• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• Korean Journal of Food Science and Technology
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• v.33 no.5
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• pp.529-533
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• 2001

This study was carried out to characterize aroma of semi-fermented teas made traditionally in Korea temple. These teas had favorable floral aroma. The extraction of aroma compounds was accomplished by a simultaneous distillation and extraction method using a Likens and Nickerson's extraction apparatus. The concentrated extract was analyzed and identified by GC and GC-MSD. The main aroma components of these teas were 3-methylbutanal, 2-methylbutanal, (E)-2-hexenal, phenylacetaldehyde, 2-phenyl ethanol, geraniol, ${\beta}-ionone$ and nerolidol. Particularly, the concentration of phenylacetaldehyde was much higher concentration in semi-fermented teas than in green tea prepared from same place. The GC patterns of the aroma components in the semi-fermented teas were slightly different, though they were prepared in same place.

• Journal of Conservation Science
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• v.35 no.1
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• pp.91-98
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• 2019

The fragments of a wall painting excavated from among the historical remains of Jeseoksa Temple in Iksan. The extent of the damage to the fragments was examined and an analysis of the components of the pigment was conducted. The results of the component analysis of the pigment confirmed that the white pigment consisted of alkali feldspar and mullite. Although the results of the visual inspection revealed differences in color in the red and black pigments, the main component of the two colors was confirmed to be iron oxide. Red and black pigments are found at the same position. Although differences of color is obvious, those are identified as hematite and magnetite of oxidized steel's affiliation. It is judged that Differences of ingredients happened by external environment's factors.

• 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.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.24-55
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• 2010

Jangmyeongdeung Lantern (貞陵長明燈) refers to the stone lantern placed in front of the royal tomb. It serves both symbolic and decorative purposes; symbolic because it is supposed to guard and illuminate the buried, and decorative because it is a work of sculpture that adorns the entire graveyard. The Jangmyeongdeung of Jeongneung was the earliest stone lantern to be produced during the Joseon period. Its square shape is unique among those from the early to mid-Joseon period. The three major parts of Jangmyeongdeung - the stand, the lantern, and the roof-shaped cover parts - are square in shape, differing from the octagonal shaped Jangmyeongdeung. The stand consists of three single stone blocks, the Hadaeseok(下臺石), Ganjuseok(竿柱石), and Sangdaeseok(上臺石). The Hwasaseok(火舍石), or the lantern part, is also a single stone block. Jangmyeongdeung of Jeongneung succeeds the style of those of Hyeon-neung and Jeongneung(玄正陵) of the Goryeo period and is of a better artistic quality. As the first Jangmyeongdeung lantern, it is a refined work of art that marks the foundation of the Joseon Kingdom. This paper tries to ascertain the stylistic origin of the square-shaped Jangmyeongdeung of Jeongneung and compare it with those of Buddhist temples. Consequently, similarities were found among the stone lanterns of Zen priests 'Jigong'(指空) and 'Nawong'(懶翁) in the Hweamsa Temple(檜巖寺) site from the late Goryeo period, those of Zen priest 'Muhak'(無學) of the Hweamsa Temple site, and those of national priest 'Bogak'(普覺) of Cheongnyongsa Temple(靑龍寺) from the early Joseon period. Primarily, this is because the three components(the stand, the lantern part, and the roof-shaped cover) are essentially square-shaped. Second, as the Ganjuseok(one of the components of the stand) became shorter, the stand took a more stable form. Third, the Hwasaseok(the lantern part) consists of two stone blocks joined together. Fourth, the roof-shaped cover is also in square in shape. Similarly, the Jangmyeongdeung of Jeongneung contains Buddhist elements as well. The three-bead pattern that decorates the Ganjuseok stand is an example. The three-bead pattern is one of the symbolic elements related to Tantric Buddhism. It is found on the diadems worn by Bodhisattvas from the Goryeo and early Joseon periods. The Jangmyeongdeung of Jeongneung in early Joseon directly influenced the production of the square-shaped stone lanterns used to decorate the tombs during the Joseon period. After the latter half of the 15th century, however, the octagonal-shaped Jangmyeongdeung style began to prevail. The Jangmyeongdeung of Jeongneung reflects the succession of the tradition of royal tombs from Goryeo to Joseon, the introduction of square-shaped stone lanterns to Buddhist temples, and the influence of the Buddhist philosophy of the time. It is a living testimony to various elements of each time and corresponding cultural trends.

