• Title, Summary, Keyword: 사천왕상

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The Research and the Development Case of Smart phone based Serious Gamed Application with traditional cultural materials : Focused on the game "Find the wrong picture on Sacheonwang(四天王)" (문화원형을 활용한 모바일 기능성게임 개발에 관한 연구 : 사천왕(四天王)을 틀린그림찾기를 중심으로)

  • Lee, Young-Suk
    • Cartoon and Animation Studies
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    • pp.271-289
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    • 2014
  • This study produced the serious game based of Sacheonwang for the smart phone. The popularization of smart phone has expanded the contents market. However the game content made of various Korean traditional cultures is just few. According to this problem, it considered Sacheonwang (Dongbang Jigukcheonwang, Bukbang Damuncheonwang, Namban jungcheonwang, Seobang Gwangmokchoenwang) and tried to develop the serious game application of smart phone based on the Korean traditional culture. It modernized the 4 types of Sacheonwang analyzed the characteristics, and it was created to super deformed characters. It suggested the production and development of game using Sacheonwang character and the Buddhist image. This study looked at the contents of the Buddhist and developed the Buddhist civilization and applied on the game contents to extend Korean traditional culture and interact Korean traditional culture. This study, therefore, will develop the Korean traditional characters and the game content using the research of the Buddhist cultural elements.

Study on Picture Image and Change of the Four Devas of Sakyamuni Buddha paintings in the early Joseon Dynasty (조선 전기 석가설법도의 사천왕 도상과 배치형식 고찰)

  • Kim, Kyungmi
    • MUNHWAJAE Korean Journal of Cultural Heritage Studies
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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.

Making Techniques and Provenance Interpretation for Molding Clay of Four-Guardian Statues in Songgwangsa Temple, Suncheon, Korea (순천 송광사 사천왕상 소조토의 제작기법과 원산지 해석)

  • Jo, Young-Hoon;Jo, Seung-Nam;Lee, Chan-Hee
    • Journal of Conservation Science
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    • v.26 no.1
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    • pp.43-60
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    • 2010
  • This study was investigated quantitative and objective making techniques for molding clay of Four-guardian statues in Songgwangsa temple. Also, basic data about the provenance of molding clay was acquired for the restoration using same materials when the conservation treatment is carried out. As a result, molding clay used the Four-guardian statues was identified the very similar soil regardless of layers and objects. But molding clay differed in particle sizes and contents of organic matters according to the first layer to finish layer in relatively thick parts. Also, it was used one kind of soil without the layer distinction in thin parts. The restoration soil was applied to genetically similar soil as molding clay of the Four-guardian statues, and showed a difference of careful selection degree according to the layers. As a result of the provenance interpretation, the soil distributing presumed provenance was confirmed the same origin as molding clay. Therefore, the soil is appropriate for the materials of conservation treatment. This result will contribute inorganic material research and conservation treatment for the clay molded Four-guardian statues in Korea.

A Case Study on the Preservation Treatment of Ancient Documents -Focusing on the "Keumganggyung-samgahae" from the Four Devas of Borimsa, Buddhist Temple at Jangheung County- (고문헌의 보존처리에 관한 사례연구 -장흥 보림사 사천왕상에서 발견된 『금강경삼가해』를 중심으로 -)

  • Roh Ki-Chun
    • 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.

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A Case Study on the Conservation Treatment of Ancient Documents - Focusing on the 「Wolinsukbo」(Vol.25) from the Four Devas of Borimsa, Buddhist Temple at Jangheung County - (고문헌(古文獻)의 보존처리(保存處理)에 관한 사례연구(事例硏究) - 장흥(長興) 보림사(寶林寺) 사천왕상(四天王像)에서 발견된 「월인석보(月印釋譜」(권25)를 중심으로 -)

  • Roh, Ki-Chun
    • 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.

