• Journal of Korean Library and Information Science Society
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• v.21
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• pp.363-399
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• 1994

This article aims at bibliographical analysis of the and historical research of Buddhism in the period of king ChungYeul. The analysis is made in the respects of: 1) physical form 2) historical aspect of the Zen Buddhism in the latter period of Koryo Dynasty 3) related persons who corresponded with Mongsan First, this books is consist of 56 records about tripitaka, biography of Mongsan, poets of Zen Buddhism, and abstracts of Buddhist books. Secondly, the new trends of Buddhism in the 13th century was influenced by Mongsan Son(contemplate school, zen). He was corresponded with some political persons and the elite class of Koryo Buddhism. Because of these meetings, LimJae Son were adopted main stream of zen Buddism in Koryo Dynasty by Mongsan and his accompanies. Thirdly, these political groups want to meet Mongsan and his teaching about zen Buddism, but he suggest three questions to the gourp instead of meeting. And he explained 10 kinds of methods to study zen Buddism comparing visited ten persons with ten pinetrees. In the Koryo Dynasty, Buddism was very inportant in history of throughts and social functions. But there had been little research on Mongsan who afford theoretical base on zen Buddism in Chosun Dynasty. On the point of the relation to Koryo and Yuan dynasty in zen Buddism. The is a new and important records that afford some solutions of religious branch and trends in early periods of Chosun Dynasty.

• Journal of Korean Library and Information Science Society
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• v.30 no.3
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• pp.323-344
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• 1999

First, having noticed that the paper on which the Mugujongkyong from the Sokgat'ap was Broussonetia Kazinoki Siebold, produced under the Tochim process, it is confirmed that the paper used for printing the Mugujongkyong form the Sokgat'ap was Broussonetia Kazinoki Siebold produced in Shilla, by introducing the common fact that the papers on which : written in 755 A.D.) and in Soochung-sokt'ap Hwaomasa were written were the same paper fabricated by the Tochim process. Therefore it is proved that the printing place of the Mugujongkyong from the Sokgat'ap was also Kyongju region in Shilla. Furthermore it is proved that the year of storing Broussonetia kazinoki Siebold n which tarani of the Mugujongkyong was written was circa 705 A.D., provin12g that Broussonetia Kazinoki Siebold was in production in Shilla in 8th Century. Also by confirming the fact that very thin -- mere 0.019mm thick -- Broussonetia Kazinoki Siebold was in production in Shilla in 8th Century, it is proved that Shilla has ability to produce Broussonetia Kazinoki Siebold for Woodblock printing purpose. Second, concerning the Muju Characters written in the ugujongkyong from the Sokgat'ap, mixed use of the Muju Characters was noticeable in written in 755 A.D. from the Sooch'ungsokt'ap at the Hwaomsa written in the same era and the Tripitaka Koreana in Japan was printed in 690's A.D. because of appearance of the Muju Characters in the Saddhamapun-darika is erroneous.

• Journal of Conservation Science
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• v.38 no.1
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• pp.64-71
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• 2022

Many investigations have been conducted on the biological damage and environmental conditions necessary to preserve the Janggyeong Panjeon and Daejanggyeongpan (woodblocks). We performed a survey on the concentration and diversity of airborne fungi in the Janggyeong Panjeon and compared them with the results of a survey from 2012. The temperature of the Beopbojeon building was slightly lower, while the relative humidity was higher than those found at the Sudarajang building. The concentration of airborne fungi in the Beopbojeon was 1.44-fold that of the Sudarajang. It was confirmed that the concentration and diversity of airborne fungi in the Janggyeong Panjeon differed depending on the sampling site. In total, 23 fungal genera were identified from the air samples, and 11 fungal and 1 bacterial genera were identified from the surface of the woodblocks. Among these, only five types of fungi were commonly distributed in the indoor air and surface of the Daejanggyeongpan; however, 58.3% of the fungi identified on the surface of the woodblocks were not observed in the in the air samples. The surface-dwelling fungi may accumulate dust to form microbial communities over time.

