• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.60-79
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• 2015

The study examined reconstruction and building plan of Buyeo Muryangsa Temple in the 17th century and reviewed its construction process and supporting power since the Imjin War of 1592. In addition, The architectural features and design plan of Geukrakjeon that is the most important position in the reconstruction were examined. The reconstruction process of Muryangsa Temple is as follows. Firstly, the study reviewed the reconstruction order of Muryangsa Temple that was progressed in a short period of time from 1624 to 1636. In doing so, the reconstruction period was adjusted from 1633 to 1624 so that the construction order of Muryangsa Temple might be the reconstruction of Geukrakjeon in 1624, Gwaebul in 1627, Sojosamjonbul in 1636 and Beomjong in 1636. Secondly, as the reconstruction of Muryangsa Temple was progressed in a short period of time of 13 years, it was assumed there was great supporting power. In particular, it was found that Jinmukdaesa who lead the construction of Wanju Songgwangsa Temple had an impact on the construction of Muryangsa Temple.It was conjectured that Shin family of the royal family as the supporting power of Songgwangsa through the support of Jinmukdaesa had an impact on Muryangsa Temple. Thirdly, the study reviewed architectural features of Geukrakjeon which has the most important meaning of the reconstruction of Muryangsa Temple. By comparing other reconstructed temples, the architectural style of Muryangsa Temple was examined. In particular, features of Gongpo and furniture were reviewed. In doing so, Muryangsa Temple, the study proposed a possibility that Geukrakjeon would be constructed by an artisan in the same genealogy of Wanju Hwasamsa Temple Geukrakjeon. Finally, the design plan of the building was reviewed with Yongcheok of 309mm used for the construction of Geukrakjeon. Geukrakjeon had perfect proportion compared with other reconstructed temple in the late Joseon period, and golden ratio of 1:1.41 was applied in many areas of building. the study also proposed that the stable design of Geukrakjeon was carried out by the building plan of overall Garam at the time of reconstruction of Muryangsa Temple in the late Joseon period.

• Journal of architectural history
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• v.30 no.2
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• pp.55-70
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• 2021

The Sacheonwangsa temple was established in 670 under the leadership of Myeongnyang in response to the invasion of the Tang Dynasty. At this time, Geumdang hall stylobate was constructed, which was about 30% smaller than the reconstruction. Due to the wartime situation, the construction of wooden buildings did not seem to have been achieved. The Sacheonwangsa temple was reconstructed in 679 as a symbol of the Hoguk(護國) temple. The size of the Geumdang Hall stylobate was planned as an important module for the entire temple. The stylobate fasad was designed at intervals of Tangju(撑柱), just like the JuKhan(柱間) plan of wooden architecture. There is a possibility that eight Devas may have been decorated in Front fasad. When the Sacheonwangsa Temple was rebuilt, the Geumdang Hall was added by the ChayangKhan(遮陽間) and an Ikrang(翼廊) was installed next to it. These changes affect the material and form of the stylobate. It was changed to a durable stone post-lintel style stylobate and the intervals of Tangju(撑柱) in Front fasad was also adjusted. As the highest-quality stylobate in East Asia at the time, the Geumdang Hall stylobate is considered to have taken Silla's architectural skills to the next level.

• Journal of the Korean Wood Science and Technology
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• v.48 no.3
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• pp.283-290
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• 2020

For visual inspection-based wood identification, optical microscopy techniques typically require a relatively large sample size, and a scanning electron microscope requires a clean surface. These novel techniques experience limitations for objects with highly limited sampling capabilities such as important and registered wooden cultural properties. Synchrotron X-ray microtomography (SR-µCT) has been suggested as an effective alternative to avoid such limitations and various other imaging issues. In this study, four pieces of wood fragments from wooden members used in the Manseru pavilion of Bongjeongsa temple in Andong, Korea, wereused for identification. Three-dimensional microstructural images were reconstructed from these small wood samples using SR-µCT at SPring-8. From the analysis of the reconstructed images, the samples were identified as Zelkova serrata, Quercus sect. Cerris, and Pinus koraiensis. The images displayed sufficient spatial resolution to clearly observe the anatomical features of each species. In addition, the three-dimensional imaging allowed unlimited image processing.

