the shapes of stupa in 1902 and in 1960(the shape of pagoda after restoration) are all different from its archetype. According to picture datum in 1902, the top of pagoda was a Korean building type on a 10 layered roof stone. On the other hand, when it was restored in 1960, cement suspected as a anda was taken place between Korean building type and a 10 layered roof stone. Therefore, I am going to examine Restoration of Gyeongcheonsa pagoda in this thesis. When we examine historical records of Geongcheonsa and datum of parts, we can know that the pagoda was established in 1348(Goryeo Dynasty) but it is difficult to know the truth of its establishment and demolition of Gyeongcheonsa-temple. Three ways to restore the top of the pagoda of Gyeoncheonsa Pagoda can be c o n s i d e r e d . First, Korean building type made by metals is located on a 10 layered roof stone, which is same to picture datum in 1902. Second, the shape of and a type, which is similar to the shape when it was restored in 1960's. Also it is similar to Lamapagoda type. Third, to restore the top of pagoda of gabled roof type, which is similar to the top of pagoda of Wongaksagi P agoda. However it is necessaray to exmamine functions about circle grooves hollowed out in a 10 layered roof stone in restoration. Also we need to find out the archetype of dragon sculpture through the dragon claws left on an edge of a 10 layered roof stone.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.94-135
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• 2000

Rituals for burying the tae(胎) is a unique royal tradition of Korea that lasted from Unified Shilla(統一新羅) Kingdom to Joseon(朝鮮) dynasty. However, all of the currently known taesil(胎室)s are of the royal descendants of Joseon dynasty. Therefore, Taesils made earlier than Joseon dynasty are only known by historical documents. Taesils of the royal descendants of Joseon Dynasty divide into two kinds. One is for those of princes and princesses and the other is for those of Kings. The structure of taesils of princes and princesses is a stone chest(石函) in a pit which dug on the apex of the Taebong(胎峰) containing a pair of Tae(胎)-urn(the inner urn and outer urn), a stone tablet called Jiseok(誌石) which the date of baby's birth and Tae burial is inscribed in. And a tombstone-shaped stone tablet which called Taesilbi(胎室碑) was built on the ground. And the underground structure of Taesils of Kings is identical with that of taesils of princes and princesses, but instead of just an stone tablet, this has a Budo(浮屠);means stupa of a monk in korean)-shaped stone structure on the top of the stone chest, and an octagon-shaped porch was built around it, and a Tapbi(塔碑) was built. This treatise is focused on the current status and change process of stone ornaments. The subject of this treatise is 54 Taesils which were transferred to Seosamnung(西三陵) during the japanese occupation and Tae-urns and Jiseok(誌石)s from any other Taesil and its stone chest were not included in this treatise. Researches on Taesils can be great help to history by providing resources about genealogy of Jaseon royal family and social, economical status of that time. And researches on stone ornaments and tae-urns from Taesils can provide great help to stone art history and porcelain history of Joseon dynasty.

• SUVANNABHUMI
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• v.1 no.2
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• pp.1-20
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• 2009

This research tries to review the history and concepts of Thai temple mural painting. According to the research results, the history of Thai mural painting dates back to the late 14th century when Wat Chedi Chet Taeo in Si Satchanalai was built. The Sinhalese elements embedded in the Sukhothai murals are also found in the Ayuthayan stupa murals made in the early 15th century. The mid 18th century's Burmese invasion into Ayuthaya destroyed most of Buddhist temples in the Kingdom of Ayuthaya and as a result, Buddhist murals of the late Ayuthayan age are hardly found except for some temple murals located outside of the capital. The late Ayuthayan murals are much different from the early Ayuthayan murals in that they are narrative in depicting Jataka and the life of Lord Buddha. This classical mural painting culminated in the age of Rama III of Bangkok Dynasty. His successor Rama IV undertook westernized reforms which influenced the area of traditional mural painting. Consequently, new western style Buddhist mural paintings were produced while themes of mural painting were enlarged to the other subjects such as historical recording of royal and social events. This trend continued in the age of Rama V but the development of Thai Buddhist mural painting discontinued after the death of Rama V due to the rapid westernization and decrease of illiteracy. The existing Buddhist murals produced on or before the reign of Rama V are deteriorating and disappearing. The reasons for this are partly because of Thailand's humid climate. However, some social backgrounds such as the lack of concern for preserving old Buddhist murals can not be disregarded. Considering the substantial value of Thai Buddhist murals as a cultural resource in Thai society, it is very urgent to establish appropriate conservation policy for them.