• Korean Journal of Heritage: History & Science
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• v.33
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• pp.136-161
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• 2000

This paper is a study on the design of the gilt-bronze sarira caskets discovered in 1959 and 1996, from a east and a west three-story stone pagodas in Gameunsa Temple site which was built in 682. One of the most interesting discoveries is the ceiling with Bokdu(覆斗) design which can be seen in Dun-Huang grotto of China, reflected upon the ceiling structure of the cover (outer casket) and the square box (inner casket). The structure of these sarira caskets, as art crafts, directly represents architectural structure of Dun-Huang grotto that was made during the early T'ang period of China. Moreover, the sarira caskets are decorated with ornate designs and these designs also can be seen on the murals of Dun-Huang grotto. Accordingly, those sarira caskets tell us creative ability and international taste of Silla's craftsmen. By tracing the origin of structure and design pattern of the sarira caskets to Central Asian and Chinese architectures, it is able to understand international style of the sarira caskets of Gameunsa Temple site.

• Journal of architectural history
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• v.30 no.1
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• pp.7-17
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• 2021

Bang walls surround the four sides of Band in ancient capital cities of East Asia where the Bang system was in operation. There are ongoing research efforts for the structure of a capital city and Bang system around the capital of Silla, but there is a huge shortage of research on Bang walls. This study thus set out to examine Bang walls in the capital of Silla around the Hwangnyongsa Temple and its surroundings. The findings show that the Bang walls in the capital of Silla were built with a mix of earth and stone and with tiled roofs on top. The sizes of Bang walls were distinguished from the walls of individual structure groups inside Bang and closely related to the Bang size and the width of adjacent roads.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.24-41
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• 2014

Since the celadons excavated from the Son-gok 2-ri 4th kiln site are located in the Beopcheon temple site and at close range, the similarity to the celadons excavated from the Beopcheon temple site is being raised. Thus, this study examined the correlation using a natural-scientific method. In this study, historical ceramic properties of total 19 celadons were examined and they were scientifically analyzed. First of all, according to the scientific analysis, chemical compositions of celadon clay showed a dispersed distribution at RO2 3.79-7.77mole and RO+R2O 0.33-0.49mole. When the microstructure was analyzed, most celadons excavated from the Beopcheon temple site, Wonju, which are estimated to be used in real life, had a favorable state, and some celadons from the Son-gok 2-ri 4th kiln site were found not to be glazed and sintered properly. When analyzing body crystalline phases of the celadons using the XRD method, quartz and mullite were extracted from all of the samples. And corundum was extracted from sg4 sample. Though firing temperature of each sample was different, they were mostly fired to temperatures between 1150 and $1200^{\circ}C$ and some of them experienced a low temperature of $1100^{\circ}C$ or a high temperature above $1200^{\circ}C$. Various chemical compositions and producing techniques were observed in the celadons from the Beopcheon temple site and Son-gok 2-ri 4th kiln site and it is hard to assure that the Son-gok 2-ri 4th kiln site was the production kiln site of the celadons used in the Beopcheon temple site. But according to the analysis of rare earth elements, some of the celadons from the Beopcheon temple site and Son-gok 2-ri 4th kiln site displayed a distribution pattern with certain regularity and this implies there is a possibility that the raw materials used in producing the ceramics might have come from the same origin. From the perspective of ceramic history, the celadons excavated from the Beopcheon temple site and Son-gok 2-ri 4th kiln site were produced using the same molding and sintering technique. Also, it is estimated that they were produced in the 12th or 13th century, judging from the overall shapes and patterns of the celadons.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.152-171
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• 2009