• 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.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.212-223
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• 2012

Pigments used paintings, ornaments, weapons and various objects have been recognised as important elements to ascertain the history, manufacturing technique and cultural migration. Since the understanding of composition of pigments by analysis began in 1963, its technique and methodology has much advanced in recent years; recent study used the portable X-ray Fluorescence as non-destructive analysis has been practiced in particular. However the study on pigments necessitates overall and systematic research because it is difficult to understand periodical and regional use of pigments. by fractional studies. Therefore this research investigates the coloring materials and painting techniques of the scroll painting depicting preaching scene of Sakyamuni Buddha in Daeungjeon Hall, a main hall of Bulguk temple, through scientific analysis and comparison of various pigments which had been applied to the buddhist paintings of Joseon Dynasty. Consequently, it is confirmed that the scroll painting used pigments of white lead[$2PbCO_3{\cdot}Pb(OH)_2$] for ground layer and used mixture of different pigments such as cinnabar (HgS) minium($Pb_3O_4$) malachite($2CuO{\cdot}CO_2{\cdot}H_2O$) hematite($Fe_2O_3$) gold(Ag) for presenting various colors on the painting layer. It has been also believed that mineral pigments were applied to the scroll painting, yet it is difficult to confirm whether it is natural or synthetic pigments because the crystal structures of pigments were not analyzed. The results of this study, however, provide useful reference data for the understanding of the components of pigments and manufacturing techniques of buddhist scroll paintings, in particular, of Joseon Dynasty.

• The Korean Journal of Food And Nutrition
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• v.30 no.5
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• pp.1068-1079
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• 2017

This study was applied to the PCA (Primary Components Analysis) for the sixteen table setting at the 2017 Yeongju local food contest. In this contest, we have developed a seonbibansang and a temple one-dish meal. As a result of the correlation analysis, the applicability and composition were 0.7980, harmony and taste were 0.7747 and easiness and composition were 0.7435. In the Primary Component $Y_1$, all the variables $X_1{\cdots}X_{10}$ mean that the quality of the food had positive values greater than zero. The second Primary Component $Y_2$ has a large positive value while $X_4$, $X_5$, $X_6$, $X_7$, $X_9$ have negative values. $Y_2$ is a value representing the sanitation variable, and can be considered a traditional and characteristic table setting natural to the native food in Yeongju. In addition, we developed an-hyangbansang and seonmyoaecheong food content by applying PCA factors (the elements of harmony, ease and sanitation). Table setting of an-hyangbansang provided energy 61.5%, protein 20.0% and fat 18.5% and seonmyoaecheong provided energy 62.7%, protein 15.4% and fat 22.2%. This satisfied the necessary amount of caloric nutrient intake that could be provided in a meal. Especially through story-telling, a modern interpretation - or rebranding - of local and traditional foods could make these traditional food products familiar to consumers currently. The developed table setting is felt to be conductive to the possible commercialization and introduction of traditional food into the mainstream commercial food service industry.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.102-142
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• 2023

