• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.238-259
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• 2021

Gameunsa Temple is a Buddhist temple from the mid-Silla period. Construction began during the reign of King Munmu and was completed during the second year of King Sinmun's reign (682). This study is based on the results of excavations at the Gameunsa Temple site, exploring the findings presented in the literature in the field of history. This study also investigates the characteristics of the construction plan of Gameunsa Temple and its correlation with the political, social, and religious environment of the time. The results of the study are as follows: (1) First, it is confirmed that all of the buildings in the central block of Gameunsa Temple, such as the pagoda and corridor, the central gate, and the auditorium, fit within 216 cheoks by 216 cheoks (Goguryeo unit of measurement, estimated dimensions 353.30 mm), in terms of the base structure. This fact is highly significant considering the intent of the King in the mid-Silla period to advocate Confucian political ideals at the Donghaegu sites (Daewangam, Igyeondae Pavilion, and Gameunsa Temple), as confirmed by the relationship between the 'Manpasikjeok legend' and the Confucianism of the etiquette and the music; the relationship between the name of the 'Igyeondae Pavilion' and the 'I Ching'; and the relationship between the 'Taegeuk stones excavated from the Gameunsa Temple site' and the 'I Ching.' Additionally, it may be presumed that the number in the "Qian 216" on the Xici shang of 'I Ching' was used as a basis for determining the size of the central block in the early stages of the design of Gameunsa Temple. The layout of the halls and pagodas of Gameunsa Temple was planned to be within a 216-cheok-by-216-cheok area, from the edge to the center, i.e., on the central axis of the temple, in the following order: the central gate and auditorium, the north-south position of Geumdang Hall, the south corridor, the east-west buildings of the auditorium and the winged corridor, the east-west corridor, and the central position of the east-west stone pagoda. (2) Second, the coexistence of Confucianism and Buddhism in the architecture of Gameunsa Temple is based on the understanding of the Golden Light Sutra, originating from the aspirations of King Munmu to obtain the immeasurable merits (陰陽調和時不越序 日月星宿不失常度 風雨隨時無諸災横) and the light of the Buddha, which is metaphorically represented by the sun and the moon illuminating the whole world of Silla, a new nation with a Confucian political ideology, for a long time by "circumambulating the Buddha (旋繞)". It is also presumed that Gyeongheung, who was appointed by King Munmu to be the Guksa in his will and appointed as the Gukro after the enthronement of King Sinmun, was deeply involved in the conception and realization of the syncretism of Confucianism and Buddhism.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.22-49
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• 2021

Bowonsa Temple (普願寺) is located to the north of Gayasan Mountain in Unsan-myeon, Seosan-si, Chungcheongnam-do Province. The cultural properties it enshrines were produced during the late Unified Silla and early Goryeo periods, and include an Iron Seated Buddha. The Japanese Government-General of Korea Museum planned a survey on historical remains in Chungcheongnam-do Province during the early Japanese colonial era, and a field survey was conducted at the Bowonsa Temple site in 1916 (Taishō 5). During this survey, the sculpture of the Iron Seated Buddha (knee: width 212 cm x thickness 167 cm) was found enshrined in a hut. The sculpture was moved to Gyeongbokgung Palace in the following year. However, it is clear that the colossal Iron Seated Buddha was being housed at the Bowonsa Temple site at the start of the Japanese colonial era. This Iron Seated Buddha is presumed to have been produced in 955 by State Preceptor Beopin Tanmun (法印國師 坦文, 900-975). Tanmun was born into an influential family that produced many high officials. He became a leading figure in the Hwaeom (Flower Garland) school of Buddhism under the patronage of King Taejo. He also led Buddhist events at the Goryeo royal court during the reigns of King Hyejong (惠宗, r. 943-945) and King Jeongjong (定宗, r. 945-949). With the emergence of Gyunyeo (均如, 923-973), who was sponsored by Queen Daemok (大穆王后, dates unknown) of the Hwangbo clan (皇甫氏), Tanmun was transferred to Bowonsa Temple far from Kaesong. However, even while there Tanmun strengthened his ties with his supporters under the patronage of the Chungju Yu clan. He appears to have produced this colossal sculpture of Iron Seated Buddha as a prayer for longevity and a happy life for King Gwangjong (光宗, r. 949-975). The inscription on the Stele of State Preceptor Beopin at Bowonsa Temple Site that reads "[I] created a Buddha triad in gold" also suggests the Iron Seated Buddha was produced at Bowonsa Temple. This Iron Seated Buddha is thought to have been enshrined originally in a hall at Building Site No. 3 within the Bowonsa Temple precinct. Since excavations at the temple site have revealed that the temple's main hall was erected in the Joseon period, the Iron Seated Buddha might have been enshrined in a different hall at the time of its creation. It is likely that the sculpture was placed in a hall at Building Site No. 3 since Goryeo-era roof tiles and porcelain have been frequently excavated there and the remains of a square Buddhist altar have survived at the site. At the time of its creation, the Iron Seated Buddha was likely enshrined in a Goryeo-era hall at Building Site No. 3 but was transferred to the main hall during a rebuilding project undertaken at Bowonsa Temple in the Joseon period.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.48-65
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• 2022

