• Korean Journal of Human Ecology
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• v.12 no.4
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• pp.509-518
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• 2003

Gasa was a surplice of Buddhist monk. It was usually worn in the religious ceremony. Gasa was such a religious cloth that was ruled strongly by Buddha's Commandments, and a kind of cloth that was also reflected by historical, cultural, and ideological factors of each nation. Korean Gasa had various features comparing to the Original Gasa or to that of South Asia which is the birthplace of Buddhism. One of them was 天 王 embroideries that we could find upon the regular square base in the four comers of Korean Gasa. These figures symbolized the Four Devas which were believed guarding Buddhist sanctum. These Devas appeared from the era of the Three Kingdoms when Buddhism imported. Buddhism as a alien religion had been developed through conflicting and fusing with Korean traditional religious characteristics into type of 'Faith to Three Treasures' (Buddha, Buddhist Commandments, Buddhist monk). They believed that embroidering 天 王 figures upon the regular square bases in the four corners were able to protect Buddhist monk by the help of Four Devas. We might say this as a kind of Faith to Buddhist monk.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.4-23
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• 2015

In the Buddhist paintings of the four devas, there is a change in the paper material of V aisravana(多聞天) in the early Joseon Dynasty. Until Goryeo Dynasty, Damuncheonwang, who holds a tower(塔) on the right side of Buddha was changed to the form which holds a mandolin(琵琶) in the early Joseon Dynasty. This change was first checked in Byeonsangdo in the Yuan period "The Avatamska Sutra(大方廣佛華嚴經, 1330~1336)", however the actual paper material change in the Buddhist painting is found first as a mural at the Tibetan temples, Cheolbangsa(哲蚌寺), Odunsa(吳屯寺), Baekgeosa(白居寺), which showed the change of tower which Vaisravaṇa held into mongoose. In Joseon Dynasty, also, new distribution of the four devas appeared first, which showed the change of paper material in the first floor roof-stones of Wongaksaji sipcheung seoktap, . However, the position of the four devas which held a tower and a mandolin consistently appear in the Buddhist paintings in the early Joseon Dynasty by mixing on the left and the right. This means the possibility that the paper material and the position of the four devas might be flexible in the early Joseon Dynasty. Just like reflecting this, painting image of the four devas in illustration of "saddharma-pundari-ka-$s{\bar{u}}tra$(Ming 1432, National Museum of Korea)" and illustration of "Jebulsejonyeorae-bosaljonjamyeongching-gagok(제불세존여래 보살존자명칭가곡, 1417)" has opposite position from each other. Therefore, the phenomenon in the Buddhist paintings of the early Joseon had a transitional characteristic which did not secure the fixed form of painting image by illustration of two copies where paper materials of the four devas were different, which characteristic can be said to be the characteristic of art in the transitional period.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.2
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• pp.52-77
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• 2003

Borimsa was first built by Wonpyo, the great Buddhist priest of Whaum branch, in the year of 759 A.D. And Later the priest Chejing converted to Zen Buddhism in the year of 858 A.D., Borimsa got the central status of the Zen Buddhism, and was so prospered during the Chosun period. This research is the conservation treatment of the Buddhist literatures and the "Wolinsukbo" Vol.25, discovered in 1995 from the Four Devas of Borimsa, Buddhist Temple at Jangheung County, in the viewpoint of the bibliography. "Wolinsukbo" Vol.25 is consist of 142 pages and the size is of 22cm width, 32.3cm of length, and 2.8cm of depth. And also have the five-pinned eye revisor. The pre-conservation condition of this book was partly spotted by the permeated rain, and the cover pages being deeply spoiled. The conservation treatment was done in the sequences of 1) 1st linsing, 2) repairing and correcting, 3) 2nd linsing and conservation, 4) cutting and binding. The post-conservation condition of "Wolinsukbo" Vol.25 is of, 9 pages including covers are added, total 151 pages, and the size being 22.5 cm width, 32.7cm of length, and 3.2cm of depth.

• Journal of Korean Library and Information Science Society
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• v.35 no.3
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• pp.79-94
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• 2004

This research studied the preservation treatment of the papered literature the national treasure 745-9 $\ulcorner$Keumganggyung-samgahae$\lrcorner$, discovered in 1995 from the Four Devas of Borimsa Buddhist Temple at Jangheung County, in the viewpoint of the bibliography. The overall features of the $\ulcorner$Keumganggyung-samgahae$\lrcorner$ were of 25.3cm width, 38.9cm height 1.5cm depth, 58 pages and of high-fine yellow-brown colored reef paper. The book was ruined physically in the shape and color. The covers of the book were deeply stained by the permeated rain and some internal pages were changing into brown color by corrosion. The treatment policies were； maintaining the status quo and capable repeated treatment. And the preservation treatment was done in the sequences of 1) 1st cleaning process, 2) repairing and correcting, 3) 2nd cleaning and preservation 4) cutting, binding the book and making the envelope and wood box. The post-preservation features of $\ulcorner$Keumganggyung-samgahae$\lrcorner$ were； total 64 pages and the size being 25.8 cm width 39.4cm of lenght, and 1.9cm of depth.

• Journal of architectural history
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• v.16 no.2
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• pp.137-152
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• 2007

The purpose of this article is making investigation of the principal composition of the twin-pagodas in Buddhist temple through ornaments of a case preserving relics of Buddha in the east and west pagodas of Gameunsa temple. This research has an important meaning in clarifying that the concept of placement two Buddhas together with lotus sutra, which was only applied to Bulkuksa temple, has been extended to Gameunsa temple. And this observation gave us a clear explanation for the principal composition at the twin-pagodas in Buddhist temple plans. The author obtained the following conclusion from this article : The cases preserving relics of the Buddha for the west and east pagodas are globally in similar form as the type of a royal palace. But the different points between eastern and western can be seen on the existence of Buddhist statues on the base floor, set-up of the gate at railings, and 4 lion statues at a coner of the base floor. In the western pagoda, there are Buddha statues above the base-floor of the cases preserving relics. These Buddha statues are composed of a boy monks and angels with playing music for the praise of the Sakyamuni Buddha lecturing the Lotus sutra at YoungChui Mountain. On the other hand, in the eastern pagoda, Buddha statues on the cases preserving relics are composed of a the Four Devas and monks as a defending God of the nation of Buddha. In the eastern pagoda, one can see something that does not exist in the western pagoda, which is a gate located in railing of a case preserving the relics. This gate described the scene of the Sakyamuni Buddha entering into the pagoda of 7 treasures. In a corner of the case preserving relics in the eastern pagoda, there is another thing which does not exist in the western pagoda. This is a sculpture of a lion which symbols the seat of Lion supporting the Buddha in the Dabotap(the pagoda of 7 treasures). When we observe the form and structure, the descriptions at the railings, the gate, the shrine, the statue of a lion, and the accessories in jewelries, at the cases preserving the relics in the eastern pagoda, one can realize that they have the same combination structures between the ones at Dabotaps in Bulguksa temple and those in China as well as in Japan, all of which represent the Gyun-Bo-Tap-Pum of Lotus Sutra. Among the distribution rules in the twin-pagodas in Buddhist temple, the application of the ideal of lotus was known to be effected only to Bulguksa temple. But from the result of the present article, it is more clearly proved by applying the Gameunsa temple that the distribution theory in the twin-pagodas in Buddhist temple was in fact based on the ideal of lotus.