The Bronze Bell of Wongaksa Temple, also known as the Bosingak Bell, was produced in 1468 during the reign of King Sejo for dedication at Wongaksa Temple in the middle of the capital Hanyang in celebration of the tenth anniversary of his accession to the throne. It is currently heavily damaged and cannot be struck. This paper focuses on the man-made damage inflicted on the Bosingak Bell and explores when, why, and by whom the bell was damaged along with the historical significance of this damage. In the first section, the relevant literature is reviewed and the problems concerned, research perspective, and methodology are presented. The history of related theories is investigated focusing on the relationship between Bosingak Bell and Wongaksa Bell. The perspective that Bosingak Bell and Wongaksa Bell are the same is introduced. My discussion will be developed from this perspective. In the second section, the background to King Sejo's construction of Wongaksa Bell is examined. Specifically, the bells commissioned by the kings of the early Joseon era are divided into court bells (jojong) and Buddhist bells (beomjong). They total four court bells and three Buddhist bells. The former are the Jongnu Tower Bell commissioned by King Taejo, Donhwamun Gate Bell by King Taejong, Gwanghwamun Gate Bell by King Sejong, and Sajeongjeon Hall Bell by King Sejo. The latter are the bells of Yongmunsa, Heungcheonsa (or Jeongneungsa) and Wongaksa Temples, all of which were made during the reign of King Sejo. Sejo also made Wongaksa Bell and gave it the meaning that the monarch and the Buddha both wish to enlighten the people through the sound of the bells. In the third section, traces of the man-made damage done to Bosingak Bell are closely examined. By observing the current condition of Bosingak Bell and comparing it with the contemporaneous Heungcheongsa Bell (1462) and Bongseonsa Bell (1469), the components of Bosingak Bell that were damaged can be identified. The damaged parts are again divided into Buddhist elements and non-Buddhist elements. The former includes the reversed lotus petals on the shoulder band, four standing bodhisattvas, and the inscription of the bell composed by Choe Hang. The latter includes lists of chief supervisors (dojejo). I describe the phenomenon of deliberately damaging Buddhist elements on bells as "effacement of Buddhism," meaning Buddhist images and inscriptions are eliminated, and I note the prevailing rejection of Buddhism theory among Neo-Confucianists as its ideological root. The erasure of non-Buddhist images was probably caused by political conflicts such as Yeonsangun's purge in 1504. Since both ideological and political factors played a role in the changes made to Bosingak Bell, the damage was possibly done between the Purge of 1504 and the abdication of Yeonsangun in 1506. Chapter four traces the transformation of the Buddhist bell of Wongaksa Temple into the Bosingak court bell. Finally completed in 1468, the Wongaksa Bell only served its role as a Buddhist bell at related services for a relatively brief period of 36 years (until 1504). Wongaksa Temple was closed down and the bell lost its Buddhist function. In 1536, it was moved from Wongaksa Temple to Namdaemun Gate, where it remained silent for the next 90 years until it was struck again in November 1594. However, after the destruction of the Jongnu Bell in a fire during the Japanese Invasions of Korea (1592-1598), the Buddhist bell from Wongaksa Temple became a court bell. The Wongaksa Temple bell was relocated to Jongnu Tower in 1619, traveling through Myeongdong Pass. From then on, as the official Jongnu Bell (later renamed Bosingak Bell), it was regularly rung at dawn and dusk every day for nearly 300 years until 1908, when Japanese authorities halted the ritual. The transformation of the Wongaksa Bell (a Buddhist bell) to Bosingak Bell (a court bell) means that the voice of the Buddha was changed to the voice of the king. The concept of "effacement of Buddhism," evident in the transformation of Wongaksa Bell to Bosingak Bell, was practiced widely on almost every manifestation of Buddhism throughout the Joseon period. In short, the damage evident in Bosingak Bell underscores the debuddhismization in Korean society during the Joseon Dynasty.

• Journal of Conservation Science
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• v.30 no.1
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• pp.67-80
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• 2014

This study examined the chemical characteristics and the microstructure of Goryeo whiteware which was excavated in the kiln site Yucheon-ri, Gangwon-do, the southern part of South Korea. this area is considered to be used in the middle of the time of Goryeo Dynasty. We analyzed the chemical characteristics comparing Goryeo Whiteware from Seo-ri, Jungam-ri, Bangsan-dong and The temple site of Beopcheon. Based on the analysis, we confirmed the properties of raw material for making pottery. It is featured that body composition of Goryeo Whiteware from Yucheon-ri contains high silica and low solvent. However, the contents of the glaze are vice versa. Goryeo whiteware tends to contain larger part of oxide than that of titanium oxide, which applies to Goryeo Celadon. the whitewares during the early days of Goryeo Dynasty varies in components depending on kilns, whereas it does not mean that chronological changes happened in components. The whiteware shards from Yuchoen-ri have a similar aspect. The whiteware shard from the temple of Beopchen differ in composition, Thus they are estimated to have been produces and shipped from various sites. In conclusion, we judged that the component difference among Goryeo whitewares stems from production environment and origin of raw materials rather than chronological changers.