• Journal of architectural history
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• v.14 no.1 s.41
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• pp.89-105
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• 2005

The central aim of this thesis is to see if the structure of Palsangjeon(捌相殿) in Pubjoo Temple(法住寺), a five sto wooden pagoda in Chosen(朝鮮) Dynasty, was handed down from the ancient and middle ages. This study was performed through an analysis of Gilt-Bronze Pagoda built in Koryo(高麗) period. In other words, it is aimed at analyzing which lineage the structure of Palsangjeonbelongs to as a wooden pagoda. In analyzing the structure of Palsangjeon, I attempted to find out its source from the remains of Koryo period prior to the Chosen Dynasty. Examples are the Gilt-Bronze Pagoda, built during the Koryo period. I have also examined its relationship with other existing wooden pagodas and remains. The analysis of Palsangjeon, a five story wooden pagoda in Chosen Dynasty, focuses on the following: First, I explored the possibilities of whether the structure of Palsangjeon was newly invented in Chosen Dynasty, or if it had been derived from the wooden pagodas in the Koryo period. Secondly, I tried to find out if the stable vertical planes, with a great successive diminution ratio, were derived from the middle age, i.e. Koryo period. The results of the study of Palsangjeon through Gilt-Bronze Pagoda analysis are as follows: 1. The structure of Gilt-Bronze Pagoda, a wooden pagoda from the Koryo period, is roughly classified into the accumulation type, using pipe pillars, and the one story type using whole pillars. In the accumulation type, stories are connected in either a flat format or an intervening format. The Gilt-Bronze Pagoda is mainly composed of pipe pillars, with some whole pillars. However, the central pillar was omitted in the building structure. Generally, the upper and lower stories are connected by pipe pillars in a crutch format. All the pillars, whether they are pipe pillars or whole pillars, used Naiten(內轉) technology. The Eave supporter has the Haang type(下昻) and the Muhaang type(無下昻). In most cases, high balustrades are furnished, but few tables of high balustrades have been found. The slanting roof formats have been handed down from Paekche(百濟), Silla(新羅), or Koryo(高麗). However, the structure of the octagon is assumed to be derived from Koguryo(高句麗). The structure of the Gilt-Bronze Pagoda from the Koryo period is mainly composed of accumulated flat squares, with some spire types. intervening format, the structure of Palsangjeon used whole pillars in a half story format in which upper level side pillars are installed on the lower level tie beam. From the Bronze Pagoda from the Koryo period, we can assume that the half story format of wooden pagodas that has stable vertical planes with a great successive diminution ratio was created during the mid-Koryo period at the latest and had been idly developed by the time of the Chosen Dynasty. 3. The whole pillars in Palsangjeon are also found in Gilt-Bronze Pagodas from the Koryo period. Hence, all of the pillars in Palsangjeon seem to have been handed down from the ancient construction technology. They were also used in the construction of wooden pagodas from the Koryo period. Therefore, it is assumed that Palsangjeon was constructed using the construction technology of the Chosen Dynasty that had been developed from the wooden pagoda construction technology of the Koryo period. The stable vertical planes with a great successive diminution ratio in Palsangjeon are derived from ancient Korean wooden pagodas, which have developed into indigenous Korean wooden pagodas with fairly stable vertical planes and a great design, in the half story format of Koryo and Chosen Dynasty. Therefore, it is assumed that the structure of Palsangjeon has a systematic relationship with traditional Korean wooden pagodas and is one of the indigenous Korean wooden pagoda structures. 4. In China, the intervening format has been mainly used between stories in multi-story architecture since the ancient days. At the same time, the flat format as also used in ancient and middle ages. However, the flat format was replaced by whole pillars during the Ming(明) and Manchu(淸) Dynasties, in favor of simple and compact construction. The half-story format, in which upper level side pillars are installed on tie beams, has been found in some cases, but it doesn't seem to have been the primary construction technology. Few traces of the half-story format have been found in multi-story architecture in Japan, and it has not been used as a general construction format. By contrast, the half-story format, which seems to have been derived from the Koryo period, was used as a general construction format in multi-story architecture of the Chosen Dynasty. The construction technology of multi-story architecture is related to that of multi-story wooden pagodas, but they have different production technologies. It seems that the structure of Palsangjeon did not just adopt the construction technology of multi-story architecture in the Chosen Dynasty, but it was developed from wooden pagodas in the Koryo period, including the Gilt-Bronze Pagoda. 5. Since the ancient days, most Chinese and Japanese wooden pagodas have adopted an accumulation type of structure using pipe pillars, with accumulated pointed towers. On the other hand, though most Korean wooden pagodas have also adopted an accumulation type of structure from the ancientdays, one story type using whole pillars was created in the Koryo and Chosen Dynasties. The wooden pagoda structure of Palsangjeon, with stable vertical planes in a half story format, is a unique Korean construction technology, different from the construction technologies of Chinese and Japanese wooden pagodas. This thesis clearly determined the structural characteristics of Palsangjeon. However, various remains have yet to be analyzed in depth, to establish an accurate construction technology system. In the beginning of this thesis, I had difficulty in precisely interpreting the internal structure of the Gilt-Bronze Pagoda from its appearance. However, in the process of study, the more serious problem was that there are few remains or ruins of multi-story architecture in ancient and the middle ages of Korea. Therefore, it is urgent to discover various remains in the future. This thesis succeeded in determining the structural characteristics of Palsangjeon. However, it fell short of clarifying the structural lineage of the stable vertical planes, although they show indigenous Korean architectural taste, representing the unique national emotion, and the construction format of multi-story wooden pagodas in Korea. I hope this is clarified in the future research.

