• Journal of architectural history
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• v.14 no.3 s.43
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• pp.103-118
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• 2005

This study is about the meaning of wooden brackets that are distinctive elements of wooden architecture in Korea, Japan, and China. Existing studies about wooden brackets have been limited to the boundary of formalism, so the object of this study is to make a breakthrough in the field of those studies. The Wooden brackets in this study are considered to be decorative elements, and the principles of their design are examined. The specific subject of the study is wooden architecture with Jusimpo-styled brackets that have brackets only on pillars. The definition of Jusimpo is reexamined first, and ChulMok-Ikkong which has not been regarded as a Jusimpo-styled wooden bracket is interpreted as Jusimpo-styled one in this study. Categorized into three types, Jusimpo is examined how it is expressed according to the type of the roof in a building. In view of the results, the wooden bracket system is an effective technique to express the formality, and two designing principles can be seen in Jusimpo; one that wooden brackets observed externally are standardized and regarded as the same ones, and the other that the style of wooden brackets used in the most formal building is Yi-ChulMok. These designing principles mean that the carpenter who was in charge of building the architecture had certain principles when expressing wooden brackets as well as the roofs according to the class of the architecture. In addition, although the styles of wooden brackets that were used in the most formal architecture during the Chosun period were mostly Dapo, Jusimpo in the form of Yi-ChulMok was also adopted in some temples depending on their scale, and that means Jusimpo-styled wooden brackets were never considered to be inferior to Dapo-styled ones. And this point leaves the argument that the reexamination of Jusimpo-styled wooden brackets which have been regarded as the style used in the attached building or small structures since the Choun dynasty should be conducted.

• Journal of architectural history
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• v.25 no.3
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• pp.23-35
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• 2016

The purpose of this study is to classify types of the eaves structure of buildings with the Jusimpo-type structure and to analyze the characteristics of each eaves structure. For this objective, forty buildings were selected and investigated. The results of analysis are summarized as follows. First, the main members of framework which handle a load burden on the long-rafter(長椽) are classified as the Jusim-dori(柱心道里) and the Oemok-dori(外目道里). Based on the method of handling a load, the eaves structure is classified into three types; the Jusim-processing-type(柱心中心形), the Oemok-processing-type(外目中 心形), and the Oemok-processing-variant-type(外目中心變異形). The Jusim-processing-type is the set where the internal length of a long-rafter is longer than the length of the eaves on the basis of the center of a column. The Oemok-processing-type is the set where the external length of a long-rafter is longer than the internal length of it. And the Oemok-processing-variant-type is the set where the internal length of a long-rafter is longer than the external length of it, but it is shorter than the length of the eaves which includes the extruded length of a Buyeon(浮椽). Second, the Jusim-processing-type had been generally adopted in the Jusimpo-type structure of the Goryeo Dynasty. But since the 17th century, the Oemok-processing-type had the highest application rate. Third, the change from the Jusimdori-processing-structure to the Oemokdori-processing-structure means that the long-rafter is moved to the direction of outside of the building, and thus the Jung-dori(中道里) is gradually moved to the column center. And, the change of the eaves with the Jusimpo-type structure was not a process for increasing the length of the eaves but a process for adopting the advantages of the Dapo-type structure by changing the arrangement of purlin. Fourth, the change from the Jusimpo-type structure to the Dapo-type structure could be understood as a process for moving the main point for handling a load from the Jusim-dori to the Oemok-dori.

• Journal of architectural history
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• v.29 no.3
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• pp.79-90
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• 2020

In Korean traditional architecture, the Gong-po style is divided into the Jusimpo, Dapo and Ikgong. Jusimpo and Chulmok-Ikong, where only Gong-po is placed on the column, differ in form of Gong-po depending on the viewpoint. Since 'Chulmok-Ikgong' has been generally regarded as 'One Chulmok-Two Ikgong', the precedent researches have been conducted mainly on 'One Chulmok-Two Ikgong' in the Gong-po style classification. However, when it comes to 'One Chulmok', the style of Ikgong can be organized from the one to three steps and this study is particularly for examining the occurrence and transformation of 'One Chulmok-One Ikgong'. One of the case study sites, Bonghwa Cheongamjeong was originally built in the 16th century, and is believed to have been repaired from 'Non Chulmok-One Ikgong' to 'One Chulmok-One Ikgong'. Since the beam linked directly to the upper part of a capital, it does not connect the eave trave(architrave) in between. Also, Soro which supports Jangyeo(the architrave strip) has been placed and linked in comparatively lower position. It is confirmed by the signigicant difference in the hierarchy of Gong-po forms in one architecture. The Jeonju-Hyanggyo Daeseongjeon, which was built in the 17th century among the subjects, was similar with 'One Chulmok-One Ikgong', but it was found to be the type of Jusimpo form because the bottom of the beam and the top of the Ikong are apart. And Gongan is confirmed at Cheomcha. In the 17th century, it can be seen that Heot-Cheomcha disappeared and Ikgong was started to use as a constant figure. The end of the 18th century, it can be seen that it was changed into a ornament added on Haeng-gong, being seen in the case of Hwaseong Dongjangdae. In conclusion, it can be seen that 'One Chulmok-One Ikgong' were developed in both the Jusimpo and Ikong style. The transformation into 'One Chulmok-One Ikgong' was inevitable consequence related with an elevation difference between the eave trave and the column trave.

