• (The)Study of the Eastern Classic
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• no.32
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• pp.391-424
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• 2008

A Buddhist relic deposit was discovered from the three storied stone pagoda which was called as Seokgatap of Bulguksa temple in Gyeongju in 1966. In this relic deposit, several clumped papers written in ink which were found from the pagoda. These manuscripts are one of the most valuable materials for understanding Korean Buddhism and Buddhist Art History. In this paper, I examined several terms for pagoda subsidiaries found in these manuscripts, which have not been known to us up to recently. In addition, I compared these terms to the real pagodas or pagoda images in Korea. The manuscripts from Seokgatap pagdoa were composed of three different kinds of records; (1) "Record for the Repair of Mugujeonggwangtap Pagoda (無垢淨光塔重修記, 1024)"; (2)"Record for the Reconstruction of West Pagoda (西石塔重修形止記, 1038); (3)"Lists of Donors for the Reconstruction of the Pagoda in Bulguksa temple (佛國寺塔重修布施名公衆僧小名記, 1038). The terminology describing pagoda was appeared in the first and the second records. In the "Record for the Repair of Mugujeonggwangtap Pagoda", there are more than ten terms, which are presumed to be the words describing some upper decorative parts of a stone pagoda. However, in the "Record for the Reconstruction of West Pagoda", there are fifteen terms which would describe the body and base parts of the Seokgatap pagoda. These new terms for pagoda subsidiaries appeared in the manuscripts of Seokgatap Pagoda are very significant materials in understanding Korean Buddhist Art, because they show the practical terms which were used in the eleventh century Buddhism of Korea, but never known to the modern academic world. The manuscripts of Seokgatap Pagoda have not been deciphered perfectly yet, so they have to be examined with more precise as well as with wider view of Buddist and Art History.

• Korean Journal of Heritage: History & Science
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• v.35
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• pp.100-118
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• 2002

Originally, Gyeongcheonsa pagoda was located in Busosan, Jungyeon-ri, Gwangdeok-myeon, Gaepung-gun, Gyeonggi-do,but it has suffered from being taken out to Japan illegally in 1907 and being returned to Korea in 1918. After returned to Korea, Gyeoncheonsa Pagoda had been neglected and restored in 1960. It had been exhibited outside the Gyeingbokgung Palace after restoration, but many problems were raised. It was taken to pieces in 1995 and it is conservation and restoring today. However, the top of pagoda is necessary to be researched about its archetype because the shapes of stupa in 1902 and in 1960(the shape of pagoda after restoration) are all different from its archetype. According to picture datum in 1902, the top of pagoda was a Korean building type on a 10 layered roof stone. On the other hand, when it was restored in 1960, cement suspected as a anda was taken place between Korean building type and a 10 layered roof stone. Therefore, I am going to examine Restoration of Gyeongcheonsa pagoda in this thesis. When we examine historical records of Geongcheonsa and datum of parts, we can know that the pagoda was established in 1348(Goryeo Dynasty) but it is difficult to know the truth of its establishment and demolition of Gyeongcheonsa-temple. Three ways to restore the top of the pagoda of Gyeoncheonsa Pagoda can be c o n s i d e r e d . First, Korean building type made by metals is located on a 10 layered roof stone, which is same to picture datum in 1902. Second, the shape of and a type, which is similar to the shape when it was restored in 1960's. Also it is similar to Lamapagoda type. Third, to restore the top of pagoda of gabled roof type, which is similar to the top of pagoda of Wongaksagi P agoda. However it is necessaray to exmamine functions about circle grooves hollowed out in a 10 layered roof stone in restoration. Also we need to find out the archetype of dragon sculpture through the dragon claws left on an edge of a 10 layered roof stone.

