• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.265-280
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• 2022

Hwangnyongsa Temple was the large Buddhist monastery of Silla that has existed for about 685 years. The temple underwent a series of excavations from 1976 to 1983, during which it was discovered that its layout consisted of one pagoda and three main dharma halls. This discovery also led to the production of four artistic depictions of the temple at various times from its foundation to its final phase. Previous studies on the architectural layout of Hwangnyongsa Temple are largely focused on the inner sanctuary ("Buddha's Land"). The studies on the temple's main architectural structures may be natural for those who are interested in the origins of and background to its establishment, but the studies on its outer sanctuary ("Sangha's Land") have to come first to acquire a deeper knowledge of the architectural layout of the temple as a whole. To gain a comprehensive understanding of the entire layout of Buddhist monasteries of the Silla dynasty, including both their inner and outer sanctuaries, the studies on Hwangnyongsa Temple are essential as it was once the kingdom's most highly honored temple. The studies on Korean Buddhist monasteries of the Three Kingdoms Period have produced only a limited amount of information concerning the outer sanctuary, resulting in little evidence about the exact scope of the temple's sanctuary. Meanwhile, the excavations of the Hwangnyongsa Temple site have revealed the archaeological features of the walls that divided the monastery and its neighboring facilities, thus helping to delineate the size of the temple site. The excavations have revealed the boundaries between the inner and outer sanctuaries of Hwangnyongsa Temple, as well as the entire temple precincts and the exterior, providing valuable information about the changes made to the layout of the temple. In this study, the main discussion focuses on the changes made to the sanctuary of Hwangnyongsa Temple during the Unified Silla and Goryeo Periods, particularly in relation to the architectural layout of the temple. The discussion is based on a review of the periods in which the Nammunji(South Gate site) was built, which provides tangible evidence about the expansion of the temple to the south, and the walls enclosing the temple precincts on the four sides and the changes that occurred afterwards. As a result, the study concludes that both the inner and outer sanctuaries of the temple probably changed through the 1 st and 3rd. It also concludes that the changes made to the architectural layout of Hwangnyongsa Temple were intended not only to alter the scope of the temple but were also closely associated with the politico-geographical significance of its location at the center of the royal capital of Silla and the urban archaeological remains around it.

• Journal of the Korean association of regional geographers
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• v.6 no.3
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• pp.53-81
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• 2000

The purpose of this study is to examine the chracteristics of the location of Zen Buddhist temples which are the Nine-Mountain Sects of Zen(九山禪門) from feng-shui perspective. A large number of temples have been built for about 1600 years since Buddhism had influenced on Korea. They have been built nationwide in different times by different sects of Buddhism. The pattern of location of Buddhist temples is different according to background of the times (political, economic, cultural aspect) and of tenet(difference in sects of Buddhism) when the temples were built. But the general location of Korean Buddhist temples is in accordance with feng-shui theory. Feng-shui is a traditional geographic thought in China and Korea. It is necessary to understand feng-shui in order to understand Korean landscape and cultural geography. It had given a tremendous impact on Korean landscape through choosing site of cities, settlements, houses, mounments, temples, pagodas, and so on. Before feng-shui was prevailing in Korea, Buddhist temples were mostly built on sacred place which was connected with folk beliefs. In the case of the late Silla Dynasty when Zen Buddhism was prevailing, feng-shui became popular and many. temples were built in accordance with feng-shui. The typical examples are found in the site of Nine-Mountain Sects of Zen temples. The interpretation of geomantic site of Nine-Mountain Sects of Zen temples will show us how feng-shui was applied to and reflected in the Korean peninsula. In Zen Buddhism, feng-shui was applied to the choice of the temple site. Also feng-shui theory was usually used to choose the site of stupa(Budo) where the remains of the founder of sect. In this study, I will interpret the geomantic characteristics of Nine-Mountain Sects of Zen temples. The geomantic interpretations of the temples are as follow. 1. The temples are located at the foot of a hill with surrounding mountains and a watercourse in front. Feng-shui texts often describe it as an ideal site. This geomantic situation is well equipped with natural drainage; protection from cold wind from the north or evil spirits; a good view with open space to the front; protection from unnecessary weather damage; and security and protection from strangers and invaders. 2. The sitting and facing direction of the temples correspond to the oncoming dragon's direction. 3. Many feng-shui texts discuss the types of Sa(surrounding mountains) in detail and morphologically describe them with certain animate and inanimate auspicious objects. In case of Nine-Mountain Sects of Zen temples, the geomantic landscape of these can be compared to auspicious objects. This is morphological marker for the description of configulation features of these temples. 4. Most auspicious places are not perfect, but the shortcomings can be overcome by many means. We can observe modification of landscape for the purpose of fulfilling the geomantic harmony of the temple.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.110-133
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• 2009