• Korean Journal of Human Ecology
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• v.13 no.2
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• pp.301-316
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• 2004

In this study, 2,238 incidents from History of the Three States, Prehistory of the Three States, History of Koryo, True Records of Chosun Dynasty had been analyzed in order to examine the bathing styles of Koreans. The results were as follows. In the period of Three States, baths were taken for the purposes of cleanness, remedy, and beauty culture as well as etiquettes. And spa, rainwater, rivers, streams, and bath tubs were used. In the period of Koryo, it included not only reasons for etiquettes as in the period of the Three States but also reasons for medical care and daily life. In spa, temples, and homes, baths were taken by using perfumes and towels. In Chosun Dynasty, daily baths were for hygiene, health, and bodily charms. Before religious ceremonies, they made sure that they took baths, and spa baths were popular for the medical care. The ways to take baths included the order which area was the first to be washed, time, and areas concretely, and seasons, weather, and conditions of body were considered before taking baths. Moreover, the places included natural places such as streams, reservoirs, rivers, as well as artificial places such as temples, places for envoys, and palaces. Especially, in spa areas, bathing buildings were constructed. Considering all these, baths were taken for the purposes of ceremonies and medical care in the period of the Three States, and daily baths took down their roots in the period of Koryo. In the period of Chosun Dynasty, spa baths for cures, prays and rituals, hygiene and bodily charms were considered as a reason. How to take baths and means were decided carefully. Therefore, the results above demonstrated that baths took down their roots in people's daily life in Korea since the period of Koryo.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.162-181
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• 2000

This paper investigates sixteen rock-cut arhat images of the Koryo period at Sungbul-sa (成佛寺) in Chunan (天安), South Chungchung Province. These images, together with a Buddha triad in the center, are carved in thin relief on the large granite wall ($375cm{\times}248cm$), and below them is engraved a huge lotus petal which looks to be supporting all the images above. According to extant textual sources, arhats were popularly worshipped in the Koryo period. The Painting of Five Hundred Arhat Images was brought to Koryo from Later Liang (後梁) of the Five Dynasties (五代) in 923. From that time on, the cult of arhat had become gradually known in Koryo. More than thirty ceremonies worshipping arhats (羅漢齊) were officially held in Koryo court. The Sixteen Arhat images (十六羅漢像) were enshrined in many temples. In Boje-sa (普濟寺), which kings and aristocrats often visited for ritual ceremonies, had its main hall dominated by the Five Hundred Arhats, called Nahan-pocheon (羅漢寶殿). However, a limited number of arhat images of the Koryo period, originally made as sets of sixteen or five hundred arhats, are now extant. The Sixteen Arhat images at Sungbul-sa are unique examples that show all sixteen images in situ. The Sixteen Arhat images, though some of them are abraded, show various postures and gesture. One of them sits with his knee bent, and one arhat is sitting on a chair with his hand held upward. Each image is carved in a niche, just as the arhat images of Northern Song China are normally represented in niches of a cave, and are quite similar in style to the arhat images of the Northern Song period at Qinglindong (靑林洞) cave, Feilaifeng (飛來峰), Zejiang province (浙江省). This similarity between the arhat images of Sungbul-sa and those of Qinglindong certifies the strong impact of Song Buddhist art on Koryo frequently mentioned in texts. The Sixteen Arhat images surround the central Buddha raising his hand up to his chest. This Buddha triad could be ascribed to be either the Maitreya Buddha triad or the Sakyamuni Buddha triad based on the Lotus Sutra (妙法蓮華經). Still, the Sakyamuni Buddha triad was more often represented with sixteen or five hundred arhats in the Koryo period, as was seen in the record of Boje-sa where the Sakyamuni triad was enshrined with five hundred arhat images. The Sixteen Arhat images of Sungbul-sa arc most likely to be a rare example of Koryo Arhat images showing the Sakyamuni Buddha triad and the Sixteen Arhats who were predicted to be Buddhas by Sakyamuni in the Lotus Sutra.

