• Journal of the Korea Furniture Society
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• v.19 no.5
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• pp.365-374
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• 2008

Understanding of the properties of woods is important in wood utilization. Until now, traditional wooden houses(Korean-style house, Buddhist temple, royal palaces) and furniture have been made of domestic woods with the experience of a craftsman rather than the scientific knowledge on woods. Because of concrete-based houses and imported wood products and furniture, even wood craftsmen decrease in number, too. This study was carried out to collect wood samples growing in Korea and to measure wood characteristics. Anatomical, physical and mechanical properties of 37 wood species were investigated.

• Journal of the Korean association of regional geographers
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• v.6 no.3
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• pp.53-81
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• 2000

The purpose of this study is to examine the chracteristics of the location of Zen Buddhist temples which are the Nine-Mountain Sects of Zen(九山禪門) from feng-shui perspective. A large number of temples have been built for about 1600 years since Buddhism had influenced on Korea. They have been built nationwide in different times by different sects of Buddhism. The pattern of location of Buddhist temples is different according to background of the times (political, economic, cultural aspect) and of tenet(difference in sects of Buddhism) when the temples were built. But the general location of Korean Buddhist temples is in accordance with feng-shui theory. Feng-shui is a traditional geographic thought in China and Korea. It is necessary to understand feng-shui in order to understand Korean landscape and cultural geography. It had given a tremendous impact on Korean landscape through choosing site of cities, settlements, houses, mounments, temples, pagodas, and so on. Before feng-shui was prevailing in Korea, Buddhist temples were mostly built on sacred place which was connected with folk beliefs. In the case of the late Silla Dynasty when Zen Buddhism was prevailing, feng-shui became popular and many. temples were built in accordance with feng-shui. The typical examples are found in the site of Nine-Mountain Sects of Zen temples. The interpretation of geomantic site of Nine-Mountain Sects of Zen temples will show us how feng-shui was applied to and reflected in the Korean peninsula. In Zen Buddhism, feng-shui was applied to the choice of the temple site. Also feng-shui theory was usually used to choose the site of stupa(Budo) where the remains of the founder of sect. In this study, I will interpret the geomantic characteristics of Nine-Mountain Sects of Zen temples. The geomantic interpretations of the temples are as follow. 1. The temples are located at the foot of a hill with surrounding mountains and a watercourse in front. Feng-shui texts often describe it as an ideal site. This geomantic situation is well equipped with natural drainage; protection from cold wind from the north or evil spirits; a good view with open space to the front; protection from unnecessary weather damage; and security and protection from strangers and invaders. 2. The sitting and facing direction of the temples correspond to the oncoming dragon's direction. 3. Many feng-shui texts discuss the types of Sa(surrounding mountains) in detail and morphologically describe them with certain animate and inanimate auspicious objects. In case of Nine-Mountain Sects of Zen temples, the geomantic landscape of these can be compared to auspicious objects. This is morphological marker for the description of configulation features of these temples. 4. Most auspicious places are not perfect, but the shortcomings can be overcome by many means. We can observe modification of landscape for the purpose of fulfilling the geomantic harmony of the temple.

• 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.

• Journal of Conservation Science
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• v.37 no.6
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• pp.701-711
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• 2021

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.57-67
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• 2017

Based on the study on place name, meaning analysis of buddhist temple Palgyeng, and classifications of instructions and characteristics of writings on rocks, the main results of the study showed the following. Cheongamsa is located in the upstream of Muheulgugok Valley which was run by Hangang Jeong Gu(寒岡 鄭逑), a typical young man in the middle of the Joseon Dynasty, and overlaps with chief monk Byukam Lee Dukjin's(1896~?) object of Cheongamsa Palgyeng during Japanese colonial era. Including the mountain embracing Cheongamsa called Bullyeong-san, various characteristics of writings on rocks such as use of combination of place names including Sudosan, Seonlyeongsan, and Sinseondae, as well as Cheongamsa Temple, Bullyeongdongchun(佛靈洞天), Namuabitabul, Hogye(虎溪), Yeosan Waterfall(廬山瀑布), and Sejinam(洗 塵巖) show co-existence of Confucianism and Taoism mixed together in the temple. Especially for Cheongamsa Valley Hogye and Samsocheon(三笑泉) which is in the precincts of the temple, are realized as the symbol of the scenery of the three religion consilience of Confucianism, Buddhism, and Taoism through announcement using Hogyesamso(虎溪三笑) which originated from Yeosan Donglimsa, Jiangxi, China. Also, there are Yeosan Waterfall with a noble sense of place by negotiating with god, writing on rocks imprinted, and Yeosangyo(廬山橋) in Cheongamsa. As such, cultures of the three religion remain in various layers with the spirit of Hogyosamso symbolizing the consilience and coexistence of the three religion in Cheongamsa without the exclusiveness of Buddhism. Besides, the third precept of Yukhwagyeongbub, known to be practiced in Buddhist temples, which says "Do not only express self-assertion and ignore others" according to the dogma of working together in harmony, is in accordance with the spirits of Hogyesamso. As shown, Gimcheon Cheongamsa which is adorned with cultural landscapes of Hogyesamso, Gugokdongcheon(九曲洞天), and Palgyeng(八景), is not only good enough for the way of Buddhism and Confucianism but also for a place for the three religion consilience embracing the three religion.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.7
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• pp.1215-1226
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• 1997

Textiles in Bali have traditionally played a vital role in the social economic and religious life of the people. Textiles defined the status of the individual in term of both costume and wealth. Use of the various textiles is in Balinese tradition dictated primarily by rules of the Hindu-Balinese faith. Cloths and clothing are employed in worship of God and the ancestors. Gold songket patterned textiles are perceived as symbol of wealth and prestige and provide a fitting display of affluence at important cerenlonial events. The specialized pieces of clothing, temple banners and hangings are unique to each tribal group ranging from weft -patterned textiles in Bali. The impact of Indian ideas and techniques was important in the field of textiles, and many of the characteristics in Bali's fabric design derived from Hindu-Buddhist mythology that has furnished subject-matter for songket textile art. The purpose of this study is to examine the background of Balinese culture and to define the characteristics of Hindu-Balinese textiles. The songket textile design also analyzes by examing the techniques of songket weaving and the meaning of design, pattern, and motif. Many design and motifs convey important messages significant only to those familiar with the particular social religious principle of people who have produced them. It is only by seeing cloths in their cultural context that we can begin to understand their true value and meaning.