This study is on the types and characteristics of foundation and basestone which can be seen in remains of Baekje and Silla in beginning study of them in ancient Korean architecture. This is a close investigation that division of the shape of the basestone and the type of Jeoksim(積心, the supporting part under the basestone) and foundation under the ground. Also it can be seen that the difference of construction technique and the relation with each part. The research objects are the remains of temples which had been excavated or are been excavating now in Baekje area and in Silla from 6th to 8th century. Results of research published in north Korea are quoted for the remains in Goguryeo being unable to be seen as they are in north Korea. If it had been possible to visit the sites, the materials would have been collected from the direct investigation. Otherwise they are collected from the excavaion results published. After that the basestone and the foundation could be divided according to several types. Also each types can be compared and studied according to times and building use. The results are follows. There are some different characteristics between Baekje and Silla in the technique of foundation, jeoksim, and basestone. Through them it is possible that the arhitectural technique of Baekje had been introduced to not only wooden pagoda in the erection of hwangryongsa temple. These results are considered limited in a few remains grasped the characteristics so it should be complemented continuously as the outcome of excavation of architectural remains will be accumulated to.

• KOMUNHWA
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• no.57
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• pp.145-155
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• 2001

The Volume 64 of Dongmunsun (東文選) compiled at the beginning of Yi Dynasty carries the document of the octagonal lantern shaped pavilion compiled by Chi-won Choi, a great scholar in the late Silla Kingdom. In this paper, I showed the entire document of the

• Korean Journal of Heritage: History & Science
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• v.41 no.1
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• pp.57-78
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• 2008

According to the previous studies about Shilla's cremate grave, in the process of importing the cremate grave, there has been correlation with Chinese Buddhism, and there have been a lot of mentions about the change of the grave, Yinwha(Stamp) patterns and its existence, and about the characteristics of the vessels to contain the bones. The cremate grave is categorized into two-parts type and mono-type, depending on the dead person. The cremate graves that are in local areas such as Wang-Gyeong, show difference in types. The typical vessel to contain the bones, called "Yeongyeol Gori Yoogaeho" is again proved to have existed from A.D 8c. ~ A.D 9c., judging from the Yinwha pattern stamp's existence. Yet, the Yeongyeol Gori Yoogaeho from 9th century used the patternless pottery, also seen from the Won-wha 10 yeon-myeong cremate grave. Due to the prosperity of Buddhism, when the "Mukuchonggwang Taranikyong(Sutra)", translated into Han language in 704 at Dang, was imported into Shilla, the funeral ceremonies of Shilla people changed from making cremate graves with vessels or scattering the bones in oceans, into building stupas in temples with hopes and wishes to bring oneself and family's fortune and the next life of the dead. As a result, the meaning of "Grave" disappeared for the cremate graves, and rather the ceremony changed into scattering bones and wishing fortunes for the dead person. In other words, the ancestor-worship ceremony which was focused on the tomb changed into commemorating the ancestors and wishing individual fortunes by the religious assembly in temples and the building process of stupas. In conclusion, this social change was the cause of the extinction of stone chamber with tunnel entrance and the tombs such as cremate grave.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.159-169
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• 2011

This research aims to discover how the pure land(Sukkavati), which had the greatest impact on ordinary people since the Shilla period, are represented in the Buddhist temples. This study first looked into the seven landscapes of the pure land, which are written on the $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$ a reliance on $s{\bar{u}}tras$ of the Pure Land School. Then, their meaning in the modern world were interpreted. Next the research moved on to the next step to see how the spirit and ideas of the pure land are shown in temples of the Pure Land School. Korean temples of the Pure Land School were found to faithfully embody the landscapes of the pure land in the $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$. One might say that those landscape traits of the temples surveyed are common among all Korean buddhist temples, but in the temples of the Pure Land School. those traits consistently reflect special concepts, forming their landscape identity. But ponds, on which the $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$ and the picture of $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$ put huge emphasis and drawn without an exception, were hard to find among the temples surveyed. This means that previous idea that a pond was an indispensible part in the temples of the Pure Land School needs to be corrected.

