• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.111-118
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• 2010

The Buddhist reliquaries of these 6 Reliquaries(松林寺, 感恩寺, 法門寺, 慶山寺, 唐招提寺, 法隆寺 玉蟲廚子), when compared with those of China, Japan and Korea 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, Kam-Eun-Sa, Famensi, Qingshansi, Toshodaiji, and the Horyuji Tamamushi Zushi, the most important ones in this research, were in the precious tent and the inner and outer Coffins shapes having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. 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.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.210-223
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• 2014

When sarira reliquary was found in stone pagoda of Mireuksa Temple, there were 494 gold artifacts, including inner gold pot, gold plate with inscription for Sarira enshrinement, etc. Most of gold artifacts were crafted, but there were 22 gold plates and 4 gold ingots, which did not have any specific shape. It was considered that they had not been crafted. Since gold exists as a metal rather than a metallic oxide in nature, in general, it can be crafted by melting and shaping. However, gold in nature has impurities so it has to be refined to have malleability. The characteristic features were identified through the analysis of gold artifacts from sarira reliquary found in stone pagoda of Mireuksa Temple. The analysis result showed that there were 3 types of gold; pure gold artifacts, artifacts produced with silver containing gold and natural gold ingots. Inner gold pot, gold earrings and gold small beads were produced with pure gold and they contained less than 1wt.% of copper. It seemed like they were produced as pure gold to be shaped by hammering. Gold plate with inscription, tweezers, gold earrings, ingots, etc. were produced with silver containing gold as they had to be more solid. Gold ingots seemed to be natural gold considering the distribution of silver and copper in them, but it cannot be concluded as there are not enough information on gold ingots in Korea. The comprehensive research on gold ingots from various regions in Korea has to be carried out to confirm the above. Sarira Reliquary showed the very sophisticated gold craftsmanship. Gold ingots with the inscriptions, which say 1 nyang, were approximately 14g. Considering the weight of these ingots as standard, weights of other ingots were half nyang(7g), 2 nyang(28g), etc.

• 보존과학연구
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• s.25
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• pp.5-29
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• 2004

This research carried out ancient technique and composition of the relics recovered from the octagonal nine-storied pagoda of Woljeongsa temple using the scientific methods and obtained the following results. Firstly, The silver sarira inner case is consists of Ag, its materials comes out near 98wt%and comparing with the relics of Hwangnamdaechong, the contents of Ag and Ni are almost same with it. Secondly, The bronze sarira outer case, its contents of Cu is almost same with pure copper of which average is 99.7wt%. So, it should be named the copper sarira outer caserather than the bronze sarira outer case that has been called. Thirdly, The bronze mirror, though the contents of tin and lead are less than other contents which have been studied, they tend to have white color so they need to be made a close study. Especially, Because cultural property of nondestructive surface analytic method is not analyzed by the analysis of cross section and the moisten analysis, it may be occurred analytical errors by other factors.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.86-109
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• 2009

Mireuksa Temple was founded during the reign of King Mu of Baekje(AD 600-641). The circumstance of the construction of this temple is documented in "Memorabilia of the Three Kingdoms (Samgukyusa)". The pagoda named stone pagoda at Mireuksaji temple stands outside the main sanctuary of the western area. The south and west sides of the stone pagoda have completely collapsed, leaving only the eastern facade of six of its levels intact. Through the recent discovery of sarira reliquary we can see that the erection of this pagoda was in 639. So owing to accumulation of excavation results about Baekje temple site and vigorous academic exchange, it is possible that architecture of western pagoda at Mireuksaji temple can be understood in connection with the architectural development of wooden pagoda from 6th to early 7th century in East Asia. So this study is on the consideration of building of this pagoda putting first structure of upper part and cross-shaped space in 1st floor. It was considered that the material characteristics as stone could be applied to the temple pagoda architecture of large scale. The results are as follows. First, it had been built in recognition that the outer and inner part of pagoda should be separated. As it is the expression of structural system in temple pagoda architecture of large scale at that time. In pagoda there was a self-erected structure and the members of outer part of it were constructed additionally. Second, in Mireuksaji stone pagoda there is central column with stones. With inner part of pagoda it can be regarded as mixed structural system that constitutes central contral column and inner structural part. And it could be a kind of middle step to more developed structure of whole as wooden pagodas in Japan. Third, as the sarira reliquary was in central column on the first floor, the cross-shaped space could be made. The formation of this space was so on the natural meaning of sarira that the concept as memorial service of graves could be apllied to the pagoda. The style of tomb in Baekje was expressed to the space of 1st floor in pagoda where Sarira had been mstalled. That was not only effective presentation of symbolic space but also easier method in the use of same material.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.51-61
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• 2003

