• 건축역사연구
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• 제14권4호
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• pp.137-155
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• 2005

This study was started with its consideration as materials showing original shapes of temple buildings in the late period of Chosun the photographs and drawings which contained in $\ulcorner$A Survey Report of Korean Architecture$\lrcorner$ made by Sekino Tadashi through his survey for 62 days(July 5${sim}$Sep. 4, 1902). Results of the study can be summarized as follows. During the period of Japanese occupation, Beomesa temple experienced frequent changes in building layout including the transfer and removal of buildings. Such frequent change began in spring, 1936 when a Buddhist monk of Beomeosa temple, Cha Woon Ho moved Gwaneumjeon, originally located to the light of the main building, to the left of the building and, on its original site, built up a 7-storied sarira tower. Though it is difficult to say that the study provides everything about Beomeosa temple, the researcher expects that the study would be the very basis on which changes in the building layout of the temple since the late period of Chosun can be researched. In conclusion, the researcher hopes that the above mentioned restoration plan would help originally restore or enlarge temples, further transmitting such restored or enlarged establishments as valuable cultural remains from generation to generation. In this respect, the researcher expects such restoration plan to be made in continuous and more detailed ways.

• 건축역사연구
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• 제19권2호
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• pp.43-66
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• 2010

In that the Buddhism is the religion founded by Buddha, the settlement of Buddha's existence is very important in the temple building arrangement which symbolizes the Buddha's world. What symbolizes the Buddha in the temple are the pagoda and the Buddhist image. Among them, the Buddhist image is directly connected with the Golden Hall. This kind of double structure is settled as a typical pattern for the arrangement of buildings such as halls and pagodas. The earlier one between the pagoda and Buddhist image is the pagoda, of course. It can be inferred that, through the gradual expansion of the Buddhist images, the gravity was transferred from the pagoda to the Golden Hall. But, if the Buddhist image can be connected with the Golden Hall in that it was the product reflecting the requests on the Buddha and his teaching, the internal origin of the Buddhist image should also go back to the early Buddhism. In fact, the gravest building in Venuvana - vihara or Jetavana - anaehapindasyarama was the Golden Hall, the Buddha's residence. And in the summit of Grdhrakuta or Jetavana - anaehapindasyarama where Buddha stayed long, there is the gandha - kuti the Buddha's place till now. It means that the symbolic request on the Buddha and his teaching had existed even before the Buddhist image and that this tendency could be connected with the generation of Buddhist image. This paper is to show that the hall / pagoda structure generalized in the building arrangement of later age was originated not just from the Buddhist image and the sarira pagoda but from the gandha - kuti and the hair pagoda, and therefore the two should coexist inevitably. It is an attempt to develop a little more in the ideological perspective the general theory that the pagoda and the Buddhist image were fused into one precinct of temple later in their respective origins. That is, it tries to recognize the relation of pagoda and hall not as the conflicting one but as the complementary one.

• 한국실내디자인학회논문집
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• 제16권1호
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• pp.3-10
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• 2007

In the 7th century, Sachunwang-sa temple had two extra building-sites behind the Main hall. These two building-sites were found to be in peculiar form different from any another existing stone bases. The stone bases of northern put of these building-sites were decorated to molding as the protruding comers of eaves, which was pierced into a circular hole, and was carved into a form of Gomeck-ii(the stone bases lot supporting the wall). The northern building of sachunwang-sa temple was found to be used as the altar following munduru(文豆婁) method, through the observations of the archives of Samkukyusa(三國遺事) and the Abhiseka stura(skt. 灌頂經). The molding as the protruding cornets of eaves of stone bases was shaped as the roof of a building and the carving of Gomeck-ii gives a proof of the existence of the wall between columns in the altar. The hole of the stone bases protected the wooden cylinder of munduru from the exterior world. The author concludes, through this research, that the altar of Schunwang-sa temple was used lot the religious service during the war for worthship and protecting from the enemies. Also he concludes that these buildings must have been in wooden pagodas constructed upon a square plan, that is with both front and side width equal, haying a quite small scaled and low floored building with its first floor closed on all sides, being different item the usual form.

• 한국가구학회지
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• 제12권2호
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• pp.39-47
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• 2001

This study was carried out to identify wood species excavated at the temple site of Backjae dynasty in Neungsanri, Buyeo. At the temple site, there were great excavations such as Backjae Incense Burner(National Treasure No.287) and Stone Reliquary(National Treasure No.288). The King Chang 13 Year carved on Stone Reliquary indicated that this temple was completed in A.D 567. Identification of wood species were as follows: The Temple building was constructed by Pinus densiflora Sieb. et Zucc. The species of the main pillar of Wooden Pagoda which preserved relics of the Buddha was Zelkova serrate Makino.

• 건축역사연구
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• 제16권5호
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• pp.7-20
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• 2007

Bong-amsa Temple is a special temple in the custody of Jogye sect, a branch of Buddhism in Korea. Due to limited public access to this temple, its Geungnakjeon(paradise shrine) has been little known to outside. But it is known that the Geungnakjeon has been not yet explored from academic standpoints in terms of its historical establishment as well as applications, and it would be two-storied wooden pagoda or the like. In order to examine its historical establishment, this study investigated historical records related to Bong-amsa Temple and its intrinsic architectural style. As a result, it was estimated that the building was established around the transitional period ranging from the late Koryo dynasty to the early Joseon dynasty. And it was found that the Geungnakjeon is not the two-storied wooden pagoda, but the unique building including an incidental component called Chayanggan(遮陽間; a sort of stepped penthouse) in Korea. In order to examine its possible applications, this study compared this building with other Buddhist funeral articles in forms similar thereto, such as Buddhist pagoda(僧塔), sarira container(舍利器) and Gamnodo(甘露圖) which depicts Byeoknyeon Daeban(碧蓮臺畔; a palanquin carrying malignant spirit). Then, this study estimated its possible applications on the basis of relevant historical literatures. As a result, it was found that this building was used as Wondang(願堂; a sort of Buddhist prayer house) to wish royal family's going to Nirvana after death, and it was not Confucian-style architecture popularized in the era of Joseon dynasty, but Buddhist-style architecture built widely from the era of Koryo dynasty to the early Joseon dynasty.

