• Journal of architectural history
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• v.14 no.2 s.42
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• pp.41-55
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• 2005

Temple with Multi-Buddha's Pavilions is a temple consisting of more than 2 Buddha's Pavilions. Individual Buddha's Pavilions tend to form distinguished area, or to keep independent axis from other Buddha's Pavilions. This study is to understand the philosophy of layout of individual Buddha's Pavilions located in the Temple with Multi-Buddha's Pavilions. To investigate a relationship to layout of individual Buddha's Pavilions on the basis of Buddhism doctrine makes us to understand philosophies about temple layout which temple constructors had. Bulkooksa, a temple having several pavilions placed in parallel, integrates diverse philosophies such as Vairocana Buddha-Ksetra from Vairocana Buddha's Pavilion, Sakyamuni Buddha-Ksetra from both Sakyamuni Buddha's Pavilion and two stupa, and Amitayus Buddha-Ksetra (Sukhavati) from Amitayus Buddha-Ksetra Pavilion. Sakyamuni Buddha's Pavilion and Amitayus Buddha's Pavilion are placed east to west in parallel, and Vairocana Buddha's Pavilion is placed behind them. Beobjusa, a temple having several pavilions placed cross axis, combines three axes such as the first, main axis linking Kumkang Gate - Chunwang Gate - Palsang Pavilion - Amitayus Buddha's Pavilion - Sakyamuni Buddha's Pavilion, the second axis linking Palsang Pavilion -Maitreya Pavilion, and the third axis linking Amitayus Buddha's Pavilion - Avalokiteshvara Pavilion. Relationship among each Buddha's land is clearly expressed by means of this cross axis layout of Buddha's Pavilions, reflecting a philosophy of rebirth in Nirvana that Wonhyo and Eusang propagated. Buseoksa, a temple having several pavilions placed the before and the behind, combines three Buddha's lands such as Maitreya Buddha-Ksetra, Amitayus Buddha-Ksetra and Vairocana Buddha-Ksetra, by means of arrangement of Maitreya Pavilion, Anyang Pavilion and Amitayus Buddha's Pavilion at bended axis, and east facing Amitayus Buddha. By investigating the philosophy of Temple layout with Multi-Buddha's Pavilions in this study, Buddha's Land conception, for people, that ancient Korean temples have, is understood.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.43-54
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• 2022

Focusing on head temples in 25 parishes of Jogye Order, this study compared and analyzed the ancient literatures involved in the writing source of pillar tablets and the space layout drawings in order to examine awareness patterns of space in terms of contents of pillar tablets and Buddha and Bodhisattva enshrined in major temple sanctums in Korea. The research findings are briefed as follow: First, the different Buddhas enshrined in sanctums can be categorized and explained in accordance with their body(體), form(相) and use(用) based on Awakening of Mahayana Faith. In particular, Sakyamuni Buddha is for form(相), Amitabha Buddha and Avalokiteśvara for use(用), and Vairocana Buddha for body(體). Second, the pillar tablets of main sanctums signify oath and thoughts of the enshrined Buddhas and Bodhisattvas focusing on main Buddhas and serving Buddhas. Third, the content of pillar tablets is to symbolize and signify Buddha land where main Buddhas are always existing as they are focusing on the enshrined main Buddhas. That is, such content is to praise for Buddha. Fourth, every sanctum pillar tablets of temples express the content of attaining spiritual enlightenment for the self-cultivating truth seekers and saving all sentient beings for main Buddhas who are saving human. That is, every space of temples are perceived as "escaping torment and achieving pleasure(避苦得樂)".

• The Journal of Korean Philosophical History
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• no.32
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• pp.371-394
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• 2011

Buddhism have affected Korea traditional education very much. Sam Guk Yu Sa is a book which includes the public disposition grounded on world view of Buddhism. In the wide scope, the public disposition relates to their cultivating education. This paper reviewed cultivating education grounded on John Dewey "experience-learning" model about the Buddhistic public disposition appearing in Sam Guk Yu Sa. "Meaning-experience" as "adult-becoming" appearing in Sam Guk Yu Sa shows a strong characteristic of cultivating education when we see on a creative horizon in the Buddhistic world. Dewey-Deleuze's cultivating education which modernizes the theory of John Dewey meets at the place of the public disposition and three fables of Sam Guk Yu Sa grounded on the Buddhistic world. This could open possibility to interpret the cultivating theory of Korea traditional thought and western educational theory with interdigitation. Fables of Sam Guk Yu Sa dealt with growth and maturity of the public from Buddhist monk to folk wishes to achieve Bulgukto(佛國土; the land with Buddha) through the process of cultivating education which leads to "impulse-observation-knowledge-determination." In these series of process for "adult-becoming," life itself possesses characteristic of cultivating theory. In this respect, fables of Sam Guk Yu Sa shows Korea traditional cultivating theory and can be a role of a discourse book for cultivating educational theory which could relate to western educational theory.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.242-281
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• 2010

There are a large number of Buddhist cultural relics in Mt. Namsan. The cultural relics carry the spirit of people of Shila who dream of Buddhist Elysium and the establishment of Buddhist nation. In the valley and the top of the mountain and on various rock cliff, stone statues of Buddha and stone pagodas stand in harmony with nature. For that reason, Mt. Namsan is called an open-air museum. And it played an important role in establishing 'The UNESCO World Heritage' status for Gyeongdju in December 2000. But sadly, there are many stone relics that have eroded away and damaged from collapsing in the passage of time. The seated stone statue of Buddha in Samreoung valley of Mt. Namsan is one of them. It was created between the 8th and 9th century, and restored without much care nor extensive historical research in 1923. As a result, The face of the Buddha remained with concrete mortar and its nimbus fallen backward and destroyed. Therefore, restoration and repair as well as creation of a statue environment for the statue were urgent. So we immediately started in restoration and repair. First, through the archaeological excavation around the stone Buddha, we carried the stone Buddha on the original position. In order to restore the statues to its original glory created by the Unified Shila Dynasty, we created a restoration plan in corporation with art historians and historians, then restored the jaw and the damage nimbus. Second, we made the weathering & damage map of the stone Buddha. In order to prevent second damage, we cleaned the surface of contaminants with distilled water. Third, we studied restoration method to prevent artificial damage. We recreated parts of his face and halo. Then each parts of the statue were restored to their original position. In the whole process of restoration, we tried to use traditional techniques.