• Journal of the Korean housing association
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• v.5 no.2
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• pp.41-50
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• 1994

The purpose of this study is to investigate changes of the kitchen lifespace in Korean family houses from the Old Stone Age to the Koryo Dynasty. The documentary research method was used for this study. The major findings were as follows the changes of kitchen lifespace in Korean family houses form the Old Stone Age to the Koryo Dynasty have been affected by natural, political, economic, technological, and socio-cultural environments. The Kitchen lifespace of these periods was categorized into six categories: the Beginings Period of the Kitchen, the Period of the Primitive Kitchen, the Formative Period of the Kitchen, the Enlargement Period of the Kitchen, the Separation Period of the Kitchen, and the Begining Period of the Traditional Kitchen.

• The Research Journal of the Costume Culture
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• v.5 no.4
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• pp.1-5
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• 1997

This study is concerned with the bai su(背戍) of Koryo period which recorded in Kei Rim Yu Sa(鷄林類事). Results of this research can be summarized as follows : The record of Bai Su(背戍) in Kei Rim Yu Sa(鷄林類事) was correct. It was not a mistake in writing. Thus, this word(背戍) was used by the people of Koryo. The 背戍 of Koryo was related to Aramaic patash and Japanese byets or bats, バツ. It was found that 背戍 of Koryo was very similar to Aramaic patash, legging. It indicates that 背戍 was derived from Aramaic and it was a transliteration of patash. Thus, 背戍 was a borrowed word from Aramaic. Also it was found that 背戍 of Koryo and Japanese byets(ぺツ) or bats(バツ) showed a very close affininty with each other in phonetic value. These words had the same meanings of 襪 one another. It reveals that 背戍 of Koryo and Japanese byets of bats has the same origins. Japanese byets or bats were transliterations of 背戍 of Koryo and they were borrowed words from 背戍 of Koryo.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.182-208
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• 2000

Kwan-gyongdo is a pictorial presentation of a $s{\bar{u}}tra$ that teaches the Buddhist way for a person to be reincarnated in the paradise of $Amit{\bar{a}}bha$ Buddha. It consists of a preface (Kwan-gyong sobun pyonsangdo) and 16 scenes of $S{\bar{a}}kyamuni$ preaching. The preface, a painting illustrating the motivation behind the production of tile kwan-gyongdo, illustrates the "Legend of King $Aj{\bar{a}}tasatru$", a tragic story in which the prince of India's Magadha kingdom murders his father, the king, to usurp the throne. The 16 subsequent scenes show $S{\bar{a}}kyamuni$ teaching the distressed queen how a person can be reborn in paradise through meditation and praying. In the kwan-gyongdo in the Mogao Cave No. 17 in Dunhuang, China, painted during the Tang dynasty (618-907), the preface and the 16 scenes are presented in one painting, whereas they are presented in two paintings in those painted in Korea during the Koryo period (918-1392). The difference is attributed to the stylistic disparity of the two periods. Despite the temporal gap between the Koryo paintings and the Mogao Cave paintings, a comparison of the two can show the characteristic development of kwan-gyongdo. Kwan-gyongdo of the Koryo period do not have the "enmity created in the previous life" scene featuring a heavenly figure and a hare, a result that shows the influence of the Tang school that deleted the scene. The scene of $S{\bar{a}}kyamuni$ preaching on the Mountain of Spirit is included in kwan-gyongdo of both the Koryo period and the Mogao Cave, but the scene of $S{\bar{a}}kyamuni$ emerging from the earth to the Magadha palace is not included in Koryo kwan-gyongdo. Kwan-gyongdo of Koryo are generally a simpler but more faithful rendering of the $s{\bar{u}}tra$.

• Journal of Korean Library and Information Science Society
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• v.21
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• pp.363-399
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• 1994

This article aims at bibliographical analysis of the and historical research of Buddhism in the period of king ChungYeul. The analysis is made in the respects of: 1) physical form 2) historical aspect of the Zen Buddhism in the latter period of Koryo Dynasty 3) related persons who corresponded with Mongsan First, this books is consist of 56 records about tripitaka, biography of Mongsan, poets of Zen Buddhism, and abstracts of Buddhist books. Secondly, the new trends of Buddhism in the 13th century was influenced by Mongsan Son(contemplate school, zen). He was corresponded with some political persons and the elite class of Koryo Buddhism. Because of these meetings, LimJae Son were adopted main stream of zen Buddism in Koryo Dynasty by Mongsan and his accompanies. Thirdly, these political groups want to meet Mongsan and his teaching about zen Buddism, but he suggest three questions to the gourp instead of meeting. And he explained 10 kinds of methods to study zen Buddism comparing visited ten persons with ten pinetrees. In the Koryo Dynasty, Buddism was very inportant in history of throughts and social functions. But there had been little research on Mongsan who afford theoretical base on zen Buddism in Chosun Dynasty. On the point of the relation to Koryo and Yuan dynasty in zen Buddism. The is a new and important records that afford some solutions of religious branch and trends in early periods of Chosun Dynasty.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.1
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• pp.139-153
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• 2013