• Journal of architectural history
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• v.19 no.5
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• pp.25-47
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• 2010

The purpose of this study is to reconstruct the wooden frame structure of Buddhist temple, Kumdang in Youngamsaji which assumed to be built in the 9th century of Unified Silla Dynasty. The remaining site of Kumdang in Youngamsaji is investigated thoroughly with a particular attention to bay size and column distribution. The five ancient Buddhist temples which were built in the same period also have the same frame type as Youngamsaji Kumdang. These five ancient Buddhist temples and Kumdang in Youngamsaji are meticulously investigated in terms of their bay sizes and measuring modules. The framework schema is devised as a conceptual tool to conjecture wooden frame structures of Buddhist temple. A theoretical differentiation between frame type and frame structure is attempted to formulated a wooden frame structure as a stepping-stone for the reconstruction of traditional wooden building. The wooden frame structure of 9C Kumdang in Youngamsaji mainly follows the oldest Korean wooden pavilion, Muryangsujeon in Busuk temple, with a hip and gable roof. The wooden frame structure of 9C Kumdang in Youngamsaji is reconstructed through 3D computer modeling to such an extent that every wooden components of the structure can be 3D printed. The reconstruction also takes reference from the Cai-Fen system in Yingzao Fashi.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.6
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• pp.1177-1192
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• 2023

This study aims to expand the scope of use for relics by applying the patterns and characteristics of embroidered fabric pieces, such as gold foil, excavated from the Mireuksa Temple Site in Iksan for fashion products. The artifact was a ra decorated with flower and vine patterns, embroidery using gold and red thread, and the unique stitching of Baekje. The pattern was reconstructed, as the embroidery was not well-preserved. This study used two types of gold-foil techniques: laser-cut and stone-stamp gold foil. Considering practicality, the gloss, toughness, custom production possibility, and design implementation were emphasized. The form of the laser-cut gold foil could be transformed; however, a recognition problem with the machine increased the thickness of the stitching. It was used for half-finished goods and commercial casual fashion. The stone-stamp gold foil was finely implemented, but the design was difficult to change. It was used for half-finished silk fabric for making hanbok po and lattice-patterned silk skirts. Applying the developed gold foil to suitable clothing can further enhance the effect.

• The International Journal of Costume Culture
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• v.13 no.2
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• pp.154-159
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• 2010

Various decorative patterns and sculptures found in antique architectures like palace architecture and temple architecture are not only valuable assets of our culture but have religious meaning at the same time and show aesthetic aspiration and desire of Korean people. In this study, potential application of patterns in textile industry is suggested based on the reconstructed and patternized geometric patterns of window grids, a decorative element in architecture, and stair and stair somaetdol, a architectural element in Buddhist temples, using Photoshop and Illustrator program of Adobe INC AND Tex-pro program of Youngwoo CNI INC. All around the world today, efforts to reinterpret unique and antique architectures and cultural assets in a modern way has been increasing. Decorative patterns displayed in Buddhist temple architectures which are antique Korean architectures have excellent geometric aesthetic value. And the development potential of patternizing these elements into modern designs is high. Therefore, it is thought to be possible to develop high value-added fabric and to develop various fashion items including apparel and interior decoration based on modern reinterpretation of patterns of window grid and decorative elements of stairs and stair somaetol that are part of our antique architectures.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

• Journal of architectural history
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• v.29 no.5
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• pp.63-78
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• 2020

Jeongamsa Sumano Stupa(Korean National Treasure No. 332) is a brick like stone stupa and it is considered that this stupa was built in the Later Silla period or in the early part of the Koryo period, considering its structure and style. This Buddhist stupa is highly significant in Korean Buddhism since it was built to enshrine Buddhist sarira reliquaries that 'Jajang' brought from China in the 7th century, according to the 『Overlooked Historical Records of the Three Korean Kingdoms, 『三國遺事』』. However, the stupa was positioned at the very unique location. It was positioned not at the center of Jeongamsa Temple, but at the separate edifice. The location of Jeongamsa Sumano Stupa indicates that this stupa embodies the nature of Mahaparinirvana treasure palaces and that this stupa was recognized as a solemn symbol, which reflected a sarira faith. Jeongamsa Sumano Stupa is the only brick stone stupa built in Gangwon province. It is worth noticing that this stupa was mostly made of dolostones, found around this region, and thereby regional characteristics were reflected in this stupa. The other interesting fact about Jeongamsa Sumano Stupa is that there are many records available which include information about stupa's reconstruction, considering that there aren't many records of other stupas. The most representative records are 5 pieces of memorial stones which include information about when and on what ground the stupa was reconstructed as well as information about originators of the stupa. In conclusion, Jeongamsa Sumano Stupar could be regarded as the academically valuable material since it is considered very important and helpful for understanding not only the history of Korean Buddhist stupas, but also so many other things such as construction techniques, styles of brick pagoda and brick stone stupa, and such.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.95-112
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• 2013