The Dancheong(丹靑) of the main building of Mihwangsa Buddhist Temple(美黃寺) in Haenam(海南) is the leading work of the Jeolla Dancheong style, which was created in the 18th century and has been passed down to the early modern days, and boasts its excellence and originality. On the outside, one can only see the traces of the Dancheong due to the colors that fell off and deteriorated severely. On the inside, however, the general Dancheong pattern is accompanied by the painting of 1,000 Buddhas(千佛圖), which is hardly found in other Buddhist temples, and the Arahan painting, which is truly magnificent in technique and can pass as an independent painting. The Dancheong also has unique methodological characteristics that can't be found in other Dancheong works such as the painting and attaching technique. The Dancheong inside is estimated to have been created in 1754 considering the records of "Dalmasan Mihwangsasa Daebeopdang Jungsusangryangmun(達摩山美黃寺大法堂重修上樑文)", the calligraphical writings of "Mudeungsanindanhwakya(無等山人丹?也)"and "Geonryungshipgu(乾隆十九)" left in the Jungryang, and the style characteristics reflected in the Dancheong patterns and the painting of 1,000 Buddhas. The fact that there are no traces of re-Dancheong also supports the estimation that the Dancheong was created in the absolute age of 1754. The absolute age will be the reference of deciding the chronological years of Dancheong patterns and be helpful in examining the characteristics and changes by the periods. There were certain style characteristics in Dancheong by the periods and regions. The Dancheong of Jeolla region also had its own style, which includes the tendency of finishing with two- or three-fold green belts without giving meokdanggi to the meoricho and the huge jar decoration of huigol. Treating the baetbadak of all materials, whether it's Geumdancheong or morodancheong, with lines of certain thickness and colors is another style of Jeolla Dancheong from the 18th to the 20th century. The Dancheong of the Geukrakbojeon(極樂寶殿) of Cheoneunsa Buddhist Temple and Daewoongbojeon(大雄寶殿) of Naesosa Buddhist Temple in Jeolla is especially noteworthy in that it bears similar patterns and techniques to that of the main building of Mihwangsa Buddhist Temple in addition to the characteristics mentioned above. The Dancheong of Mihwangsa Buddhist Temple must have exerted so great influences on that of the two temples that it's called "the style of Mihwangsa Buddhist Temple."When adopting a broader point of view, it can be classified as one of the Dancheong styles of Jeolla. The common icons and techniques found in the Dancheong of Mihwangsa, Cheoneunsa, and Naesosa Buddhist Temple provide some clues about the influential relationships among painters of the days. They may have been created by the painters of the same school or the painters affected by those who created the Dancheong of Mihwangsa Buddhist Temple.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.138-163
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• 2021

The Buyeo Wangheungsa Temple was excavated 15 times by the Buyeo National Research Institute of Cultural Heritage by 2015. In doing this, it was confirmed that the attached buildings were placed in the east and west along with the central Sangharama building. Various building sites were established in the western section of the temple, and various buildings were placed inside, and this pattern was estimated in the eastern section. In this article, the structure and function of the attached buildings of the Wangheungsa Temple were focused on the planar structure and excavated artifacts. The most distinctive feature of the attached buildings of the Wangheungsa Temple is their construction alongside the central Sangharama building. It is different from the building to the Neungsan-ri Temple, which was expanded gradually. The attached buildings in the east and west of the lecture hall are presumed to be living space for monks who used solitary rooms, and the attached buildings in the east and west of the main hall were a combination of public work space used for things such as administration, ceremonies, and reception. Next, looking at the outer space of the central Sangharama, the western section was likely constructed at the same time as the central Sangharama. However, if you look at the building site inside the western section, the function has been changed in two stages. The first stage was a ritual space, and it is evident that the western section has a separate entrance and sidewalk and that the workshop was used as a monastery space in the second stage. Finally, there is a distinct possibility that the eastern part of the complex was an important section. Although this space is presumed to be composed of triple towers and halls, it must be have been approached in various ways and included structures related to the operation of temples, such as the monastery space. From this point on, the overall appearance of Baekje temples can be recovered through access to temple structures in a wide variety of ways, including studies of the attached buildings.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

• Journal of architectural history
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• v.12 no.3
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• pp.163-179
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• 2003

