• 건축역사연구
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• 제28권1호
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• pp.25-34
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• 2019

"Stupa of Buddhist Monk, YeomGeo"(844) is known as the earliest Seon-stupa relic remains in Korean peninsula, from which, during late Silla and ealy Goryeo period, there were more than 30 of stupa was built on such canon. and became the well-known material culture in Seon Buddhism in late Silla period. In $9^{th}$ century, with the JeonDeong(delivering the light of Seon)from Tang to Silla, the culture of "GeonTapIpBi(building the pagoda and erecting stele)" was also moved in. And it was right after the style of monk's stupa had been methodically changed in china, from having the room in stupa for the corpse, named as "QuanShenSheLi", to the lessened stupa that contain the cremated. Analyzing the "Master ChengGuang's stupa"（807）and its stele, it can be found the correspondences of octagonal plan and the subjects of ornamentation to that of Stupas built in Silla, reveals they were made by the same canon. By the document in the stele, surmising the historical cause of alteration in Chan stupa, there was the most famous zen master ShenHui at the time, who has the most important role of making the NanZongChan to get the authenticity in Chan Buddhism. His reliqury was the first ${\acute{s}}ar{\bar{i}}ra$ casket discovered among Chan monks' relics, consequentially it was to influence to Chan cuture and size the monks 'stupa for his ${\acute{s}}ar{\bar{i}}ra$. The stupa of master ChengGuang, by its shape and geological location, is the lost piece in the Puzzle of Chan stupa culture between Silla and Tang.

• 헤리티지:역사와 과학
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• 제49권4호
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• pp.52-63
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• 2016

장성 백양사 소요대사탑은 백양사 주지를 역임한 소요대사의 유업을 기리기 위해 건립되었으며, 우리나라의 전통적인 범종의 세부양식이 그대로 표현되어 있는 석종형의 승탑이다. 이 승탑은 담회색의 사암으로 구성되며, 탑신석의 전 후면에는 수직균열이 관찰되고 좌 우면에는 박리 박락으로 인해 조각의 상당부분이 유실되어 있다. 초음파측정 및 적외선 열화상 분석을 실시하여 물리적 손상도를 평가한 결과, 소요대사탑은 탑신석에 풍화양상이 집중되어 나타나며, 이미 박락이 발생한 영역의 주변으로 육안으로는 식별되지 않는 박리부가 좌면에서 6.1%, 우면에서 5.9% 확인된다. 또한 하이퍼스펙트럴 이미지 분석으로 생물학적 손상도를 평가한 결과, 승탑 좌 우면의 71.8%와 79.9%가 생물에 의해 피복되어 있음을 확인하였으며, 생물의 활력도는 우면, 후면과 지면에서 가까운 기단석에서 높아지는 경향을 보였다. 진단결과를 종합한 결과, 향후 지속적으로 훼손이 진행될 것으로 판단되는 박리영역과 생물에 대한 1차적인 보존처리와 함께 보존환경의 정비가 필요한 것으로 판단된다.

• 보존과학연구
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• 통권25호
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• pp.93-117
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• 2004

The stone cultural properties durability is the falling. So the conservation is easy relatively. But the conservation countermeasure of the stone cultural properties the environment pollution needed urgently as extreme. I will find out about the stone cultural properties Through the example of Restoration and conservation treatment about Bowonsabeobin-guksaboseungtap in the paper. Damage reasons of the stone cultural properties are a physical damage, a structural damage, a biology damage, a chemical damage and artificial damage. The moisture plays especially the role which damage is make the stone cultural properties. The stone cultural properties is damaged due to damage reasons. So we investigate the stone cultural properties and must remove damage reasons. Bowonsabeobin-guksaboseungtap is funerary stupa of buddhist monk with circleorientedoctagon in Geryeo Period. There is the open air. Parts of it were damaged by grave robbery in 2004. So restoration was begun in 2004.While restoring it, wrong arrangement on top of the monk-stupa was rearranged. After being arranged in right order, the middle of monk-stupa was fixed by setting up stainlesssteel shaft. A roof stone of stupa finial has cracks. So It was adhered with epoxy resin(L-30) and was washed with distilled water for pollution clearing. The stone cultural properties takes the influence of the environment pollution much because it stays at the fields. It is easy also to be robed. Therefore we must watch more with the concern.

