• 건축역사연구
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• 제1권2호
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• pp.68-84
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• 1992

The development of Buddhist architectures of the Unified Silla period have been generally understood to have paired pagoda instead of one which had been popular until before the unification. Besides the stylistic categorization of paired pagoda system, there had been no further investigation reported concerning whether there was any detailed process of change within the development of paired pagoda style. This paper aims to identify such change inside the development of paired pagoda style, which, externally, seems to be the same pattern of site design maintained throughout the period of Unified Silla that lasted for about three centuries. Since the temple sites of study are in the same pattern of layout, the method of investigation has to be such that can identify the subtle changes that, in external appearance, are not easily discernible. Hence, this research compared the dimensions of important measurement of five temple sites to be able to clarify the process of minor changes. Among many sites of Silla temples, only five were suitable for the research since detailed measurement were possible through field research or the report of excavation. They are the sites of Sachonwang-sa, Mangduk-sa, site of Kunsuri, and Bulguk-sa. Although the five sites have the same style of paired pagoda, it is clear that there were consistant flow of change. Even though the motivation of such change were not strong enough to change the site pattern itself, it resulted continuous minor changes such as the size and location of architectures. The size of image hall, for example, was growing larger and larger as time goes on, while, the size of Pagoda was getting smaller. In the same way, the size of middle gate became smaller while the size of lecture hall became larger, although the rate of change in these cases were not as severe as that of image hall and pagoda. At the same time, pagoda was coming closer to the middle gate leaving larger space in front of the image hall. Such aspect is even more meaningful considering the fact that the pagoda, from the 8th century in Japan and China, moved outside of the major precinct. The image hall, too, moved toward the middle gate slightly so that the space in front of the lecture hall became more spacious. Such changes, of course, were not accidental but they are the same continuous motivation of change that caused the changes before the period of unification. Enlargement of image hall and reduction of pagoda, for example, represent the changing relative importance of religious meaning. Hence, it is evident that one can not easily imterprete the development of one style only by categorizing it to be one same style. In the veiwpoint of the underlying motivation of change, the fact that one style persisted for a certain period of time, does not mean there had been no change, but means that it was the time of motivational accumulation, causing minor changes within the same style, to be able to create major change coming after.

• 보존과학연구
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• 통권31호
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• pp.131-140
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• 2010

This study shows the comparison of chemical compositions of main component with other bronze bells after the research on the component analysis by non-destructive XRF analysis. There are shrinkage cavities caused by the shrinkage defect and pores with pollutants on Bronze Bell of Heungguksa Temple with gamma radiation images and 77.3% of copper, 8.4% of tin and 10.9% of lead were determined as the main components of it with XRF analysis The tin content of Brozen Bell of Heungguksa Temple is less than those (11~18%) of other bronze bells but the lead content of that is higher. The lead content of it shows 10.91% which is quite high while generally the lead contents of other bells were controlled lower than 2.1%. Buddhist bells have the different lead content according to the period. The lead content was low until Silla Dynasty and Unified Silla period but it has been getting higher since some point of Koryo Dynasty. It is assumed that expensive copper and tin were replaced with lead.

• 건축역사연구
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• 제25권3호
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• pp.63-70
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• 2016

This paper aimed to identify a main-path remains in the Hwangnyongsa temple site based on studying published the excavation survey report and researching relics related to the path in the ancient temple site. Hwngnyongsa temple, there were three type's paved footway, straight path to the central axis line of the layout, outside path around the main buildings and the front square of the lecture hall. These remains were expected that installed for some purposes, such as marches, touring, sort of a Buddhist ceremony been performed at the time of Silla. Straight path shows there were two rows of the main access inside the roofed corridor. A row consisted of the 2~3 pieces processed stone(Jangdaeseok) altogether with 92cm width and combined with square stone and stepping stone on the end of the road. It is regarded as very characteristic form and one of the architectural elements of Hwangnyongsa temple in Unified Silla period.

• 건축역사연구
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• 제23권1호
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• pp.33-50
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• 2014

Formative and structural characteristics of stone pagoda in Jeonnam area are known in largely two flows. One is that characteristic of stone pagoda in Jeonnam area of the Unified Silla is shown in eastern Jeonnam and some southern Jeonnam. But it is not shown in surroundings of Yeongsan river. Another is that besides stone pagoda in Silla style where social aspects of Goryeo are reflected, stone pagoda in Baekje style appeared. On the other hand, stone brick pagoda and non-typical stone pagoda appeared. These stone pagodas were developed mainly in north and west of Jeonnam, and could be classified in pure Baekje style and a cross style according to formative and structural characteristics. Stone brick pagoda is extant in Wolnamsa site and Woonjusa in Chungcheong and Jella areas which are old places of Baekje.

