• Journal of The Korean Digital Architecture Interior Association
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• v.6 no.1
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• pp.41-48
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• 2006

The research which it led and it tried to observe the layout of Hwa-Um buddhist architecture by Avatamska sutra. The avatamska sutra is one of the scriptures which are important from Buddhism and Hwa-Um buddhist architecture is same channel. Sip-ji-pum that it includes the contents of avatamska sutra is most important. Hwa-um buddhist architecture can divide the major space into a three precinct. First, the gate to a Buddhist temple(A step of self interest. Second, Ru and a building for Buddhist priest(A step of Altruistic act). Third, A Buddhist sancturary(A step of Religious ascetic). From the above results, we can know that site layout of Hwa-um buddhist architecture in the Hwa-um sect relations to the dogmatic background, thought.

• Journal of architectural history
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• v.20 no.5
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• pp.95-109
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• 2011

The building for the Sutra appeared as the Sutra-belief became popular in the early years of the Koryo Dynasty. According to the written documents, there were two types of apparatus to keep sutras, one by fixing the cabinet to the wall and the other by rotating the cabinet at the center of the hall. There are no remains. Recently, at the excavation of the site of the Yeongguk Temple (寧國寺) in the Chungcheong Prevince (영동군), a building which was presumed as the Sutra Hall was recovered at the side of the Main Hall. At the center of the building, of 6meters width and 6meters depth, there was a large stone which had a round trace which was presumed to supporting the rotating sutra-case cabinet. By examining the concerned situations, this building was concluded as the Sutra Hall of the temple. The Yeongguk Temple had a close relationship with the royal household. Budddhist monk Gwangji, son of the 16th King Yejong was lived at the Temple. the tomb of King's advisory priest Wongak was also erected at the Temple. Two monks were well known as the defender of the Sutra. The Sutra Hall of the Yeongguk Temple regarded as a significant example which showed us how the archtectural aspect of the Sutra Hall was shaped in the Koryo Dynasty. It could be said that revealing the architectural aspect of the Stura Hall will help revealing the Buddhist architecture of the Koryo Dynsty which is veiled in many field.

• Journal of architectural history
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• v.22 no.5
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• pp.23-35
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• 2013

This study aims to investigate the architectural characteristics of the Da-bo stupa by examining the correlation among architectural languages and by studying the features of its architectural components and transitional changes shown in Da-bo stupa line drawings in Dunhuang Mogao Grottes. The results are as follows. 1st, the Da-bo stupa of Dunhuang faithfully follows the sutra of lotus, and although the form changes, the fundamental essence of Bo-tap-yong-chul and two seated Buddhas provided by the Gyun-bo-tap-pum in the sutra of lotus is consistent. 2nd, the pagoda body can be periodically divided into parasol, stupa, and royal palace types. The parasol type has an incomplete tower body, which makes distinguishing each of its architectural components difficult. The stupa type appeared between the early (AD 618-712) and middle (AD 766-835) Tang dynasty. It combines the form of Indian stupa type and East Asian wood structural architecture. The royal palace type, which appeared between the peak period of the Tang (713-765) and Sung Dynasties, shows the standardized pattern of the Da-bo stupa described as two seated Buddhas and Bo-tap-yong-chul. 3rd, the use of a stylobate does not appear in the early construction of Da-bo stupa, only in the later period, in the form of high pillars. Forms include many Su-mi-jwah and three-way stairways and Dab-do, but as time passes, the forms are simplified to the form of high pillars. 4th, the purpose of early Da-bo stupa was to provide space for Da-bo-yu-rae of Gyun-bo-tap-pum; hence, it did not have sangryoon(the top part). However, after it was influenced by general pagodas, sangryoon was established. Toward the Tang Dynasty, sangryoon has come to emphasize the forms of boryoon(nine wheels) or dome. However, this form is eventually simplified to only retain bo-joo(the orb).

• Journal of architectural history
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• v.16 no.6
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• pp.101-120
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• 2007