• 건축역사연구
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• 제16권2호
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• pp.99-118
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• 2007

Kyedan(戒壇) is an altar to perform a rite of Buddhist Initiation which gives Precept to a Buddhist monk. Sometimes it is called the Place of Precept and Mandala by Sanskrit. In this study, the Sutra of the Tang(唐) Dosun(道宣) regarding First Kyedan of Jetavana-anathapindasyarama(祇園精舍), which was the first temple such as, Kyedandokyung(戒壇圖經), Kiwonsadokyung(祇洹寺圖經), Sabunyul(四分律) were analyzed to find out original form and layout. Ultimately, the study was intended to examine the spatial formation-principle by comparing with Kyedan Temple. The results of this study could be summarized as below. First. Except for Kyedan in Bakryensa, the height of lower stone plate of Buddhist Bell-Shaped Stupa of Korean Kyedan is higher than three storied Kyedan that described in Kyedandokyung. Second. Buddhist Bell-Shaped Stupa above Kyedan was presumed that embodied image of Bell Pedestal and symbolism of overturned-bowl were combined together, when Kyedandokyung and Kiwonsadokyung were referred. It could be examined by the existence of stone lantern. Third. In Korea, the rite of Buddhist initiation that gives Precept in Kyedan has been considered impossible. However, when the rite was conducted, there was a possibility to establish wood stair. It is because that the Buddhist Stupa of Silleuuksa(神勒寺) and Woljeongsa(月精寺), which reflected the image of Kyedan had stone stair. Fourth, The method to build Kyedan of Dosun divided into Large Region and Small Region was applied to the method to construct Stone terrace behind Jeongmyeolbogung(寂滅寶宮) like Tongdosa(通度寺) and complete Kyedan on the stone terrace. In other words, Jeongmyeolbogung became Kyedanwon(戒壇院) and Kyedan, itself became Small Region. The area of Stone terrace became Large Region and naturally, they constituted an Institution. Fifth, Korean Kyedan which is consist of Jeongmyeonlbogung and Kyedan is a Korean original composition principles of Kyedangaram(戒壇伽藍) that can satiate all the functions of Kyedan as a religious subject and the place of the rite of Buddhist initiation, as it had complex of Outdoor Kyedan, which was suggested by the sutra of Dosun and Institution of Kyedan.

• 건축역사연구
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• 제32권1호
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• pp.47-60
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• 2023

Due to a mistranslation of Sanskrit to Chinese, East Asian Buddhist community misunderstands the original meaning of the fundamental word, 'sachal(寺刹)'. Sanskrit chattra, a parasol on top of a venerated Indian stupa buried with Buddha's sarira, became the symbol of majesty. The Indian stupa was transformed into a pagoda in China, and the highlighted parasol on the summit was transliterated into chaldara(刹多羅), an abbreviation for chal (刹), and finally designated the whole pagoda(塔). Sachal consists with lying low monastery and high-rise pagoda. Tapsa(塔寺), an archaic word of temple, is exactly the same as sachal, because chal means tap, pagoda. However, during the 7th century a Buddhist monk erroneously double-transliterated the Sanskrit 'kshetra,' meaning of land, into the same word as chal, even despite phonetic disaccord. Thereafter, sutra translators followed and copied the error for long centuries. It was the Japanese pioneer scholars that worsen the situation 100 years ago, to publish Sanskrit dictionaries with the errors insisting on phonetic transliteration, though pronunciation of 'kshe-' which is quite different from 'cha-.' Thereafter, upcoming scholars followed their fallacy without any verification. Fallacy of chal, meaning of land, dominates Buddhist community broadly, falling into conviction of collective fixed dogma in East Asia up to now. In the Buddhist community, it is the most important matter to recognize that the same language has become to refer completely different objects due to translation errors. As a research method, searching for corresponding Sanskrit words in translated sutras and dictionaries of Buddhism is predominant. Then, after analyzing the authenticity, the fallacy toward the truth will be corrected.

• 건축역사연구
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• 제26권2호
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• pp.7-14
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• 2017

Rafter is a member for roof and plays a role in protecting shaft members under rafter such as pillar, beam and girder from natural environment and to fix by supporting finished materials of roof. It is common in the Korean architecture that rafter cross-section is paired with circular form and Buyeon cross-section is paired with the square shape. However, while there are not many, some architectures have rafter end header in the square shape. The aim of this study is to examine the square shape cases of rafter end header with special reference to stone structure. As a result, among stone structure related to Bangyeon, the majority case is seen at Palgakwondang type Seungtap. It was shown in the Seungtap of monk of Gusanseonmun school in the later Unified Silla to the early Goryeo period that succeeded Seodang Jijang.