• 헤리티지:역사와 과학
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• 제48권3호
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• pp.60-79
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• 2015

부여 무량(사無量寺)의 17세기 재건(再建)과 조영 계획(造營 計劃)이라는 주제로 진행된 본고는 임진왜란 이후 무량사의 재건 과정과 후원 세력 등을 검토해 보았다. 아울러 재건 과정에서 가장 중요한 부분을 점유하고 있는 극락전의 건축적 특징과 의장 계획 등을 함께 살펴볼 수 있었다. 무량사의 재건 과정을 정리해보면 다음과 같다. 첫째, 무량사의 1624~1636년까지 13년이라는 짧은 기간 동안 진행된 중창 순서를 재검토해 보았다. 이를 통해 기존에 알려진 극락전의 재건시기를 1633년에서 1624년으로 조정하여 전체적인 무량사의 불사 순서가 1624년 극락전 중창, 1627년 괘불 조성, 1636년 소조삼존불 조성, 1636년 범종 조성으로 이어지도록 하였다. 둘째, 무량사 재건은 일반 사찰에 비해 13년이라는 짧은 기간에 진행되고 있어 강력한 후원 세력이 존재했던 것으로 추정하고, 특히 완주 송광사 불사를 주도적으로 이끈 진묵대사가 무량사 불사에 영향을 미친 것을 확인하였다. 이를 통해 진묵대사의 불사를 지원했던 송광사 후원 세력인 왕실 신씨 일가의 영향이 무량사까지 미친 것으로 보았다. 셋째, 무량사 재건에서 가장 중요한 의미가 있는 극락전의 건축적 특징을 검토해 보았다. 무량사 극락전을 다른 중층 불전과 비교를 통해 건축형식을 살펴볼 수 있었으며 특히, 공포와 가구의 특징을 검토해 보았다. 이를 통해 무량사 극락전과 완주 화암사 극락전이 동일한 계통의 장인이 만들었을 가능성을 제시하였다. 마지막으로 극락전을 조영하는데 사용한 309mm의 용척을 중심으로 건물의 의장 계획을 검토해 보았다. 이를 통해 극락전은 일반 조선후기 중층 불전에 비해 완벽한 비율이 확인되고 대체로 1 : 1.41의 황금비율이 건물의 곳곳에 남아있다. 또한 극락전의 안정적인 의장은 조선후기 무량사 재건 당시 이미 전체적인 가람의 조영 계획에 의해 이루어졌을 가능성을 제시하였다.

• 헤리티지:역사와 과학
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• 제51권1호
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• pp.66-79
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• 2018

금산사 대장전은 대장경을 봉안하는 건물이라는 명칭을 가지고 있지만 경전은 없으며, 석가모니삼존을 봉안하는 불전이다. 금산사에서 전하는 기록에 의하면 이 건물은 목탑에 불상과 경전을 봉안하던 습관 때문에 점차 불전으로 변한 건물로 알려져 있다. 탑은 사리신앙을 대표하는 구조물임에도 대장전으로 변하였지만 대장경조차 봉안하지 않고 있는 셈이다. 이러한 변화는 금산사 대장전이 상당히 복합적인 성격의 건물이라는 점을 상징하고 있다고 볼 수 있다. 이 건물의 변화과정과 신앙적 복합성을 통해 조선후기 교학적 열풍 속에서 사리신앙, 경전신앙의 상관을 접근해 보고자 한다.

• 건축역사연구
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• 제19권4호
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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.

• 설비공학논문집
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• 제19권5호
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• pp.379-385
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• 2007

In the present study, ventilation flow in the Janggyeongpan-Jeon at Haein temple in case of building rearrangement has been investigated numerically. To achieve more accurate results, detailed shapes such as buildings and the window grills are modeled and tree canopy model is adopted to account for the effect of trees in the computation. Wind velocities as boundary condition are taken from meteorological statistical data. The numerical results show that ventilation flow distributions at Janggyeongpan-Jeon in case of building rearrangement are nearly similar to those before rearrangement.

• 한국전통조경학회지
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• 제31권3호
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• pp.114-121
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• 2013

관음현상기는 세조가 미지산 상원사에 행차했을 때, 담화전(曇華殿) 상공에서 목격한 백의관세음보살의 화현 모습을 최항에게 일러 찬(讚)한 글이다. 관음현상기에는 화공이 그린 백의관음화현도가 붙어 있는데, 이 그림으로 인해서 조선 초기의 상원사의 모습을 알 수가 있게 되었다. 본 연구에서는 관음현상기에 실린 기록과 그림을 통해서 조선 초기 상원사의 경관성을 살피는 것에 주목하였다. 연구 결과, 조선 초기 상원사의 건물 배치나 공간구성 그리고 건물의 형식이나 조경처리에 있어서 다른 산지 사찰과는 다른 특별성이나 차별성을 확인할 수 있었다. 이러한 특별성이나 차별성은 상원사가 왕실의 원찰이라는 사격을 가지고 있었기 때문에 가능했던 것으로 보인다. 특히, 조경적 측면에서 볼 때, 경석은 주목되는 바가 큰데, 그것은 사찰조경이 주로 물을 재료로 해서 이루어졌다는 지금까지의 생각을 보완케 만드는 자료가 될 수 있기 때문이다.