• 헤리티지:역사와 과학
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• 제43권4호
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• pp.56-77
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• 2010

경주 내남면 이조리에 소재하는 최진립신도비의 받침인 석제 귀부(龜趺)는 1740년경에 제작되었다는 기록이 있어 통일신라시대 귀부를 모사한 조선시대 작품으로 인식되었다. 그러나 당시 제작되는 귀부 형식과는 다르고, 모사한 원 귀부의 형식은 어느 곳에서도 찾을 수 없는 모습들이 확인되고 있다. 첫째, 제작 과정을 기록한 '문루일기(門樓日記)'에는 비석을 먼저, 이후에 귀부를 제작했음이 밝혀져 있다. 그러나 비좌 삽입부가 작아 비석 양쪽 끝단을 잘라 삽입한 흔적이 보이며, 비석의 크기를 고려하지 않고 귀부와 비좌를 만들었다는 것은 공정상에 이해되지 않는 부분이다. 또한 비석 제작 부분은 구체적으로 묘사되어 있으나, 백운대라는 사찰터에서 제작되었다고 할 뿐, 공정 내용이 언급되지 않은 점은 당시 실사를 하고 기록했는지 의심되는 부분이다. 둘째, 이조리귀부의 구름문양은 초기의 태종무열왕릉귀부와 서악리귀부 구름문에서 이행되는 시간상의 세리에이션(Seriation)을 잘 반영하고 있다. 비좌 주변을 장식한 연화문은 중앙에 형식화된 보상화가 표현된 것으로 통일신라시대 전성기인 8세기대 기와 등에 가장 잘 나타나던 문양이다. 셋째, 전진하는 모습의 이조리귀부는 지금까지 경주에 전해지는 귀부들에서도 찾기 힘든 생동감을 가지고 있으며, 일렬상의 귀갑문 배치는 이전 귀부의 문양 배치보다 훨씬 간결해지고 공간 활용을 고려한 발전된 형식으로 판단된다. 따라서 이조리귀부는 시기적 변화를 보여주는 문양 형식, 비신과 비좌의 불일치, 기록상의 고찰을 통해 볼 때, 18세기 조선시대 석공이 신라문양의 형식변화 등을 모두 고려하여 제작한 모사품이라기보다는 8세기 중반 경에 제작된 통일신라시대 귀부였음을 제시해 보고자 한다.

• 응용통계연구
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• 제7권1호
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• pp.113-119
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• 1994

이 글에서는 '14면 주사위'의 확률 문제를 통하여 논리적 확률과 빈도적 확률의 개념에 대하여 논의하게 될 것이다. 여기서 '14면 주사위'란 경주 안압지에서 출토된 통일신라시대의 목제 주사위를 말하는데 이 주사위는 8개의 삼각면과 6개의 사각면을 갖고 있다.

• 박물관보존과학
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• 제10권
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• pp.63-74
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• 2009

상주 복룡동 유적 발굴 동안 통일신라에서 조선시대에 이르는 우물이 모두 81기가 발견되었으며 우물지 조성에는 할석과 목재가 사용된 것으로 조사되었다. 목재는 우물지 조성 시 최하단 시설, 즉 벽석아래에 설치하는 구조물로 주로 사용되었으며 이 중 136점의 목재에 대한 수종을 분석하였다. 조사결과 소나무가 대부분(전체의 85.9%, 116점)을 차지했으며, 그 외 수종으로는 굴피나무(1점), 밤나무류(9점), 상수리나무류(3점), 졸참나무류(1점), 단풍나무류(5점)로 총 6종이 분석되었다. 이처럼 소나무가 대부분을 차지하는 것으로 보아 당시 우물지 제작에 적합한 목재로 소나무를 의도적으로 선택하여 사용한 것을 알 수 있었다.

• 한국지형학회지
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• 제20권4호
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• pp.147-163
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• 2013

상주 동천 상류부 산간분지의 출구에 위치하는 공검지는 통일신라시대 말기에 조성된 것으로 파악된다. 공검지 제방이 축조되기 이전에는 분지에 넓은 습지가 형성되었으며, 갈수기에는 공기 중에 노출되면서 대단히 치밀한 실트층이 퇴적되었다. 청동기시대 초기와 초기철기시대의 분지에는 주로 밭에 기장을 재배하였다. 삼국시대에는 논농사와 밭농사가 이루어졌을 것으로 생각되지만 퇴적층이 발견되지 않았다. 제방이 축조되면서 분지 내 밭에는 기장을 재배하며 논농사를 병행하였을 것이다. 공검지 일대의 청동기시대 초기기후는 냉량하였고 초기철기시대 동안의 기후는 대체로 온난하였다. 제방이 축조된 통일신라시대 말기부터 고려시대 중기까지도 역시 온난하였으나, 이후 냉량, 온난한 시기를 반복하다가 고려시대 말부터 점차 냉량해진다.