• 수완나부미
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• 제4권1호
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• pp.57-90
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• 2012

This essay is for a study on the survey of buddhist cultural literary document about the Southeast Asia by Nanqishu(南齊書), Liangshu(梁書), Chiu T'angshu(舊唐書), Hsin T'ang shu(新唐書) which are included in the Chinese Official History and Jí-shénzhōu-sānbăo-găntōng-lù(集神州三寶感通錄), Weioshu Shilao Ji (魏書 釋老志). These documents allows us to imagine next some historical states. First, these documents are recording this area, especially Funan, as a plentiful diggings of gold, silver, tin, copper, etc. These are important materials for gilt bronze sculptures. Further, this local produced gold called 'Yangmai(楊邁)' is recognized as same as Zĭmòjīn(紫磨金) in china, and these documents explains the process of producing the bronze images and golden ornaments in Southeast Asia. Specially, this plentiful materials leads them to make a 10 wei(圍) tall golden-silver image which worshiped as hindu god or sometimes buddhist images. Second, Vietnam and Funan in Northern and Southern Dynasty periods were in antagonistic relationship not only in the political but also in religious between Vietnamese Hinduism and Funan's Buddhism. Under this situation, the monk Nagaxian(那伽仙) who had came from India was accredited to Southern Qi court as a delegate to build a good relationship by the common religion Buddhism. It means the Buddhism of Southeast Asia also took a role of diplomacy. Third, these documents proved the active Southeast Asian cultural exchange in early 3th century. At this time, Funan delegate Suwu(蘇物) visited the court of Kushan Dynasty in India and he is seemed to travel the city of Pātaliputra. It oppressed us to extend our outlook which have been restricted in the relationship between Southern india and Southeast Asia to more broaden area. In addition, the buddhist art of Southern India and Bodhgaya temple was imported to Southeast Asia directly to send to Southern China. For example, the wooden buddha image, Bodhgaya stupa image, and Sri Lanka style's buddha images are looked be introduced to Southern China at this time throughout the Southeast Asia. At last, we got to know that the court music of Kucha in the northern silk route was imported to the Southeast Asia in early middle age. Even it may be introduced by China, but this document is very important to make the surmise is not unreasonable that the buddhist culture of northern silk route imported to the Southeast Asia accompanied with Kucha music. The buddha images in Gandharan style which are excavated from some site of Southeast Asia may demonstrate this literary sources is authentic.

• 공연문화연구
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• 제36호
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• pp.751-781
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• 2018

월정사 탑돌이는 광복 이후 재현된 첫 번째 불교민속놀이로 불교문화로서의 대표성과 역사성을 지닌 주요 무형문화재이다. 월정사 탑돌이는 한국 고유의 전통성과 강원도의 정체성이 내재된 불교민속유산이라는 점에서 지정 가치가 크다. 전국 사찰에서 탑돌이가 시연되고 있지만 무형문화재 지정을 기반으로 체계적인 전승이 이루어지고 있는 경우는 월정사 탑돌이가 유일하다. 월정사 탑돌이의 문화재 내재적 가치에 주목해야 할 이유이다. 탑돌이는 부처님, 탑에 대한 예경방식의 총체적 표현물이다. 월정사 탑돌이의 원형은 추정하기 어려우나, 월정사의 역사성으로 보아 고구려 계통의 놀이와 신라 복회(福會)에 닿아 있다. 고구려벽화의 달, 오대산 화엄사상경 배경과 팔각구층탑의 본질의 측면에서 우요삼잡의 예법에 부합한다. 탑돌이 때 처음에는 범종, 고(鼓), 운판, 목어의 사법악기(四法樂器)만 쓰이다가 후에 삼현육각(三弦六角)이 합쳐지고, "보렴"과 "백팔정진가"을 부른 것을 보면 처음에는 순수한 불교의식이던 것이 차츰 민속화해서 민중 속에 전파된 것을 알 수 있다. 월정사 탑돌이의 전형은 회향의례의 환희심을 체험하는 우요삼잡의 풀이와 관련된다. 절에서 대재(大齎)가 있으면 신도들은 공양을 올린다. 이때에 염불, 범음(梵音), 범패(梵唄)가 따르며, 재가 끝나면 신도는 승려와 함께 불탑을 돌면서 부처님의 공덕을 빌고, 또 저마다의 기원을 빈다. 일신의 왕생극락은 물론 국태민안을 빌어 태평성대를 누리고자 하였다. 큰 재일수록 많은 신도들이 모이며 따라서 탑돌이도 성황을 이루었다. 법음(法音)에 맞춰 제각기 소원을 외면서 탑을 도는 모습은 엄숙하였다. 월정사 탑돌이의 변형과 융합에 대한 발상은 전형 곧 문화재 지정의 취지 유지와 정체성 차원을 살리되 전승의 공연화를 위한 계승적 전략이 필요하다. 한국탑돌이는 4월 초팔일과 중추절인 한가위 날에는 탑돌이가 있었다. 탑돌이의 공연성은 스님이 염주를 들고 탑을 돌면서 부처의 큰 뜻과 공덕을 노래하면 사찰 신도들이 그 뒤를 따라 등을 밝혀 들고 탑을 돌면서 극락왕생을 기원하는 회향형(回向型) 불교민속놀이에 있다. 공연성 활성화는 신행 보유자 전승교육, 전문가 자문의 다차원 접근, 원형 재현의 담론 등을 단계적으로 보강하여야 한다.