• Journal of architectural history
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• v.33 no.4
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• pp.43-50
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• 2024

In-beop-dang (因法堂) is a building type that can confirm the complex space composition of the hermitage in the late Joseon Period, which is designed to accommodate various functions such as Buddhist priesthood, living spaces, and auditoriums. These facts have been confirmed mainly through plan analysis in many previous researches. However, such a plan composition has the potential to lead to more in-depth research when dealt with consideration of the Korean traditional wooden structure. In particular, the composition of upper structure in In-beop-dang with Toi-maru in front of the On-dol room can be considered from the perspective of structural response to wooden architecture in the Joseon period after the introduction of Toi-maru. Based on the achievements of these prior studies, this paper was conducted to examine the compositional characteristics, including the upper structure of the Wha-jang-am (華藏庵) In-beop-dang. In order to examine the universal aspects of structural type changes to cope with the complex spatial composition of the In-beop-dang, the cases of an in-mountain hermitage of Kim Nyong-sa(金龍寺) Temple, Geum-seon-dae (金仙臺), Yang-jin-am (養眞庵), and Dae-sung-am (大成庵).

• Journal of Conservation Science
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• v.29 no.4
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• pp.395-406
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• 2013

The conservation of damaged object should be restored by the similar material with the original and they have to reversibility as possible as. The characteristics of Buddhist mural paintings composed of clay are with soft material. So far, there have been a number of researches done on filling material that reinforces cracks and exfoliation of mural painting. Based on the application of traditional materials, it was found that they are appropriate to various applications. However, only based on those research results, there are some constraints to the application in the field. In addition, there has been only a few researches done on physical characteristics of filling materials. A major issue is that there is not any standard established on various mixing ratio, which is required for treatment of mural painting. This study was carried out to understand the physical characteristics of filling materials on clay mural painting. The 1st test was conducted to analyze test specimen in twelve different conditions by varying soil mixing ratio and organic medium. The 2nd test was conducted to manufacture filling materials appropriate to the mural painting, based on the result of stable condition from the 1st test, and which was applied to treatment in field.

• (The)Study of the Eastern Classic
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• no.62
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• pp.9-35
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• 2016

This study examined Songgye Na-sik's(松桂懶湜, 1684~1765) literary world based on Priest Songgye's Anthology(松桂大禪師文集). In consideration of the insufficiencies of the only previous study on Songgye's literature, this study was focused on his ideological character and its historicity, the trend of literary exchange in the Buddhist circle, and the literary geographical aspect of his literature. Priest Songgye was the head of the Bonghwa-sa Temple in Andong during the years under the rule of Kings Sukjong and Yeongjo, and learned from Hwanseong Ji-ahn(喚醒志安, 1664~1729) and Nakam Eui-nul(落巖義訥, 1666~1737). The priest did not have many students under him nor leave numerous writings. In the process of the development of the Buddhist doctrines in the late Joseon Dynasty, however, he completed the scripture learning courses faithfully and laid the ground of his philosophy. In addition, the afterword of Hwaeomgyeongchilcheogupumhoipummok (華嚴經七處九會品目跋) shows that he compiled the book under his teacher's instruction. What is more, he is known to have devoted himself to belief in the Pure Land in his late years. Given these backgrounds, the priest's life, writings, and ideological tendencies pursued all of Zen, Hwaeom, and the Pure Land together, and at the same time, reflected the characteristics of Korean Buddhism in the 18th century. The priest steadily cultivated himself in poetry and established his own literary world, and all the outcomes were fully reflected in his anthology. Priest Songgye walked the road of a learner throughout his lifetime but, on the other hand, he established his identity as a literary man in the specific time and space of Andong, Yeongnam in the late Joseon Dynasty.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.18-31
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• 2014

This study aims at identifying of characteristics and types of the pigments used for Dancheong(surface decorative and protective pigments) of Yaksajeon Hall in Gwallyoungsa Temple using a Micro-XRF, XRD, SEM-EDS and thereafter, comparing it with the pigments of the wall painting in the same building and with Dancheong pigments of Daeungjeon Hall. The results can be briefly summarized as two points. First, different types of pigments for red, green and white colours had been applied based on different parts of the building and more than two different pigments had been mixed to produce various colours in so me parts. Second, scientific analysis has confirmed that raw minerals for each colour groups are: Cinnabar, minium and Hematite for red; white clay and oyster shell white($Al_2O_3{\cdot}SiO_2{\cdot}4H_2O$) for white; Atacamite and Celadonite for green; carbon(C) for black; Yellow Ocher for yellow; and Lazulite for blue. Comparative analysis of such result with that of the wall paintings and of Dancheong of Daeungjeon Hall has revealed that similar minerals had been used in overall except that several different pigments had been added or removed for making green, white and yellow colour groups in some parts. In conclusion, the result has displayed that painters had used different ways of producing pigments by a type of painting or a building within the same period or for the buildings in the same buddhist temple compound.