Three Japanese Buddhist scuptures of Daehyusa temple in Gimcheon, Gyeongsangbuk-do province(慶尙北道) are enshrined in the main hall(本堂) of Henjoin temple in Daegu, an annex temple built by the Chisan School(智山派) of Shingi Shingon sect(新義眞言宗) in Daegu around 1910 when the Japanese colonial period began. The following statues are believed to have been made around this time: the Statue of Kobo daishi(弘法大師像), which is the figure of monk Kukai(空海, 774-835), the founder of the Shingon sect(眞言宗) of Japan, and the Statue of Dainichi nyorai(大日如來像) and the Statue of Fudo myo-o(不動明王像), which are notable sculptures representing the thought and belief of the Shingon sect. Most statues identified of Dainichi nyorai, Kobo daishi, and Fudo myo-o from the Japanese colonial period thus far are rock-carved statues or stone statues. The statues of Daehyusa temple are noteworthy in that they are the first discovered Japanese Buddhist sculptures made of wood, known to have been enshrined in Japanese temples. Furthermore, they are valuable sources that can provide clues to the religious atmosphere of the temples of Chisan School of Shingi Shingon sect at the time. Although these statues have formative features that partially reflect modern aesthetics, their iconographic origins date back to the Heian period(平安時代, 794-1185). In other words, the Statue of Dainichi nyorai inherits the religious tradition of the Statue of Dainichi nyorai, which was created by monk Kakuban(覺鑁, 1095-1143), the founder of the Shingi Shingon sect. The Statue of Kobo daishi follows the Shinnyo Shinno(眞如親王) style founded by Monk-Imperial Prince Shinnyo who was a disciple of monk Kukai. The Statue of Fudo myo-o manifests the Genjo(玄祖) style among the statues of Fudo myo-o. Although not much is known about how the statues were enshrined in the Henjoin temple in Daegu during the Japanese colonial period, it is very likely that these statues were created as Shingi Shingon sect's statue of three-wheeled body(三輪身). That is, it is estimated that the Statue of Dainichi nyorai, Statue of Kobo daishi, and Statue of Fudo myo-o have the characteristics of the body of self-nature chakra(自性輪身), the body of great dharma chakra(正法輪身), and the body of order chakra(敎令輪身), respectively. The fact that the statue of three-wheeled body was established in the Shingon sect in Japan by monk Kakuban also lends credence to this possibility. It is thought that people who came to the Henjoin temple in Daegu worshiped the statue of three-wheeled body to understand the teachings of the Dainichi nyorai. Although it is the case of Sildalsa Temple (悉達寺, the successor of Henjoin temple in Daegu) in the first half of the 1950s, the main hall includes features that reinforce the idea that the tradition of Kobo daisi faith(弘法大師信仰) is passed on. To illustrate, the human skeletal remains in the main hall of Sildalsa Temple reflect Koyasan(高野山)'s tradition in laying ashes to rest, which has been popular in conjunction with the Kobo daishi faith in Japan since the 11th century.

• Journal of the Korean Institute of Landscape Architecture
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• v.20 no.1
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• pp.13-17
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• 1992

This study aims to explain the image of historic objects in matters of the artistic impulse. Two Pagodas in the Temple Bulguksa, those have a concrete character of the "matter & form" in the structure and buddhistic background, are chosen for this study. With analysis and synthesis of the form and structure, those must be handled by overlaping, lifting and comparing in plan, elevation and mass, the structural pattern of them can be theoretically explained and aesthetically interpreted. Conclusively, this study would be expected to make some references to the historic scene of the Temple Bulguksa.