• Journal of architectural history
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• v.7 no.2 s.15
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• pp.29-48
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• 1998

The first Pagoda of Korea was introduced from China, and adapted from the wooden multi-storied pavilion. Also in Bronze one, multi-storied type of wooden pagoda was adapted. Bronze pagoda was used to buddhist ossuary and a kind of metalwork. Metalworks were made of gold, silver, copper, or iron by one of the methods of production-casting or hammering and decorated design of incision, raise, openwork, gold- plating or inlaying with gold and silver. Sometimes it was used as the easy carriage of Buddha image by guess. In most cases, the plan of Bronze pagoda was square and podium was one story. but in the advance of podium two-storied platform appeared. Column appeared in a symbol, so it didn't appear in a square and circular form. It means that the column was vertical member which only divided the wall. In koryo period, Gabled roof and Half-hipped roof was spreaded in public but Bronze pagoda was used to square Hipped roof. Vertical shaft over roof(上輪部), apart from body of pagoda(塔身部), was inserted on the hole above the Bokbal(覆鉢) for the balance of pagoda. And a thick iron bar put in the roof to the platform. It was sustained the balance of pagoda. The stories of pagoda were various from 3rd stories to 9, the lower stories was larger scale and the higher was smaller one.

• The Korean Journal of Malacology
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• v.27 no.1
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• pp.67-68
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• 2011

The Turbinellidae shell Columbarium pagoda pagoda (Lesson, 1834), from the southern coast of Korea was recorded as new to the Korean molluscan fauna. The shell is typically solid and fusiform, with a well elongated spire and long anterior canal, and keel with a row developed spine. The protoconch is small, planorboid to depressed dome-shaped. The family Turbinellidae is reported from Korea for the first time.

• Textile Coloration and Finishing
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• v.22 no.4
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• pp.306-313
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• 2010

To achieve color diversification of natural dyeing, color mixture dyeing with Indigo and Japanese pagoda tree is applied to wool and silk fabrics. After dyeing with Japanese pagoda tree extract solution of 5~25%(o.w.f.), the indigo dyeing was carried out up to four times. Alternatively after repeat dyeing with indigo one to seven times, the dyeing with Japanese pagoda tree extract solution was applied in 5 steps(5~25%). In color mixture dyeing, the dye uptake of wool fabrics appears higher than that of silk. The sequence of Japanese pagoda tree extract dyeing after Indigo dyeing was generally higher dye uptake compared with that of Indigo dyeing after Japanese pagoda tree extract dyeing. For wool and silk fabric, the pre-dyeing with Japanese pagoda tree solution was more effective for color diversification but the pre-dyeing with Indigo was more effective for the exhibition of intermediate color shade.

• 보존과학연구
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• s.24
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• pp.61-79
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• 2003

The position of each part of the Ten storied pagoda of Gyeongcheonsa has been changed because of illegal dismantlement and assembling throughout the history. There remain carved letters in the part of pagoda, which let us know the incorrect assembling of the parts, however, we still don't know the reasons. The pagoda has been under conservation process by the conservators from Conservation Science Division in the National Research Institute of Cultural Properties. It is one of the main purposes to find an original structure of the pagoda by appropriate assembling. The existence of iconography and carved letters are very useful in the conservation process. Mis-assembled parts are mostly in the pedestal of the Chinese letter('아') and in the bodies up to third floor. The iconography of the pagoda has many similarities to the Ten storied pagoda of Wongaksaji.

• Journal of architectural history
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• v.16 no.5
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• pp.55-66
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• 2007

Through analysing on construction cases of stupa built in A.D. 7,8th, I have researched about these : constructive methods of inner soil of stupa, spatial compositions, characteristics of structures, arrangements of inner soil and etc. And cases analysed are six ; Mireuksajiseoktap(stone pagoda of Mireuksa Temple site), Gameunsajisamcheumgseoktap(three storied stone pagoda of Gameunsa Temple site), Goseonsajisamcheungseoktap(three storied stone pagoda of Goseonsa Temple site), Wolseong nawolliocheungseoktap(five storied stone pagoda in Nawonri, Wolseong), Guksagokseoktap(three storied stone pagoda in Guksa valley), Giamgokseoktap(three storied stone pagoda in Giam valley). Additionally we researched about inner soil of Sacheonwangsaji tapji(basement of stone stupa site in Sacheonwang Temple site) to speculate on composition of Synthetically, the foundation could be divided as core space and outer space. ; the former as structural function and the latter as ornamental function. And the core area could be divided again as center column space and buffer space. The relationship between core spaces and its formation are as belows; First, according to the area of foundation and scale of stone pagoda, formations of core are differed. As the scale of stone pagoda goes bigger, and the area of foundation goes larger, the structure of stone pagoda comprised by center column type and layered-core which endure upper load independently. On the contrary, as the scale of stone pagoda goes smaller, and the area of foundation goes lesser, the structure of stone pagoda tend to use only center column to endure upper part. Second, spatial composition of core area is comprised as two spaces, one which endure upper load and buffer space which absorb side pressure and upper pressure. The buffer space tend to be used in case of those structures which could not endure side pressure or have lots of joint. In some cases, it was located below the cover stone of foundation and gained upper load. And in case that have not gained pressure from side stone, the buffer space are comprised by smalle stone or roof tile to get structural supplement.

