• 건축역사연구
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• 제14권2호
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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.

• 한국전통조경학회지
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• 제40권1호
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• pp.43-54
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• 2022

본 연구는 조계종 25교구 본산을 중심으로 한국 전통 사찰의 주요 법당 내 주련의 내용과 봉안된 불·보살과의 공간의 인식 양상을 살펴보기 위해 주련의 출전에 해당하는 고문헌과 공간배치도를 비교·분석하였으며, 도출된 결과를 요약하면 다음과 같다. 첫째, 사찰 봉안 제불(諸佛)의 분류 특징은 『대승기신론』의 기록을 바탕으로 체(體), 상(相), 용(用)에 따라 분류하여 설명이 가능하였다. 구체적으로 석가모니불은 '상(相)', 아미타불과 관세음보살은 '용(用)', 비로자나불은 '체(體)'에 상응하는 것으로 나타났다. 둘째, 주요 법당의 주련은 주존불과 협시불을 중심으로 각 봉안 불·보살의 서원(誓願)과 사상을 의미하는 것으로 나타났다. 셋째, 주련의 내용은 봉안한 주존불을 중심으로 각 주불이 항상 자재(自在)하고 존재하는 불국토를 상징하고 의미하는 것으로, 찬불(讚佛)의 내용으로 구성되었다. 넷째, 사찰의 각 주요 법당의 주련은 참방하는 구도자(求道者)들에게는 상구보리(上求菩提)의 내용과 중생들을 제도하는 주존불의 입장에서 하화중생(下化衆生)을 표현하여, 사찰의 각 공간이 '피고득락(避苦得樂)'으로 인식되고 있음을 확인할 수 있었다.

• 자연과학논문집
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• 제14권1호
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• pp.123-138
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• 2004

평지형 사찰의 경관현황을 개관하고 경내 수목의 식재현황, 유형 및 각 사찰이 지니고 있는 특성과 수목간의 연관성을 구명하기 위해 월정사, 신흥사, 신륵사 및 미타사를 대상으로 2000년 3월부터 9월까지 답사, 조사하였다. 그 결과는 다음과 같다. 4개 사찰의 대웅전 앞에는 수목이 식재되지 않았다. 다만 예외적으로 대웅전의 역할을 하고 있는 월정사 적광전에는 산철쭉 외 5종의 수목이 식재되어 있었다. 신흥사 및 신륵사의 극락보전과 월정사의 무량수전에는 공통적으로 주목이 식재되어 있는 것이 관찰되었으며, 월정사와 미타사에서는 금송도 식재되어 있었다. 특히 월정사의 조사당, 무량수전 및 삼성각에는 한결같이 금송이 식재되어 있었다. 월정사의 적광전과 삼성각, 및 신흥사의 극락보전에는 수수꽃다리가 식재되어 있음이 관찰되었고, 신흥사의 명부전과 신륵사의 극락보전에서는 불두화가 관찰되었다. 한편 신흥사와 신륵사에 식재된 향나무는 양 사찰의 대표수종으로 자리하고 있었다. 수목과 각 사찰건물간의 연관성에 대해 종합적으로 고찰하였고, 평지형 사찰에서 수목을 식재할 때 활용할 수 있는 모형을 제시하였다.

• 헤리티지:역사와 과학
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• 제51권1호
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• pp.126-147
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• 2018

조선전기 제작된 관경변상도는 전환기 조선사회의 시대상 뿐 아니라 당시 사람들의 정토인식이 화면의 구성과 도상에 잘 투영되어 미술사적, 문화사적 가치가 높다. 조선 15세기 관경변상도는 모두 3점으로 이중 1435년 <지온지 관경변상도>와 1465년 <지온인 관경변상도>는 왕실인물과 고위승려의 발원으로 조성되었다. 이 두 작품은 1323년 <지온인 관경변상도>의 구성과 도상을 계승하면서 변화시켰을 뿐 아니라 고려후기에 융성했던 천태종(天台宗)의 정토신앙경향을 계승하고 있다. 이는 고려 왕실과 귀족사회에서 선호했던 자력적(自力的)인 정토신앙의 경향이 조선의 왕실에도 이어지고 있다는 것을 말해준다. 천태사상의 영향을 받은 정토신앙은 조선전기까지 계승되어 천태종이 불교의 통폐합과정에서 선종에 흡수되기 전까지 유지되었다. 천태정토신앙의 경향은 이 두 작품이 각각 천태승 행호와 행호를 진불(眞佛)로 모셨던 왕실의 어른 효령대군이 발원하였다는 사실로도 뒷받침된다. 한편 유교를 국가의 통치이념으로 내세운 조선사회가 안정화되어 감에 따라 관경변상도를 포함한 정토불화들은 점차 변화가 생기기 시작하였다. 이러한 변화는 교학적이고 자력적인 정토인식보다는 아미타불의 힘에 의해 구원받고자 했던 타력적인 정토신앙이 확산되는 시기와 맞물린다. 변화를 명확하게 보여주는 도상이 용선접인도상이다. 자력적인 정토왕생을 좀더 가치있다고 여겼던 시기에 제작된 <묘만지 미륵하생경변상도>의 용선접인 도상에서는 부처님의 인도를 받고 있지 않다. 이에 비해 조선전기의 용선접인 도상에서는 아미타부처님이 관음, 지장, 혹은 인로왕보살등과 함께 왕생자를 이끌고 배를 타고 있는 형상으로 묘사된다. 이는 아미타불의 원력으로 극락왕생한다는 타력왕생관을 상징적으로 표현한 것이다. 조선전기 제작된 3점의 관경변상도는 유교주의 사회에서 타력적인 신앙을 선호하는 정토신앙의 변화를 잘 보여주는 불화로서 매우 의미가 크다.