• Journal of Conservation Science
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• v.5 no.1 s.5
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• pp.69-86
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• 1996

More than eighty thousands of wooden printing blocks of the Tripitaka Koreans are accommodated in the Changkyeonggak which consists of two open structured wooden buildings, Peoppojeon and Sudarajang. These blocks are virtually in pristine state even after three quarters of a millennium. The excellent preservation could be attributed to the careful preparation and meticulous finish of the blocks. But the meteorological environment or microclimate should be one of the key factors for the preservation. To keep the blocks intact as it is or at least do not accelerate the deterioration, we should study the blocks and its microclimatic environment supplied by the Changgyeonggak and the topology of the site. As a Part of this effort we designed a computerized meteorological data acquisition system, which can handle up to 4,096 sensors. A partial but operative installation of 16 temperature/humidity sensors was set up in the Peoppojeon. We hope to have a chance to install a full fledged system in the near future for the compilation of the fuller environmental data base.

• Journal of the Korean Wood Science and Technology
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• v.35 no.1
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• pp.64-72
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• 2007

The biodeterioration behaviors of square post to support the wooden printing blocks Shelves in the Janggeongpanjeon were investigated according to the positions and parts of square post, and environmental conditions. It was found that a high differences of deterioration in the progressing levels of wood decay, according to the positions and parts of square post, and environmental conditions. The decay levels were very high and still progressing in the contacted areas with stone foundation which are about up to 50 cm above it. In the decay type, white rot fungi was mainly affected in the inside of building which mainly made of softwood. The decay in the square posts to support the wooden printing block shelves inside of building was worse in the rear side, compared to front side. The insects was not found in most of square posts excluding the post which was neighboring at the infected round column by insect.

• Journal of Conservation Science
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• v.28 no.3
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• pp.185-192
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• 2012

Issues of chronology on archaeological remains or relics have been a storm-center of controversy when various archaeological researches have been done. Sometimes there is a limit for figuring out issues of chronology by archaeological research. In that case, the field of natural science is often needed to work out issues of chronology. Among various subjects in natural science, archaeomagnetism plays an important role in dating archaeological remains for baked earth bearing relics. In particular, archaeomagnetism is of use for sites where directly excavated dating proxy is unavailable. Terrestrial magnetism changes along with the passage of time and leaves trace by many kinds of residual magnetization which could be called fossil of terrestrial magnetism. Archaeomagnetic dating method is used to assign a date to the archaeological remains in which baked earth is found by measuring the changes of terrestrial magnetism through the thermal remanent magnetization retained in baked earth. This study aims to constrain the age of fire at Buinsa, Daege, Korea using 27 samples that were collected from a layer of baked earth. Buinsa is famous for the place where kept the first edition of Tripitaka Koreana, which was lost in fire at the second invasion of mongolia. In addition, there is a record that there was revolt around this region in A.D.1203. According to archaeomagnetic dating, ages of A.D.1150~1200 and A.D.1130~1210 were assigned for the two building sites in Buinsa, respectively. To this end, it can be concluded that the layer of baked earth on the two building sites in Buinsa recorded the vestige of fire caused by revolt.

• Journal of Korean Library and Information Science Society
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• v.49 no.4
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• pp.373-404
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• 2018

The purpose of this study is to investigate the overall situation related to the engravings included in Buddhist scriptures produced in the Goryeo Dynasty. at the wooden board in Hae-in Temple(海印寺)'s ${\ll}$Hwa-eomgyeong(華嚴經)${\gg}$ are Ju-bon(周本) 80sheets(5sheets duplicates), Jin-bon(晉本) 12sheets, and ${\ll}$Ye-sugyeong(豫修經)${\gg}$ 44sheets, and There is a print of ${\ll}$cheon-tae-eun-sa-han-san-seub-deug-si-jib(天台隱士寒山拾得詩集)${\gg}$ at Songgwang Temple(松廣寺). Also ${\ll}$Uhjebijangjeon(御製秘藏詮)${\gg}$ included in the Koryo period Chojo Tripitaka is the Emperor $T{\grave{a}}iz{\bar{o}}ng$ of $S{\grave{o}}ng$ Poetry collection owned by Japan's Nanzanji(南禪寺). In each book from volume 1-20(volume17 is not there), there were 5 sheets of engravings and most of them are located in the same locations (1,5,9,13,17). And than 50 engravings that are contained in volume 1-10 are used repetitively in volume 11-20. In Volume 21 that corresponds to appendix, 3 engravings. This has a big value in that this is a Booljeondo(佛傳圖) of the fastest period that was made in Korea. In Chapter 3, we looked at the publications of the Goryeo Dynasty by century. We have confirmed that among 19 types of the 12 kinds of printed materials.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• 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.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.126-144
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• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.