• Journal of architectural history
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• v.24 no.4
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• pp.55-64
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• 2015

This paper aimed to identify architectural historical meaning of the brick-constructed platform of the west hall in Hwangnyoungsa buddhist temple site based on studying published the excavation survey report and comparing with other platforms of Silla remains. Mass and height of the building has a hierarchical structure within a buddhist temple site, this is applicable in Hwangnyongsa. So in case of a rank equal to or lower buildings than the west hall, those of platforms were built of brick-constructed. As stone relics, jidaeseoks are very narrow, I think that wooden pagoda and main hall's platform were built of brick in first construction period. West hall's platform was built at the late 6th~the mid of 7th century, these brick-remains were considered as a quite earlier construction period relics. Because in west hall there is no jidaeseok under bricks, and all bricks relics have a rectangular shape.

• Journal of The Korean Digital Architecture Interior Association
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• v.2 no.1
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• pp.39-44
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• 2002

Purpose of this paper is to find the Baroquely characteristics in Korean Temple Architecture.(MA KOK-SA) We could find out the characteristics as follows; First, visual freedom and floating in the arrangement of the temple buildings through segmenting the axis. Second, tension of variations in size, distance, and frame. Third, diverse sceneries provided by Sequential(dynamic) view points. Fourth, visual process and sharp contrast between horizontality and verticality, and unexpected scenery, etc.

• Journal of architectural history
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• v.11 no.4 s.32
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• pp.117-128
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• 2002

This paper aims at proposing constructional intention and aesthetic consciousness in the architecture of Jajang-temple, which was originally built by the great monk, Jajang in 7c. The results are as follows : 1) The layout and form of buildings in Jajang-temple were remarkably followed the situations and shapes of natural rocks related to Gumwa legend about the original establishment of the temple. 2) As natural rocks were penetrated into both the inner and outer space of buildings and so artificial skills were more or less restrained, it seems to be short of geometrical regularity, symmetry and formal integrity. 3) However it can be said that these architectural treatments were based on the aesthetic consciousness, so called In-Cha and Jol-Bak, which were conceived by intellectual elites in Chosun dynasty.

• Journal of architectural history
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• v.19 no.4
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• pp.109-123
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• 2010

The main functions of a Buddhist temples are as a place for Buddhist services and a place for sermons and each ancient Buddhist temple was equipped with a main and separate building. After Zen Buddhism was first introduced, there was a tendency to change the terms to Buddhist sanctuary and altar, as set forth in the Zen Buddhism code of conduct called 'Cheonggyu(淸規)'. As such, it was thought that the division between Buddhist service space and preaching space were relatively firm until the Goryeo Dynasty. However in the period from the end of the Goryeo to the beginning of the Joseon Dynasty there was an increasing tendency of integration of the two buildings. It can be seen that, in cases where both buildings remained, statues of Buddha were enshrined in these buildings without any distinction. Eventually it is led to the tradition of duo-Buddhist sanctums.

• Journal of architectural history
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• v.26 no.4
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• pp.7-17
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• 2017

Suncheon Songgwangsa has unique ventilation roofs. In the meantime, these roofs have been known as a characteristic element of Songgwangsa architecture and a unique element of Korean traditional architecture. I would like to review the installation time of the ventilation roof and check the installation time through Songgwangsa's records and photographs. According to the results of this study, it was confirmed that the ventilation roofs installed in various buildings including the temple of Songgwangsa were installed between the 1920s and 1930s. This can be summarized by comparing the history of Songgwangsa and the history of each building of Songgwangsa by comparing the paintings of Songgwangsa in 1886 and 1915 with the photographs of 1920s and Songgwangsa in the 1930s. It is a matter of further study whether the installation of the ventilation roof of Songgwangsa Temple is influenced by the Japanese occupation period.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.25-38
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• 2001

The purpose of this study is to investigate the character and costume of the long-guan clay figures that were excavated in Bu-yeo Jeong-lim Buddist temple foundation. For this, we first examine the Chinese official uniforms with long-guan, classify the types of long-guan, and then investigate the costume that is worn with long-guan. There are three types of long-guan in China, and that of the clay figures in Jeong-lim Buddist temple foundation is of type 1. Therefore, the characters of the clay figures are woman servants, and their costume is either blouse-and-trousers or blouse-and-skirt.