A Study on the Re-designed Bang-Wee-Shin-Sang to the Korean Tradition (한국 전통 "방위신상(方位神像)"을 재해석한 디자인 작품 연구)

  • Cho, BongSeok;Kim, SunBae
    • Journal of Digital Convergence
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    • v.11 no.4
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    • pp.431-441
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    • 2013
  • The aim of this study is to reinterpret the image on a Korean tradition known as Bang-wee-shin-sang (an image of direction deity), and to revive the image into Jikimee (the guardian). In particular, this research re-analyzed the image and the symbol of Bang-wee-shin-sang and effectively designed the tradition to fit the modern living space. The theoretical study is to explore why it is necessary to redesign Bang-wee-shin-sang to accommodate modern living after examining the background and origin of typical Korean traditions such as Four Deity painting, Chinese Zodiac, and Four Kings' Painting. As a previous study, we examined the procedures of making Jikimee which was based on artists' works that utilized historical artifacts. The study indicated that Bang-wee-shin-sang is a vital resource to disseminate the unique characteristics of Korea and its tradition which played a role in linking the past and the present. Consequently, it is discussed that the utilization of modernized Jikimee in smart environment must be supported by foundation of academic system, the effort of academic and research link, and government funding policy.

Interpretation of Making Techniques and Material Characteristics for Molding Clay of Four Guardian Statues in Wanju Songkwangsa Temple, Korea (완주 송광사 소조사천왕상의 재질특성 및 제작기법 해석)

  • Han, Doo Roo;Lee, Chan Hee;Jo, Young Hoon
    • Journal of Conservation Science
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    • v.28 no.4
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    • pp.353-366
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    • 2012
  • This study was interpreted the making techniques of the Four Guardian Statues in Wanju Songkwangsa Temple, and retained basic data necessary for conservation treatment and restoration of the same material by estimating the soil source. The molding clay used in the Statues showed a variety of material characteristics according to different layers. The first and mid layers estimated as the original molding clay are composed of the same kind of soil. The soil of the finish layer was also confirmed to be genetically similar to that of the first and mid layers, despite little discrepancy. The former restoration layer was inconsistent in material characteristics with the original molding clay in every result of analysis. As a result of gamma radiography, making techniques of the Statues were able to identify the figure of the frame connecting the woods of main pillar frame to sub-frame and steel wire with ㄷ-clamp, nails and straw ropes, and the molding clay constructed upon the frame. Meanwhile, provenance interpretation confirmed that the soil of the estimated provenance area is of the same origin as the soil of the finish layer, and therefore is an appropriate material for conservation treatment. This result will contribute to the research on making techniques of the molding clay Statues.

The Characteristics of Green-glaze on Bricks from the Sacheonwang Temple Site, Gyeongju (경주 사천왕사지 녹유전의 녹유 특성 연구)

  • Lee, Han Hyoung;Jeong, Min Ho;Moon, Eun Jung;Park, Ji Yeon;Kim, Soo Kyung;Choi, Jang Mi;Han, Min Su
    • MUNHWAJAE Korean Journal of Cultural Heritage Studies
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    • v.44 no.3
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    • pp.112-131
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    • 2011
  • This article reports the results of scientific analysis using SEM-EDX, XRD, TG/DTA, performed on 5 green glaze samples of the brick and roofing tile excavated from the Sacheonwang temple site in Gyeongju in order to verify the chemical compositions and melting temperature. The glaze samples on 2 clay statues have similar chemical composition (PbO 74~81%, $SiO_2$ 14~18%) and melting temperature range ($970{\sim}1070^{\circ}C$), whereas the 2 tiles of goblin's face and 1 rhomb brick have different characteristics. Sample SC 003 (made of PbO 63~67%, $SiO_2$ 25~28%), one of the tiles of goblin's face, shows low melting temperature range (below $970^{\circ}C$), and sample SC 004 (composed of PbO 64~70%, $SiO_2$ 19~25% and melting point $970{\sim}1070^{\circ}C$), the other tile of goblin's face, shows different chemical characteristics compared with 2 clay statues. The green glaze on rhomb brick shows different composition compared with all the others from Sacheonwang temple site in that it does not show any impurity elements other than the main components (PbO 87~88%, $SiO_2$ 12~13%) with very low melting temperature range ($750{\sim}770^{\circ}C$). Surprizingly, the chemical and optical characteristics of this green-glaze on rhomb brick are very similar to that on the bricks from Yeongmyo temple site, Gyeongju. The above results indicate that raw material and manufacturing method are not same for 5 green-glaze samples from Sacheonwang temple site and therefore suggests that further study on the provenance of raw material such as lead isotope analysis is necessary. Our work will provide basic data for future reproduction study of green glazed brick of Sacheonwang temple site, Gyeongju and will also serve as a reference data for the study of raw material and manufacturing method of green glaze from other sites of cultural assets.