• Journal of architectural history
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• v.19 no.2
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• pp.43-66
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• 2010

In that the Buddhism is the religion founded by Buddha, the settlement of Buddha's existence is very important in the temple building arrangement which symbolizes the Buddha's world. What symbolizes the Buddha in the temple are the pagoda and the Buddhist image. Among them, the Buddhist image is directly connected with the Golden Hall. This kind of double structure is settled as a typical pattern for the arrangement of buildings such as halls and pagodas. The earlier one between the pagoda and Buddhist image is the pagoda, of course. It can be inferred that, through the gradual expansion of the Buddhist images, the gravity was transferred from the pagoda to the Golden Hall. But, if the Buddhist image can be connected with the Golden Hall in that it was the product reflecting the requests on the Buddha and his teaching, the internal origin of the Buddhist image should also go back to the early Buddhism. In fact, the gravest building in Venuvana - vihara or Jetavana - anaehapindasyarama was the Golden Hall, the Buddha's residence. And in the summit of Grdhrakuta or Jetavana - anaehapindasyarama where Buddha stayed long, there is the gandha - kuti the Buddha's place till now. It means that the symbolic request on the Buddha and his teaching had existed even before the Buddhist image and that this tendency could be connected with the generation of Buddhist image. This paper is to show that the hall / pagoda structure generalized in the building arrangement of later age was originated not just from the Buddhist image and the sarira pagoda but from the gandha - kuti and the hair pagoda, and therefore the two should coexist inevitably. It is an attempt to develop a little more in the ideological perspective the general theory that the pagoda and the Buddhist image were fused into one precinct of temple later in their respective origins. That is, it tries to recognize the relation of pagoda and hall not as the conflicting one but as the complementary one.

• 보존과학연구
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• s.27
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• pp.103-128
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• 2006

Rock properties of the five storied stone pagoda in the Mooryangsa temple are consist mainly in medium grained biotite granite with partly pegmatite veinlet. A part of the foundation stone is substituted in identical rock properties of the pagoda. The upper part of the pagoda is used purples and stone, gray shale and granodiorite. The most serious problem of the pagoda is structual instability from centered subsidence of the ground in northwestern direction remarkably. In southern view, the upper part of the pagoda also is slanted a little in right, it will need reinforcement by engineering method for structual stability of the stone pagoda. Weathering states of the stone pagoda are affected results of natural and artifical factors due to the surface-exfoliation, fine-fissure, crack, falling offs. On the rock surface of the pagoda, ferro-manganese hydroxide compounds are coated along the rainpathway. Also, bryophyte range concentration spreads raindrops face of roof rock properties, which areadd biological weathering effects. For the synthetic evaluation of the deterioration state, we make detailed surface weathering maps, it will be contribute to investigation for future conservation schemes.

• Journal of architectural history
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• v.25 no.6
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• pp.35-44
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• 2016

The purpose of this study is to identify the aspect of expression about the form of Shwedagon Pagoda as well as to find out its meanings. The aesthetic value of Shwedagon Pagoda appears as the worship and infinite respect to Buddha realizing its beautiful sacred symbol. The meaning of Shwedagon Pagoda is to progress in keeping pace with the specific flexibility of Buddhism in Myanmar developing Buddhistic diversity and accepting its active changes. As time passes, Shwedagon Pagoda has been transformed. It is because that Myanmar's architecture was developed independently being affected by India with the introduction of Buddhism, and accepted it through autonomous reinterpretation. Then, the function of the worship space surrounding Shwedagon was extended and its annexes and statues of the Buddha were built; its scale became larger. This study shows the comparison between Shwezigon Pagoda and Shwedagon Pagoda. This method of investigation reveals that the formal changes of Shwedagon makes it transform to concise composition and develop aesthetical component giving the sense of vertical rise.