Jangchungdan Park is now perceived as a mere park at the foot of Namsan mountain, but originally it was created to commemorate soldiers of Korean Empire on a site which name was Namsoyeong(南小營) during Joseon Dynasty. During the period of Japanese colonial rule, it was transformed into a park due to the rapidly changing circumstances, so the components expressing the validity of the colonial rule were introduced into the park. This paper examines the time sequential changes of Jangchungdan Park during the period of Japanese colonial rule, and the conclusions can be summarized as given below. Firstly, the park originally was a space to commemorate the soldiers who fought for the Korean Empire. It was built on formerly restricted area at the foot of Namsan Mountain in 1900, and it was arranged putting the ceremonial shrine Dansa (壇祠) as a central building and the annexes in the surroundings of it. The memorial ceremonies were held regularly in spring and autumn until 1909. Secondly, it became a city park for citizens of Gyeongseong-bu(the name of Seoul under the Japanese colonial rule). The authorities of Gyeongseong-bu reorganized Jangchungdan as a park in 1919, prohibited the performance of memorial ceremonies, and the existing buildings except the ceremonial shrine Dansa began to be used as park management facilities. Resting areas and amenities were supplemented for the usage of people from various backgrounds, and the large scale planting of cherry trees made the park a famous place to enjoy cherry-blossoms and other flowers in spring. Thirdly, it was reconstructed as a space to honor the influential personalities of Japanese colonial system. In 1932, Bankmun temple (博文寺) to commemorate Ito Hirobumi was constructed at a location that made it possible for a number of people to overlook Jangchungdan area. During that time, the buildings of traditional Joseon architecture were removed and reconstructed to serve as annexes to Bankmun temple. Due to the strategy to make Jangchungdan park a tourist attraction, Bankmun temple was included into the Gyeongseong sightseeing course, since the wide panorama of Jangchungdan Park and the whole city of Gyeongseong was opening from the temple. Various different components were introduced into Jangchungdan Park due to the rapidly changing circumstances; therefore the nature of the park was either altered or reproduced. Hopefully, the park rearrangement works will be executed paying respects to the memories of the past hereafter.

• Conservation Science in Museum
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• v.21
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• pp.41-52
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• 2019

The findings of a 2017 safety inspection of the Three-story Pagoda from the Goseonsa Temple site in Gyeongju suggested the possibility that the stone for the second story of the pagoda may have been rotated after the pagoda was disassembled for removal from its original site in 1975. The materials from the pagoda were investigated using photographs and other relevant data from both the Japanese colonial period and from around 1975. The analysis found that the materials of the pagoda were not changed after analleged reconstruction in 1943, but that during the process of relocating the pagoda in 1975 the body of the second story was indeed rotated counter clockwise by 90 degrees and one of the four stone elements making up the first-story roof was exchanged with a part from the second-story roof. In order to discover whether the materials had been incorrectly placed, each part of the pagoda was precisely measured and the elements of the roofs were virtually reconstructed using 3D scanning data. The investigation did not find any singularities with in the components of each roof; the four part sof the first-story roof were 75 to 76 centimeters thick and those for the second-story roof were 78 to 79 centimeters thick. The connections between each part of the roofs also appeared natural. This seems to indicate that there was indeed an undocumented repair of the pagoda at some point between its creation and 1943 and an error that took place during this repair was corrected in 1975. In addition, the study suggested a possibility that the body of the second story was rotated counter clockwised to a change in the locations of parts of the two roofs.