The records of about 60 travel essays of the Hall of Bhaisajyaguru(Healing) Budda which was built in Chung Yang Temple passed down since 1525. The chronological change of that Hall architecture according to each period was traced upon. The building structure of the Hall of Bhaisajyaguru Budda which has a roundabout way, and 6 pillars inside, sometimes each 6 pillars inside and outside is hexagonal, one story building in Japanese colonial period(picture 3-1) or the present(picture 3-3). The panaromic picture of Chung Yang Temple shows no alterations of the layout of buildings(picture 1-1), in which the Hall of $Praj{\tilde{n}}{\bar{a}}$(般若殿), the main building in the center and the Hall of Bhaisajyaguru(Healing) Budda, three story stone pagoda, stone lighthouse in front of it became the central axis. The Hall of Bhaisajyaguru(Healing) Budda remained as it was until Japanese invasions in 1592 and 1597. However, it was greatly damaged by the flood in 1717. It was newly built by Lee Ha Gon's leading in 1717-1732. At that time, the interior design was changed. With Bhaisajyaguru(Healing) Budda, 53 Buddhas and ${\acute{S}}arira$ of Stone stupa which show itself by the flood in 1717 was located in the image of the Mountain of Chunchuk or Cheontae like Yu Jeom Temple. The doors of this Hall are located in the front and back. In the four walls each, two realistic and cubic buddhism pictures were drawn, The color of those picture was partly taken off in 1671 and repainted in 1714. The new building in 1717-1732 regained its colorful appearance. However, the names written beside each Images of Buddha disappeared. The notable remark in these records is that some of these travel essays in 17th-18th centuries was calling this hexagonal hall as the octagonal one. It is very important records because it means that before 1525 the octagonal hall might have existed. Chung Yang Temple was rebuilt between 1976 and 1985 after the destruction in the Korean War. After the records are carefully read, the full scale excavation about this historic site was not done yet. The interesting issue of the existence of octagonal building will be resolved by the full scale excavation.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.172-197
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• 2009

The stone stupas of the Mireuk Temple Site and Jeongnim Temple Site were the beginning of Korean stone stupa and the unique ones stemming from the Baeje period. Therefore, the work of investigating the characteristics of these two stone stupas would give us a basis for understanding Korean stone stupas in a large scale and Baekje-style stone stupas in a narrow sense. As shown in some records, the excellent architectural skills of Baekje could be known by the fact that Abiji was invited to the building of Hwangryong Wooden stupa, one of the national undertakings of Shilla and the skills and styles related to stone stupas were thought to be disseminated in this process. However, it has not been very convincing that the stone stupas with Baekje styles were disconnected in an instant with the unification of Shilla, in terms that culture and art would inherited and developed. The current academic circle set a frame and defined all these types of stone stupas as Baekje-system stone stupas built in Goryeo period and put them in a uniformly chronological order. The popularization of Buddhism, support of regionally powerful clans and cultural revival were suggested as the factors of their appearance, but it seemed difficult to be assured that these led Baeje-style stone stupas to reappear in a moment by breaking the gap of about 300 years. Of course, it has not been active in Gyeongju area, but they have greatly influenced the stone stupas of Shilla; therefore, it would be possible to consider that they were developed but limited to certain areas. This study focused on the starting point of such development and investigated the formation of Baeje-style stone stupas through the stone stupas of the Mireuk Temple Site and Jeongnim Temple Site and their subsequent development through Wanggung-ri Stone Stupa.

• Journal of Conservation Science
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• v.35 no.3
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• pp.217-225
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• 2019

The chimi(ridge-end tile) of Wangheungsa temple is the oldest in our country. The upper part of the chimi was excavated from the southern side of Wangheungsa temple and the lower part from the northern side. These parts are considered to be portions of the same chimi, because they are similar in shape and are excavated from two sides of the same temple structure. However, the original shape of the chimi cannot be determined owing to substantial deterioration. Hence, in this study, replicas of the deteriorated chimi portions of Wangheungsa temple were fabricated by employing 3D scanning technology and the computer numerical control machining method. While observing the bending phenomenon of the chimi, the proposed model was warped realistically on the basis of the bending direction of the actual chimi. Consequently, the restoration process was modified several times. The results indicated that no gaps can be found between the upper and lower parts, and the corresponding patterns connect naturally. Furthermore, the proposed method is contactless, safe, operable, reproducible, and appropriate for restoration of artifacts. Additionally, the modeling data is semi-permanent. Hence, if modelling data is appropriately applied as per the characteristics of artifacts, it can be utilized in various fields such as virtual exhibitions, hands-on exhibitions, cultural heritage restoration, and production of teaching aids and souvenirs.