• Journal of the Korean Geographical Society
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• v.44 no.1
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• pp.77-88
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• 2009

In Korean history, Fengshui and Buddhism were closely connected in a harmonious and interrelated manner, together influencing the location and function of Buddhist temples, the forming of social and spatial ideologies, the spread of Fengshui, the development of Buddhist Bibo-Fengshui, ete. The interaction between Fengshui and Buddhism, which began after the introduction of Zen Buddhism in the late-Silla period, acted as a spatial ideology that empowered the powerful local gentries to trigger a social upheaval in the late-Silla period and was used by the government leaders for political purposes throughout the Goryeo period. In the Joseon period, the link between Buddhism and Fengshui weakened and was felt only at a grass-roots level.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

• Conservation Science in Museum
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• v.24
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• pp.99-116
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• 2020

This study examines the results of analyses of the lead isotope ratio and chemical composition of lead glass and green glaze from ancient Northeast Asia in order to suggest their production sites and reveal further characteristics. The comparison of the lead isotope ratio of lead glass and green glaze from two Baekje remains in Iksan-the Wanggung-ri Site and Mireuksa Temple Site-suggests that they were produced to the west of the South Gyeonggi Massif (Zone 4) using lead extracted from the same area. With a few exceptions, it has proved difficult to identify the production sites of most of the green-glazed roof tiles from Unified Silla-period Buddhist temples across Northeast Asia. The major component of the lead glass from Baekje, Silla, China, and Japan during the seventh century is PbO, SiO₂, Al₂O₃, CuO, and Fe₂O₃, with a ratio of PbO and SiO₂ of 70 and 30 wt.%, respectively. The green-glazed roof tiles excavated from a temple from the Unified Silla period have a high proportion of lead, ranging from 64 to 90 wt.%. Green-glazed lozenge tiles excavated from the Sacheonwangsa Temple site in Gyeongju were shown to contain PbO, SiO₂, Al₂O₃, and CuO, a similar composition with lead glass. An experiment was conducted to reproduce a glaze according to the production method mentioned in the Zō hotokesho sakumotsu-chō (Buddhist statue workshop crop book) in the Shosoin Repository. In this experiment, an identical ratio of PbO was observed for Japanese green-glazed ceramics from the eighth to eleventh century as that found in Chinese lead-glazed ceramics excavated from kilns operated from the seventh to tenth century in Henan. This indicates that production methods for lead glass and glaze were shared across Northeast Asia.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.184-205
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• 2019

Buddhism was introduced to Gyeonggi-Do early on and thus created various types of Buddhist culture there. Since the introduction of Buddhism into Gyeonggi-do, the there has been continuous construction of stone stupas. More stone stupas were built in southern Gyeonggi than in northern Gyeonggi-do. In particular, Anseong, Icheon, Yongin, and Yeoju were centers of construction. Looking at the characteristics of each period, stone stupas remain from the Unified Shilla Period to Joseon, indicating that stone stupas were steadily built during this period. The stone stupa corresponding to the Unified Shilla Period is meaningful in that it shows the northern limit of Shilla Buddhist culture. Since then, the stone stupas of the Goryeo Dynasty were actively constructed in the southern part of Gyeonggi-do in the early Goryeo Dynasty. By the late Goryeo Dynasty, the stupas were built throughout Gyeonggi-do, indicating that the construction of the stupa was active. In the Joseon Dynasty, stone stupas were built in temples near Hanyang and deeply related to the royal family. Stone pagodas were erected mainly on major traffic routes. Stone stupas built in Gyeonggi-do have a variety of artistic and historical significance.