• 건축역사연구
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• 제17권1호
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• pp.65-84
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• 2008

It is generally known that the temple structure in Korea was formalized by the ceremonial principle based on the Buddhist cosmology. But, there have been no concrete studies on how far the two have relationship with each other and what significance it implies in it. In other words, even though the temple structure reflects the Sumeru Mount cosmology which is the Buddhist cosmology, there is still uncertain aspects in the relationship between them. This research is a more concrete approach on what kind of corelation the Sumeru Mount cosmology has with the Korean temple structure. For this, the levels of related documents on the Buddhist cosmology and the Sumeru Mount cosmology have been arranged first. Then, on this basis, it is searched with what symbolism the cosmology has been accepted in the temple structure. The temple is a sacred space that holds Buddha and a profane space which the sattva (ordinary people) can approach at the same time. The site of the temple is also a land that is connected to the residence of sattva and a blissful area of prayer that they can be born again through Buddha at the same time. Thus, the double characteristics of sanctity and profanity are finally inter-connected with each other in the view point of Jinsokburi(Truth and Worldliness are not different), and the temple structure reflects this significance through the symbolism very well. Therefore, the correct recognition on the temple structure can be said as an important aspect to understand the purpose of Buddhism.

• 복식
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• 제46권
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• pp.17-30
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• 1999

The purpose of this study is to investigate the philosophy behind the Kasaya and its evolution through its clothing material colour structure and sewing. According to the study the results were as follows. 1. The philosophy behind the dressing of the Kasaya can be found in the Therefore wearing the Kasaya symbolizes the Buddhist philosophy of Jat'ailshisongbul ("Simultaneous attaining of Buddhahood for Everyone") 2. The material symbolizes endurance and contentiment by being satisfied with any kind of clothes may they be good or bad. The material of the kasaya comes to signify the harmony among the monk's community 3. The Kasaya uses peculiar colours and the prohibits the use of the five primary and seconary colous. This is to symbolize equality wherein there is no distinction between the noble and the mean. 4. The structure of the Kasaya according the takes the form of a field The Jo is cut lengthwise and divided in nine grades following the Mahayana tradition as written in the This idea reflects the philosophy of salvation of the Pure land thought. The Je has many Jang('long') and fex Dan('short') The meaning of this is that all living beings by self-cultivation can overcome the dirty law of the secular world and follow the way of the sage who have attained their Buddha nature. 5. With respect to the sewing after finishin the sewing the Jang and the Dan are combined together representing the interdependence between the holy person and the common person. Therefore the sewing ssymbolizes the interconnection among all living beings as it arise from the "conditional causation" law. As I have shown above the philosophy behind of the Kasaya developed and was enriched as it cross over China from India to the Original Buddhist thought with which was created in India was added the richness of the Mahayana buddhist thought. As I have shown above the philosophy behind of the Kasaya developed and was enriched as it cross over China from India to the Original Buddhist thought with which was created in India was added the richness of the Nahayana Buddhist thought with which was created in India was added the richness of the Mahayana buddhist thought. As a result the Dasaya came to signify the "field image". The field-image symbolized by the kasaya came to signify the "heart-field" of all living beings. The "heart-field" by its cultivation is field with blessings. Therefore from the sanghati the Nine Grade the evolution and changes in the designs of the kasaya through the different periods of history became clearly an expression how it is possible for anybody to attend the Buddha nature. This changes also show how the Buddhist precepts became reformed from the original Buddhism.ecepts became reformed from the original Buddhism.