• 보존과학회지
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• 제38권4호
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• pp.347-359
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• 2022

Gongsanseong Fortress was registered of a World Heritage Site in 2015 as a representative cultural heritage from the Woongjin Baekje period, and it has been used throughout the entire period from Baekje Kingdom to the Joseon Dynasty. Within Gongsanseong Fortress, the area around Ssangsujeong is presumed the site of royal palace of the Woongjin Baekje. Also, the excavated culture layers of the Baekje Kingdom, the Unified Silla period, and the Joseon Dynasty were confirmed. In this study, paleotopography was modeled by digitally converting the elevation data obtained through surveying the excavation process, and the use of the topography in the Ssangsujeong area was considered by examining the variations in the topography according to the periods. As a result, the topography of the slope around the peak changed by periods, and the topography did not change on the flat land. The topography between the Baekje Kingdom and the Unified Silla period appeared to be almost identical, and it seems that the space of the Baekje period was maintained as it is. Also, during the Joseon Dynasty, it is confirmed that flat surfaces in the previous period were used. However, sediments on the slopes flowed down, reducing the area of the flatland, and architectural techniques that could utilize the natural topography of the changed slope were applied to interpret it as having a different topography from the previous period. In order to model and interpret the paleotopography, excavation data, geological and topographic analysis, and digital data must be secured. It is expected that location conditions and ancient human life can be identified if the analysis technique in the study is applied to other archaeological sites in the future.

• 대한가정학회지
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• 제19권2호
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• pp.123-133
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• 1981

If we are to define that the traditional costume is a comprehensive expression of the culture, thoughts, and arts of a country, it is needless to say that the traditional costume would have always reflected the social and cultural aspects of the times. In order words, the cultural contemplation of a certain people at some point the history is only possible when we observe the distintive features of the costume worn by the people of respective times. Although the Korean people had the native costume of its own from the times of the Ancient Choson to the Three Kingdoms of Koguryo, Paekche, and Silla, the Chinese influence on Korean traditional costume became somewhat pronounced ever since the Silla strenghtened the political ties with the T'ang dynasty in China, and it came to a climax when the dual structure in Korean native costume, being compounded with the Chinese touch, continued to be prevailed from the era of the Unified Silla to the Koryo and throughout the succeeding Yi dynasty, thereby copying the typical aspects of Chinese pattern in clothing and dresses worn by the ruling classes, namely the goverment officials including the Kings. Therefore, it is our aim to study the pattern of Chinese influence on our traditional costume, as well as social and cultural aspects by way of contrasting and comparing our official outfit system, which had been developing in dualism since the era of the Unified Silla, with that of China, and to trace in part the Korean traditional costume. In comparing our traditional official outfit system with that of China, we have basically concentrated on the comparison of the official outfit systems during the periods of the Three Kingdoms, the Koryo, and The Yi dynasty with that of corresponding era of Chinese history, namely the dynasties of T'ang, Sung, and Ming, and followed the documentary records for the comparison. Koreans had fallen into the practice of worshipping the powerful in China and begun to adopt the culture and institutions of the T'ang dynasty since the founding of the Unified Silla. From this time forth, Korean people started to wear the clothes in Chinese style. The style of clothing during the period of the Koryo Kingdom was deeply influenced by that of the T'ang and Sung dynasties in China, and it was also under the influenced of the Yuan dynasty(dynasty established by the Mongols) at one time, because of the Koryo's subordinative position to the Yuan. At the close of the Koryo dynasty, the King Kongmin ordered the stoppage on the use of 'Ji-Joung', the name of an era for the Yuan dynasty, in May of the eighteenth year of his rule in order to have the royal authority recognized by a newly rising power dominating the Chinese continent, the Mind. Kind Kongmin presented a memorial, repaying a kindness to the Emperor T'aejo of the Ming dynasty in celebration of his enthronement and requested that the emperor choose an official outfit, thereby the Chinese influence being converted to that of the Ming. As a matter of course, the Chinese influence deepened all the more during the era of the Yi dynasty coupled with the forces of the toadyic ideology of worshipping the China, dominant current of the times, and the entire costume, from the imperial crown and robe to the official outfit system of government officials, such as official uniforms, ordinary clothes, sacrificial robes, and court dresses followed the Chinese style in their design. Koreans did not have the opportunity of developing the official outfit system on its own and they just wore the official outfit designated on separate occasions by the emperors of China, whenever the changes in dynasty occurred in the continent. Especially, the Chinese influence had greatly affected in leading our consciousness on the traditional costume to the consciousness of the class and authority. Judging from the results, Koreans had been attaching weight to the formulation of the traditional outfit system for the ruling classes in all respective times of the history and the formulation of the system was nothing more than the simple following of the Chinese system.