The Emergence and Development of the Lamaist Gateway of $Lokap\bar{a}las$ during the $Jos\breve{o}n$ Dynasty - Some problems on the orientation of the Gateway of Lokapala and on the allocation of the Four Guardian Kings - (조선시대 라마계 천왕문의 수용 및 전개에 대하여 -천왕문의 배치와 사천왕 배열에 관한 문제-)

  • Yi, Dae-Am
    • Journal of architectural history
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    • v.16 no.6
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    • pp.47-66
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    • 2007
  • $Lokap{\bar{a}}las$ are understood as the deities of four directions in Buddhism: $Dhrtar{\bar{a}}stra$ in the East, $Vir{\bar{u}}dhaka$ in the South, $Vir{\bar{u}}p{\bar{a}}ksa$ in the West and $Vai{\acute{s}}ravana$ in the North respectively. Their common name is, therefore, called as the "Four Guardian Kings", whose function is to prevent demonic forces from entering into its sacred world. Although the position of $Lokap{\bar{a}}las$ is to the lowest level in the hierarchy of the minor deities in Buddhism, the cult of $Lokap{\bar{a}}las$ was widely spread and prominent in the countries of Northern Buddhism. It played a significant role in terms of the state-protecting Buddhism, on behalf of it's esoteric and magic power. More than 20 Gateways of the $Lokap{\bar{a}}las$ and $Lokap{\bar{a}}la$ statues were still well preserved in Korea, and they were believed to be constructed after the Japanese attack in 1592. After war, monks had concentrated on restoring ruined temples and building many new Gateways of the Four Guardian Kings over the Korean peninsular. Under such circumstances, even though the $Lokap{\bar{a}}las$ played a significant role as the subject of cult in Korean Buddhism. they might have a small chance to be taught traditional Lama iconography exactly. The purpose of this essay is to examine the relation of orientation of the Gate way of $Lokap{\bar{a}}las$ and allocation of each Kings inside the gate.

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A Study on the Architectural Development of Four-Guardian-Statutes Building-Gate in 17th Century (17세기 사천왕상 천왕문(天王門)의 건축형식 전개(展開)에 관한 연구)

  • Ryoo, Seong-Lyong
    • Journal of architectural history
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    • v.21 no.5
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    • pp.69-82
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    • 2012
  • This study is basically about four-guardian-statutes-building-gate in 17th Century. In the field of art-history, there are four-guardian-statutes made of clay in order that the statutes are so gigantic and grotesque enough to threaten all the devils. This purpose of this study is to make sure that the similar variation occurred at the four-guardian-statutes-building-gate in 17th century. The results of this study are as follows. First, only Da-Po style four-guardian-statutes-building-gates were built in famous four temples separately from 1612 until the Manchu war of 1636. And there are gigantic four-guardian-statutes made of clay in the building. Second, there are Chul-mok Ik-gong style buildings were built in 1660s at Bo-Rim-Sa and Neung-Ga-Sa. The buildings including four-guardian-statutes-building-gate of Song-gwang-sa built in 1636 probably are all similar to earlier Da-Po style four-guardian-statutes-building-gates in the viewpoint of structural type and size of building. Third, it began to build Ik-gong style four-guardian-statutes-building-gates in 1676 at Su-ta-sa.