• 지적과 국토정보
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• 제51권1호
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• pp.111-124
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• 2021

최근, 2019년 4월 15일에 있었던 노트르담 대성당 화재로 문화재 복원 및 재현에 대해 2008년 숭례문 화재사건 이후 관심이 다시 한 번 집중되고 있다. 특히, 기존에 활용되던 LiDAR 및 광파기 측량 등을 활용한 문화재 실측을 다양한 3차원 재현 기술을 활용하여 복원 및 재현하려는 연구가 활발히 진행되고 있다. 본 연구는 운주사의 와형석조여래불을 대상으로 최근 4차 산업혁명 시대에서 핵심기술로 자리매김한 UAV(Unmanned Aerial Vehicle)의 무인항공영상와 기존에 사진측량에 활용되던 근접영상(CRP) 및 지상 LiDAR 스캐닝을 활용하여 데이터를 획득하고, 이들을 3가지 융합모델로 SfM기반의 3차원 재현을 실시, 모델의 재현도 및 정확도를 비교·분석하였다. 아울러, 3가지의 모델 중 가장 우수한 융합모델을 활용하여 11세기 초 고려시대의 불교 천문학적 고증이 녹아있는 와형석조여래불을 실세계 좌표기반으로 북극성과의 연관성을 확인한다. 본 연구를 통해 문화재의 단순한 외형적인 3차원 재현뿐 아니라 문화재에 담긴 역사적 고증을 확인함으로써 문화재의 종류 및 형태에 따라 고증까지 함께 재현하는 방안을 모색하였다.

• 건축역사연구
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• 제21권4호
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• pp.7-24
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• 2012

The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

• 건축역사연구
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• 제32권1호
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• pp.47-60
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• 2023

Due to a mistranslation of Sanskrit to Chinese, East Asian Buddhist community misunderstands the original meaning of the fundamental word, 'sachal(寺刹)'. Sanskrit chattra, a parasol on top of a venerated Indian stupa buried with Buddha's sarira, became the symbol of majesty. The Indian stupa was transformed into a pagoda in China, and the highlighted parasol on the summit was transliterated into chaldara(刹多羅), an abbreviation for chal (刹), and finally designated the whole pagoda(塔). Sachal consists with lying low monastery and high-rise pagoda. Tapsa(塔寺), an archaic word of temple, is exactly the same as sachal, because chal means tap, pagoda. However, during the 7th century a Buddhist monk erroneously double-transliterated the Sanskrit 'kshetra,' meaning of land, into the same word as chal, even despite phonetic disaccord. Thereafter, sutra translators followed and copied the error for long centuries. It was the Japanese pioneer scholars that worsen the situation 100 years ago, to publish Sanskrit dictionaries with the errors insisting on phonetic transliteration, though pronunciation of 'kshe-' which is quite different from 'cha-.' Thereafter, upcoming scholars followed their fallacy without any verification. Fallacy of chal, meaning of land, dominates Buddhist community broadly, falling into conviction of collective fixed dogma in East Asia up to now. In the Buddhist community, it is the most important matter to recognize that the same language has become to refer completely different objects due to translation errors. As a research method, searching for corresponding Sanskrit words in translated sutras and dictionaries of Buddhism is predominant. Then, after analyzing the authenticity, the fallacy toward the truth will be corrected.

• 복식문화연구
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• 제21권3호
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• pp.309-323
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• 2013

This study examined the expression mode and feature about photomontage indicated in the 21st century's Contemporary fashion. This intends to have better understanding on photomontage and to provide theoretical explanation to help a creative design development using photomontage in the future. For the research method, review over photomontage concept and its historical background was carried out with relevant literature and precedent studies. Then, analysis was followed about 258 pieces of photomontage application works featured in the four major global collections from 2001S/S to 2011F/W. Among types of photomontage expression in the Contemporary fashion, objects in the nature like animal, plant, scenery picture took up the highest frequency as motive. Other types appeared in the following order: the people-oriented type such as eminent person's figure or partial body, the ready-made image including diverse daily goods in the modern consumption society, a variety of printed stuff like cartoon, newspaper and magazine, the type of photomontage expression through borrowing the earlier famous art pieces or doing the cooperative work with artists in different fields, applications like architecture, land marks in many cities in the world, and interior, things assembled with various images, modified religious images in photomontage from Buddha or holy picture. Therefore, the modern fashion that uses photomontage could possibly feature popularity, naturalism, playfulness and creativity.