This paper aims at studying on the medium of cultural interchange regarding who did and how to introduced the new trend of architecture during the period of Koryo Dynasty. Before the era of Koryo Dynasty, Kyungjang(Sutra Pitaka, 經藏) was mainly centered in Kyeongnu with a substantial function of storage. In the early Koryo Dynasty, however, Daejangjeon(大藏殿), which was spatialized for worship, began to appear. Normally, fixed walls were installed and the Sutras were enshrined inside Daejangjeon, while Jeonryunjang (revolving wheel sutras), a type of rational bookshelf, was introduced, and a new trend became developed in Kyungjang construction. Jeonryunjang(revolving wheel sutras, 轉輪藏) is a dharma instrument with a rotational function so that one revolution gives an effect of reading the enshrined Sutra one time, and began to be created actively in the period of the Northern Song. It is considered that the introduction of Jeonryunjang(revolving wheel sutras) to Daejangjeon was resulted from Haejokuksa(慧照國師) Damjin(曇眞) who visited the Kangnam areas in the Northern Song at that time. The Kangjeol areas in the Northern Song, where Damjin concentratively itinerated three times, were the place in which Jeonryunjang was created in many temples. Since Damjin, historical materials and excavated data regarding constructing Jeonryunjang have been discovered in the Buddhist temples, which are related to his pupils and dharma lineage. The only existing Jeonryunjang of Yongmusa Temple in Korea is the one that Joeung Daesunsa, who succeeded to the dharma lineage of Haesokuksa, promoted, and supports strongly such introduction of Jeonryunjang by Haesokuksa.

• Korean Institute of Interior Design Journal
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• v.16 no.4
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• pp.3-11
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• 2007

We study, in this paper, on the decorative design of the Treasure-architectural form for the Silla Buddhist reliquary and this research went through the observation on the Buddhist Reliquaries of the Song-Lim-Sa, the Eastern-Western three floor pagodas in the Kam-Eun-Sa, the three floor pagodas in the Bul-Guk-Sa and the reportedly discovered Nam-Won. The Buddhist reliquaries of these 5 Reliquaries, when compared with those of China and Japan in the same period, they worshiped the Buddhist reliquary as a Buddhist God itself and put them as a part of the architectural decoration, being installed in the construction forms. In the form and the composition of the architecture, we can see those having been designed with very detailed and brightly decorated form. The Buddhist reliquaries in the Song-Lim-Sa and Kam-Eun-Sa, the most important ones in this research, were in a royal palace shape having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. In particular, for the case of Kam-Eun-Sa, the columns in the shape of bamboo trees, the expression of the gates, the terrace of double parts formed of word-shape Man, and the statue of a general with superhuman ability in the shrine explain us the description of the Gyun-Bo-Tap-Pum of Lotus Sutra. After all these researches, we conclude that the Buddhist reliquaries in form of the Treasure-architecture represented the architectural style of the same period as a form of industrial arts and we can see that they tried to use all of their highly skilled and talented methods to describe the Buddhist Pure Land.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.57-66
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• 2022

Since the discovery of the inscriptions engraved with the "Chinese characters of Empress Wu(則天文字)" at 251 and 256-1, Seonjin-ri, Sacheon-si, Gyeongsangnam-do in 2003, researchers from the Gyeongnam Institute of Cultural Properties, Kwak Seung-Hoon, and Kim Chang-Gyeom have attempted to read and interpret the inscriptions. However, there are still different theories as to the origin of the "Chinese characters of Empress Wu" appearing in the inscriptions and the use of Idu(吏讀)-type notation. This study aims to clarify, this inscription was erected by the king of Silla in the late 7th and mid-8th centuries to commemorate his participation in the Sacheon and Jinju patrols and Buddhist activities, and it is revealed that the main character of the inscription is likely to be King Seongdeok who has visited southern countries. In addition, in the case of "上了言", which has been interpreted as a human name, it should be understood as an Idu-type notation or a 變體漢文 because of the use of the proposition 了, and it should be interpreted as a character that means the end of a specific act. Although it is not a religious text like 『Mugujeonggwangdaedaranigyeong (The Great Dharani Sutra)』, the reason why the "Chinese characters of Empress Wu(則天文字)" was used is that in the process of accepting the Huayan school, the royal family of Silla came into contact with the Buddhist scriptures of the period of the Empress Wu, which is closely related to the rise of the Huayan school in the Middle Ages, and it appears to have learned and used in this process.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.238-259
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• 2021