The purpose of this study was to consider the kinds and features of costume and fabrics of the early Koryo period which are mentioned in the records of costume system, royal presents and diplomatic articles at that time ranging from the reigns of king Gwangjong to king Gyeongjong and to king Seongjong. Findings of the study can be summarized as follows. In the 11th year of king Gwangjong's reign, the official costume system was established, which reflected the royal will to independence as an imperial nation. That system also became the basis of the official wage system in king Gyeongjong's reign. In the reigns of king Gwangjong and king Gyeongjong, the monarch granted official uniforms to persons who passed the state examination, directly connecting with new bureaucrats and strengthening the royal authority. Those uniforms were usually worn at a banquet where the monarch and subjects participate together in the early Koryo period. In the reign of king Seongjong, costume and fabrics were positive means of realizing political Confucianism as they were used for bureaucrats who advanced to official position through the state examination. Records issued at that time explain that the monarch presented costume and fabrics in an effort to getting along with officials and civilians of different classes as the state and the royal authority stabilized. Found in the records released in the reigns of king Gwangjong to king Seongjong, the kinds of costume or fabrics at that time include jikseongeuio, gap, yongeui, seupeui, gyegeum baekcheop, geumeunseon gyegeumpoyok and po. The techniques of manufacturing armors in the early Koryo period were probably advanced since the item was a craftwork presented to the court in the reigns of kings Gwangjong and Gyeongjong. Presumedly, baekcheop was a kind of hemp and po. Koryo's native hemp cloth.

• Journal of the Korean Society of Costume
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• v.31
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• pp.131-144
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• 1997

This thesis is mainly on the study of Gongbok and Sangbok in the system of official outfit of the Koryo dyn-asty which has not yet fully studied in the history of Koren dress and its ornaments. Even in this difficult circumstances the sys-tem of dress and its ornaments can be under-stood with the help of remaining Buddhi-stliterature. Thus the system of official outfit in the Koryo dynasty has been studied here with some documentary records such as Koryo-dokyung Koryosa-yeobokji (The His-tory of Dress And Its Ornaments in The Koryo Dynasty) and so on. As the Koryo dynasty de-veloped her international relationships continu-ously with her neighbouring nation which were geographically closely connected so the systems of official outfit in the Chinese dyn-asty of Sung had to be studied and compared with, In the Koryo dynasty the same four colour system of purple red, deep red and green had survived until the year of 1123 from the year of 960 not using the blue colour from the four colour system of purple Chinese red green and blue of the Sung dynasty. The four colour system of purple deep red green and black under the regin of the King Euijong was exactly the same as that of official outfit of the Sung dynasty in he year of 1078 the first year of Wonpung's regin and wearing Eodae is a sure sign of influence of the system of Sung dynasty. Even though Koryo was invaded by Yuan druing the period of the regin of the King Chungyul the four colour system was not changed of purple deep red. green and black along with the same Dae-sudanryung(long sleeve and round collar). In 1387 the thirteenth year of the King Woo of the Koryo dynasty Pumdae was used ofor different official ranks and the sys-tem of wearing Samo and Dayung was established for the official outfit of every government officers.

• Economic and Environmental Geology
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• v.16 no.4
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• pp.253-256
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• 1983

Recently, excavation of ancient pottery kiln of Koryo celadon of the Koryo dynasty have been continued since 1979 in Hang-dong, Daegu-myun, Gangjin-gun, Jeonnam Province, south-western part of Korea. The authers carried out an archeomagnetic study using the baked earth of the floors of the kiln, togimi and fabrics of rocks which were placed firmly on the floors of the kiln. These specimens were measured using the astatic magnetometer. The results of measurements are: declination, $0.3^{\circ}W$; inclination, $52.9^{\circ}C$. Referring to the secular change curves drawn from the studies of the south-western Japan, the last period when the pottery kiln was fired finally is estimated to be around A.D. 1170. Many potsherds of Koryo celadon were excavated around the kiln. According to the shape of these potsherds, the age of the pottery kiln is estimated to be 10-12 C, which is consisted with this study.