• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.5
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• pp.117-124
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• 2020

This study examined ornamental metals used as architectural members among metal artifacts excavated from ancient Buddhist temples and palaces in Korea. Through this, we approached the decorative characteristics of ancient architecture eaves. 1. The decorations used in eaves of Korean ancient architecture include roof-end tiles and ornamental metal. Through excavation examples, the technique of attaching ornamental metal to the rafters and corner rafters of high-ranking architectures in the 7th and 8th centuries (ornamental metal for rafter end, ornamental metal for corner rafter end), and tosu iron in the 10th century It seems to be fashionable. 2. Several buildings were built in ancient Buddhist temples and palaces. At this time, they differentiated ornamental metal according to the hierarchy of the building. The higher the hierarchy, the greater the difference in the number of ornamental metal installations, materials, and decoration techniques. In addition, ornamental metal used in eaves is an important factor in the discrimination of the times as the type, number of members, and patterns change depending on the era. 3. The great feature of the eaves metal decoration excavated in the 7th and 8th centuries is the attachment of ornamental metal to the rafters and horsetails. This seems to create a sense of grandeur by removing the weight of the roof and giving the impression constructed regardless of gravity by supporting it with non-material materials.

• Journal of architectural history
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• v.21 no.2
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• pp.21-36
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• 2012

As wooden construction developed, it was observed that the rafters with corners changed to angled rafters. The change from rafters to angle rafters means that the angle rafters became the most important member in supporting the roof weight as the construction scale increased and structurally developed. The specific installation methods of angle rafters were all unique in Korea, China, and Japan. In East Asia, the angle of the angle rafter gradually decreased along with the development of construction. However, in Joseon Dynasty Korea, the angle of the angle rafter was larger than that of the Gorye era because the method of fixing the corner of the roof more firmly by building the fan-shaped rafter was utilized. The changes to the angle rafter installation method is a unique characteristic of Korea, in that it was developed in a totally different way from the methods used in China and Japan.

• Journal of the Korean Wood Science and Technology
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• v.36 no.1
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• pp.1-11
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• 2008

The purpose of this study is to examine the species of wooden members used in the Youngsanjeon Hall of the Sucknamsa temple in Anseong, Korea. Ninety-five wood samples from pillars, head-penetrating ties, beams, corner rafter, rafter, floor board and other wood members were identified. Seven species identified were hard pine, exotic pine, Zelkova serrata, Ginkgo biloba, Diospyros, Quercus(Cerrus) and Pyrus spp. In the case of pillars, eight were hard pines and the others Zelkova and Pyrus. Species of angle rafter were Ginkgo biloba and Zelkova. and those of beams were one hard pine and one Zelkova. Two purlin samples were Quercus(Cerrus) and rafters were hard pines except one Ginkgo and one exotic pine. Roof-filling timbers were identified as Zelkova and Diospyros spp. The other samples of roof-filling timbers were all identified as hard pines. The use of Ginkgo and several hardwoods in addition to hard pines may indicate supply of local logs near the Sucknamsa temple.

• Journal of architectural history
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• v.25 no.6
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• pp.81-88
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• 2016

The purpose of this study is to inquire original design and character of dancheong in Yeongnamnu P avilion which features unusual portraits of twisting dragons and four heavenly creatures. Its artistic value and originality can be found in the portraits of four heavenly creatures which are painted on the interior seonjayeon(fan shape rafter) and in the unique design of crossbeam meoricho(flower decorations on each side of pillars). Yeongnamnu's crossbeam meoricho is janggu-meoricho type(meoricho with hourglass figure) with full-shape lotus and half-shape flower decorations. And it can be said that, dragon portrait painted on the border of lotus and flower decorations in green and yellow is a very unique style of dancheong, for the reason that it has scarcely been used before and ever since. The portrait of four heavenly creatures painted on each corner of seonjayeon is also found to be unique in design, for the reason that the design has rarely been used throughout history, with only two exceptions in mural tombs of Goguryeo and folding screen in Injeongjeon Hall of Changdeokgung P alace. With its unique and authentic feature along with its rarity in number, the portrait of four heavenly creatures painted on Yeongnamnu can be considered as quite symbolic and important.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.78-103
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• 2016

This research is a study on the side framework structure of the hipped and gable roof of Muryangsujeon at Buseoksa Temple. There is a record that Muryangsujeon was deconstructed and repaired in the period of Japanese Occupancy, and its authenticity has continuously been called into question because the structure of the hipped and gable side roofs, and the bonding of the rafters and eaves were not in good order and very different from those of Joseon Dynasty. Scholars date it differently. It is either dated at 13th century or 12th century. This study compares the non-planar configuration of the middle and front proportions of Muryangsujeon's hipped-and-gable-roof framework with those of the Tang(唐) and Song(宋) Dynasties in China. It concludes that the hipped-and-gable-roof framework of those architecture were built with the same technique. The style of architecture that side rafters directly touch the internal security (梁), like in Muryangsujeon, is not usual even among the hipped and garble roofs of the Tang(唐) and Song(宋) Dynasties. The technique of constructing the hipped roofs developed much further after the Tang Dynasty because they began to use garble eaves to build the side structure. The technique seems to have developed greatly by the period of Ming and Qing Dynasties. It also seems that the parallel-flat (平行輻射椽) rafter, which is the form of rafters used between the parallelrafter period and the half-flat-rafter period is very similar to the construction style of the current rafters of Muryangsujeon. However, the Muryangsujeon's eaves do not touch the corner rafter from the middle part. This seems to be a unique style, which is not common in China. In conclusion, the style of the side roof framework of Muryangsujeon at Buseoksa Temple is not of the China's southern regions, but of the northern regions of Tang(唐), Song(宋) and Liao(遼) Dynasties. And when considering the construction year and proportions of the middle front and side front on the same flat, this must be an ancient technique of the northeastern regions of Asia. Since it is likely that the structure of the side roof framework of Muryangsujeon at Buseoksa Temple has not been altered but is a unique style of hipped and gable roofs, this roof can serve as a good guide to restoring the hipped and garble roofs of the pre-Goyreo Dynasty period.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3192-3202
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• 2014

This study has its purposes on analyzing specific features of the elements according to scales of 32 main buddhist sancta among wooden temples with gable roof that are nationally designated as cultural assets, and analyzing influences and proportional relations between main and submaterials, so that it could be basic and objective data for restore and repair cultural assets in the future. Results of the study are following. First of all, the average plane proportion of doritong (facade) and yangtong (side) in 3-room building is about 1.31:1, while it is 1.70:1 in 5-room building. Secondly, as a result of analyzing the locational proportion and thickness of pillars at each location, floor room turned out to have wider space between pillars than that of edge room or side room in both cases of 3 and 5-room buildings. In the mean time, for the average thickness of the pillars in 3-room building, it was 491mm for corner pillars, 433mm for general pillars in cases of 3-room building, while it was 595 and 511mm respectively in cases of 5-room building. The reason why corner pillars are 60~80mm thicker than general ones in average, is determined to considered structural stability and optical illusion. For the third, as a result of analyzing the influences on pillar thickness, eaves projection and eaves height according to the scale(dimension) of buildings, 3-room buildings have outstanding correlation as its scale(dimension) goes bigger, while 5-room ones are not very much influenced by its scale(dimension). For the fourth, as a result of the relation between pillars and eaves, both of 3 and 5-room buildings have longer-projected and higher eaves as their pillars go taller; especially height of eaves turns out to have very close relation between length of pillars. In addition to that, both of 3 and 5-room buildings have much projected eaves as the eaves go higher.