Gameunsa Temple is a Buddhist temple from the mid-Silla period. Construction began during the reign of King Munmu and was completed during the second year of King Sinmun's reign (682). This study is based on the results of excavations at the Gameunsa Temple site, exploring the findings presented in the literature in the field of history. This study also investigates the characteristics of the construction plan of Gameunsa Temple and its correlation with the political, social, and religious environment of the time. The results of the study are as follows: (1) First, it is confirmed that all of the buildings in the central block of Gameunsa Temple, such as the pagoda and corridor, the central gate, and the auditorium, fit within 216 cheoks by 216 cheoks (Goguryeo unit of measurement, estimated dimensions 353.30 mm), in terms of the base structure. This fact is highly significant considering the intent of the King in the mid-Silla period to advocate Confucian political ideals at the Donghaegu sites (Daewangam, Igyeondae Pavilion, and Gameunsa Temple), as confirmed by the relationship between the 'Manpasikjeok legend' and the Confucianism of the etiquette and the music; the relationship between the name of the 'Igyeondae Pavilion' and the 'I Ching'; and the relationship between the 'Taegeuk stones excavated from the Gameunsa Temple site' and the 'I Ching.' Additionally, it may be presumed that the number in the "Qian 216" on the Xici shang of 'I Ching' was used as a basis for determining the size of the central block in the early stages of the design of Gameunsa Temple. The layout of the halls and pagodas of Gameunsa Temple was planned to be within a 216-cheok-by-216-cheok area, from the edge to the center, i.e., on the central axis of the temple, in the following order: the central gate and auditorium, the north-south position of Geumdang Hall, the south corridor, the east-west buildings of the auditorium and the winged corridor, the east-west corridor, and the central position of the east-west stone pagoda. (2) Second, the coexistence of Confucianism and Buddhism in the architecture of Gameunsa Temple is based on the understanding of the Golden Light Sutra, originating from the aspirations of King Munmu to obtain the immeasurable merits (陰陽調和時不越序 日月星宿不失常度 風雨隨時無諸災横) and the light of the Buddha, which is metaphorically represented by the sun and the moon illuminating the whole world of Silla, a new nation with a Confucian political ideology, for a long time by "circumambulating the Buddha (旋繞)". It is also presumed that Gyeongheung, who was appointed by King Munmu to be the Guksa in his will and appointed as the Gukro after the enthronement of King Sinmun, was deeply involved in the conception and realization of the syncretism of Confucianism and Buddhism.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.71-82
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• 2016

Through literature review and on-site survey of Gimcheon Bangcho pavilion(芳草亭), the features of garden design(庭園意匠) including geographic conditions, landscape modeling of Nujeong(樓亭) and Jidang(池塘, Pond), and scenic interpretations in Nujeong Jeiyoung poetry(樓亭題詠詩) have been carefully researched and the findings are presented below. Bangcho pavilion is located in a village called Wonteomaeul, which belongs to the feng shui state of golden hairpin and floating lotus. It has long been the cultural hub of communication and social interactions among the villagers. The Head House of Jeongyanggong(靖襄公宗宅), the main house(本第) of the Yeonan Yi Clan(延安李氏), is about 150m away from Bangcho pavilion, an artistic space whose landscape modeling is of the form called Nujeong. The name 'Bangcho' reflects the noble man(君子)'s determination: "I yearn for the place where honey parrots fly and the fragrant grass grow." From the two story structure of the pavilion where there is an additional floor installed to the central ondol room by a four-sided subdivision door, one can detect the aspiration of the men for pursuing an open view. One can also observe the efforts in designing the room to be used for multiple purposes from a private place to an office for periodic publication of a family lineage document called "Garyejunghae(家禮增解)". Bangcho pavilion's main sight of interest is Mrs Choi's Pond(崔氏潭), the one and only garden structure that comprises the twin round island of square pond(方池雙圓島) among the existing Jidangs in Korea. In this special Jidang, there are two coexisting islands that represent a well thought out garden facility for symbolizing conjugal affection and unyielding fidelity between master and servent(主從). In addition, the three inflows and one outflow facing the Ramcheon valley is regarded as an ideal garden design optimized for performing the function of a village bangjuk which is the site for undercurrent creation and ecological reprocessing. At present, Giant pussy willow is the only circular vegetation identified in the area of Bangcho pavilion, although this plant species is about to wither away judging from the signs of decrepitude that seems to persist for two out of three weeks. The old pine tree that appears in the 1872 Jeiyoung poetry of Byeongseon Song(宋秉璿) no longer exists. Anjae(安齋) Jang Yoo(張瑠)'s "Eight Scenary on Bangcho pavilion(芳草亭八詠)" and its expansive reproduction "Ten Scenary on Bangcho pavilion(芳草亭十景)" from Gwagang(守岡) Lee Manyoung(李晩永) depict vividly the pastoric scenery of an idyll(田園景) that stretches throughout the natural and cultural landscape of the province of Gimcheon and Guseong surrounding the Bangcho pavilion. The Bangcho pavilion sutra aims to establish Bangcho pavilion and the village of Wonteomaeul as the centre of microcosmos by dividing and allocating its scenic features according to the four seasons and times(四季四時), the eight courses(八方) and the meteorological phenomena, and it is the incarnation(顯現) of landscape perception upon the Byeol-seo Scenic site of Bangcho pavilion, the cultural hub of the region.