• Journal of architectural history
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• v.25 no.6
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• pp.27-34
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• 2016

There were lots of changes of the wooden structure in the middle of Joseon Dynasty. It was the time of replacement from Jusimpo (simple bracket system) to Ikgong (wing-like bracket system) and each bracket had shown mutual variation as well as itself. The aspects of change were discovered that the decorative elements of Ikgong and Dapo (multi-bracket system) had accepted from each other. It was clearly shown that not only the Ungung (carved cloud-shape) and Chotgaji (shape of the acuminate leaf) of Ikgong had affected to Dapo, but also Gaang (pseudo-pointing cantilever) of Dapo had affected to Ikgong. It was mostly found in the Buddhist architecture because there was the conservatization of ruling hierarchy as well as the active growth of Buddhist society.

• Journal of architectural history
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• v.30 no.4
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• pp.31-39
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• 2021

Jukseoru is a pavilion building located in 44 Jukseoru-gil, Samcheok-si, Gangwon-do. Jukseoru is characterized by the fact that the center 5 bays out of the front 7 bays are in the form of Jusimpo, while the ends of each side are in the form of an Ikgong. In addition, the columns are not aligned with each other because the columns of both compartments are out of the center rather than the columns of the center of the five compartments of the columns do not match each other. Based on this, architectural historical circles initially built five bays in pairs, but later added one space to each side to make it seven bays. Recently, however, a new claim has been made that it was built with seven bays from the beginning. Therefore, this paper proved that Jukseoru were expanded through historical data. We also looked at the characteristics of the Jukseoru period and the process of transformation through comparison of the bracket type.

• Journal of architectural history
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• v.25 no.6
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• pp.7-16
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• 2016

The purpose of this study is to find framework schema of early J usimpo-style Buddhist halls (Geungnakjeon Hall of Bongjeongsa Temple, Muryangsujeon Hall of Buseoksa Temple, and Daeungjeon Hall of Sudeoksa Temple). Though the halls are known as built in the late Goryeo Period, they show the influence of the architectural style of the early Unified Silla Period. To find the adopted modules and proportions of these halls, this study conceived a schematic diagram based on the whole frame structure taking reference from the Cai-Fen system in Yingzao Fashi. In these three halls, the heights of each cross-beam (Dori) are made up by the layers of member and member units. This study computes the values of Cai, Zhi, and Fen which can apply to both the section and the plan. The vertical section structure is determined by combining the standard member heights (Cai) and the standard unit heights (CaiZhi). The bays of columns are made by multiples of the standard member width (Fen).

• Journal of architectural history
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• v.26 no.2
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• pp.15-29
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• 2017

The purpose of this study is to comprehend strengthening Hwaban(flower-shaped support) design in the Two-lkgong style government buildings in the late Joseon period through the T-shaped wooden shrines, the architectures of royal palace and royal ancestral shrine. Following conclusions have been reached through the study. First, Janghwaban(the long plate carved with flower-shaped support) was installed in Injeongjeon(1805) for the first time. It took 40 years to introduce Janghwaban to the government building of Two-lkgong style compared with Injeongjeon. Second, the quantity of Hwaban had been increased from 1 to 5 for 300 years in the government building of Two-lkgong style. This had been steadily increased with the aim of strengthening design. Third, there was a limit to the increase in the quantity of Hwaban. The first reason was to control the rhythm between the Hwaban and the Pobyeok(the wall between Hwabans). The second reason was that if the Pobyeok was too narrow, it was difficult to plaster. The latter was solved by introducing the Janghwaban. Fourth, in attempting to stylize differently from Jusimpo(simple bracket system), the quantity of Hwaban increase played a very important role in the government building of the Two-lkgong style. Since the reconstruction of Gyeongbokgung Palace, Hwaban combined style with Ungong served as the norm of the royal palace architecture in the last Joseon period.