• 헤리티지:역사와 과학
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• 제45권2호
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• pp.54-71
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• 2012

굴산사(?山寺)는 신라하대에 통효대사 범일(梵日, 810~889)에 의해 개창된 이래 구산선문(九山禪門) 가운데 하나인 사굴산파(??山派)의 본산으로서 크게 융성하였다. 강릉시 구정면 학산리에 위치한 굴산사지에는 거대한 당간지주를 비롯해서 고려시대 석조부도와 석조비로자나불좌상이 2구 전해오고 있으나, 범일과 그의 제자인 개청(開淸, 854~930), 행적(行寂, 832~916)이 활동했던 나말여초기 굴산사를 알려주는 불교조각은 전하지 않는다. 이 글에서는 나말여초기 굴산선문의 불교미술을 살펴보기 위한 시도로서 굴산선문의 영역권이었을 것으로 추정되는 지금의 강릉, 오대산, 동해시 등지로 범위를 넓혀 나말여초기 명주지역 불교미술을 파악하고 이를 통해서 간접적으로 범일과 그의 제자들이 활동하던 시기 굴산선문의 불교미술을 유추해 보았다. 강릉지역의 석조물 가운데 강릉시 오죽헌박물관에 옮겨진 무진사지(無盡寺址) 석탑의 부조 사방불상과 사천왕상은 신라 중앙이나 양양 진전사지, 선림원지 석조미술과 양식적으로 밀접하게 연결되어 나말여초기 명주지역 불교미술이 당시 상당한 수준이었음을 말해준다. 범일의 제자인 개청이 주석했던 보현산 지장선원[普賢寺]에 전해오는 석조대좌의 부재(部材)는 팔각연화대좌의 하대 복련좌(覆蓮座)를 받치고 있던 팔각의 받침석으로 안상(眼象)에 사자(獅子)가 새겨져 있어 나말여초기 광범위하게 유행하였던 지권인 비로자나불좌상의 대좌일 가능성을 시사한다. 한편, 국립춘천박물관과 강릉 오죽헌시립박물관에 각각 소장되어 있는 한송사지(寒松寺址) 석조보살좌상 2구는 대리석이라는 재료를 비롯해서 머리 위에 쓴 원통형의 고관(高冠), 양손의 검지를 곧게 뻗은 수인(手印), 다리를 편히 놓은 서상(舒相)의 좌세 등, 독특한 밀교계 요소를 보여준다. 이러한 밀교계(密敎系) 도상(圖像)은 굴산선문 승려들의 당 유학(遊學)을 통해 명주지역에 전해졌을 가능성이 크다. 당시 활발했던 굴산선문 승려들의 국제적 활동은 지역 미술에 큰 영향을 주면서, 선진성을 고양하였을 것이다. 동해시 삼화사 철조비로자나불좌상의 시무외 여원인의 수인을 결(結)한 화엄계 노사나불상 표현은 당시로서는 예외적인 도상으로서 명주지역 미술이 전통성을 고수했던 면도 있었음에 주목하게 한다. 굴산선문 불교미술은 중앙지역과 같이 하는 양식 수준, 활발한 대당(對唐) 교류의 결과로 나타나는 선진문화의 수용으로 요약될 수 있으며, 선진성과 국제성은 나말여초기 굴산선문 불교미술의 기본 성격으로 생각된다.