• Korean Journal of Heritage: History & Science
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• v.50 no.2
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• pp.116-139
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• 2017

Naksansa Temple was famous for a miracle temple where Lee Haeng-ri(李行里), King Ikjo(翼祖), had prayed for offspring and soon begat King Dojo(度祖). According to the First King's Annals("太祖實錄"), King Dojo was the person who directly received prophecy of founding a Joseon. For these reasons, Naksansa Temple received attention concerning the foundation of Joseon. The birth story of King Dojo and his father's prayer at the Avalokitesvara Bodhisattva cave(觀音窟), Naksansa Temple, was well known among the noblemen and royal families until the Late Joseon period. Lee Seoung gye(李成桂) paid particular attention to the Naksansa Temple, and King Sejo(世祖) also made people rebuild the temple when he went for a royal tour in Gangwon-do. Naksansa Temple was built during the time when King Sejo made many temples in order to strengthen the royal authority. King Sejo made people extensively rebuild the temple, praying for health and longevity of King Yejong(his son). King Sejo's will of rebuilding the Naksansa Temple was very strong. The residents of the area had to pay a huge cost because the rebuilding of the Naksansa Temple was a big construction. Hak-yeol(學悅), who had a responsibility of rebuilding the Naksansa Temple, forcedly obtained supplies as he received protection from the royal family. Naksansa Temple thrived with the protection of the royal family after rebuilding. King Yejong and Seongjong gave Naksansa Temple slaves and fields(田地). He also bestowed upon the temple the salts which was the tribute paid by Gangwon-do. In order to protect the precincts of the Naksansa Temple, the government closed the Yang Yang Main Street near Naksansa Temple and built a new road. And the signs of preventing fishing(捕漁) was built along the coast of Naksan in four kilometers in order to keep people out. Although the Naksansa Temple declined in the late Joseon period, it still received support under the protection policy and maintained its reputation as an original Buddhist shrine.

• Fire Science and Engineering
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• v.20 no.2 s.62
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• pp.64-71
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• 2006

After destruction of the Naksansa which was due to Yangyang forest fire, this the fundamental research about the disaster prevention countermeasures of tradition buddhist temple cultural treasure was performed. The present condition of tradition buddhist temple and related laws were investigated and the present damage condition of the Naksansa was surveyed. Also, the fire damage cases of tradition buddhist temple and the fire laws and regulations were investigated, and the survey about disaster prevention countermeasures was carried out. This research drew up the basic material about the disaster prevention countermeasures of traditional buddhist temple.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.55-64
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• 2022

This study aims to shed light on the cultural history of Hajodae(河趙臺) enjoyed by writers of the Joseon Dynasty by analyzing the origin and the contents of the landscape based on the literature materials of Hajodae in Yangyang(襄陽). The results of the study are as follows. First, Hajodae is a space that is said to have been visited by Ha Ryun(河崙) and Jo Jun(趙浚). However, since this story has not been confirmed in the literature, various opinions coexisted in history. Jo Wi-Han(趙緯韓) quoted the opinions of aged people who lived in Yangyang, saying that it could be Jo In-Byeok(趙仁壁), not Jo Jun(趙浚), and Jo Deok-Rin(趙德鄰) recorded it as "遐眺臺", which means "a stand for a distance view." There is a need to clearly present the origin of Hajodae by revealing the literary authority. Second, Hajodae was talked about as the best scenic site in Gwandong(關東) in the middle of the Joseon Dynasty. during the mid-Joseon Dynasty. The writers of the time mentioned Hajodae as one of the best scenic sites in Gwandong, which soon became a symbol of Yangyang. These records of Hajodae show a relatively decreasing trend entering the late Joseon Dynasty. It is believed to be the result of the slight degrading in the status of Hajodae as the Eight Views of Gwandong were established and Naksansa Temple(洛山寺) gained fame. Third, the writers of Joseon enjoyed the scenic sites through various landscapes of Hajodae. The open terrain on three sides allowed a sea view and provided an opportunity to develop a great spirit or to reflect on oneself. On the other hand, the strange rock formations and cliffs, which correspond to a close-up view, drew the attention of tourists, and the Rosa rugosa Thunb. blooming in the Hajodae area was enough to show a bizarre charm. This shows the various charms of Hajodae, suggesting that the management of such landscape is necessary. Fourth, a Chinese poem about Hajodae shows the spatial meaning of Hajodae. Looking into all sides of the Chinese poem about Hajodae, a case of unburdening one's mind on the landscape, and the aspect a person compared oneself to the natural landscape or projected one's consciousness onto it, and a case of recalling Ha Ryun and Jo Jun, illustrious retainers in the early Joseon Dynasty are confirmed. It can be seen that it results in the aspect of expressing one's impressions and looking back on history through the landscape.