1. This study is to veri(y the characteristics of gauze fabrics focused on the them found at Sukga Pagoda. The remains researched are those of the Unified Shilla Dynasty around 8∼10 century. The found textile remains seem to be used as rugs or to be used for filling in spaces, wrapping silver reliquaries, equipments preserving relics of the Buddha, a gold-plated outermost reliquary, and so on. Since other remains found inside the Sukga Pagoda are national treasures, the textile remains can be considered as the fabrics of the highest quality. 2. Seven gauze fabrics, four non-designed gauzes and three designed gauzes, are found. They are all four-end complex gauze, weaved with the complex gauze technique. Two designed gauzes out of three designed gauzes are weaved in pattern by the clamp-resist dyeing technique and one is weaved in pattern by giving some changes in weaving. 3. In addition to the characteristics peculiar to gauze fabrics, such as thinness, fineness, and sparseness, another characteristic is found. That is, the difference in thickness between wefts and warps is over two times on the average in all of the seven gauze fabrics. Some of the gauze fabrics look like laces because of the huge difference in their thickness. 4. This research verified that with their transparency, are such materials that their beauty can easily be realized without adding various colors or patterns on the fabric by painting, embroidery, stitching old foil, or compound weaving technique.

• Journal of Conservation Science
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• v.28 no.1
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• pp.75-86
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• 2012

Iksan Mireuksaji Stone pagoda was built A.D. 639 when King Moo was governing Baekje, in which Sarira has been enshrined in a hole dug in the stereobate for 1,370 years. In South Korea, about 150 cases of Sarira have been found so far. In this connection, many studies have been conducted on how to manage it and on its genesis, but there have been no data on environments to which it has been exposed. In this study, accordingly, researches were made into environments to which Sarira has been exposed as well as into how much it has been damaged under the environments. Sarira in wooden pagodas was influenced greatly by water, but that in stone pagodas by saturated relative humidity. Thus, Sarira in the containers was significantly influenced by the outside temperature for 1 to 2 days, but had no any reaction to humidity. The time it took for the humidity in a Sarira container to reach its maximum, varied depending upon the humidity of the day when Sarira was enshrined. In the case of this pagoda, the humidity reached its maximum 30 days later.

• Conservation Science in Museum
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• v.4
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• pp.57-61
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• 2003

From the stupa of Sujongsa-Temple, located in Yangpyeong, Gyeonggi-do province, was excavated a celadon jar with lid, a gilt-bronze nine-storied miniature pagoda and a silver-plate hexagonal miniature shrine, etc. Among them, the gilt-bronze miniature pagoda has been known as a gilt-bronze product since most of its surface has copper tint and the base part has bronze corrosion. Its formal title registered on the Cultural Properties Administration also begins with "a gilt-bronze". However, it was supposed to be a gold product in many aspects: the color and status of the surface, degree of the bronze corrosion creation and the metal thread joining the wind bell. So the necessity to prove its material by a scientific analysis was raised. We examined it with nondestructive method. The results were traces of open-working on many parts of the surface, but no traces of gilding. Moreover, as we perform an XRF analysis, the main component were gold and silver(16%) and some impurities such as copper and iron were found. Therefore, it could be inferred that this miniature pagoda is a gold product.

• (The) Research of the performance art and culture
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• no.43
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• pp.441-483
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• 2021

The introduction of dongbal[bara] is in line with Buddhism which was transmitted from India through China. Therefore, this paper tracked down the records of dongbal in Indian and Chinese Buddhism, and especially in scriptures and in ritual texts of Korean Buddhism, and studied the functionality and the use of dongbal, and the attributes of Baramu. Among the scriptures that record dongbal, 『Myobeopyeon hwagyeong(妙法蓮華經)』(A.D.406) is the earliest to be translated. The records of bara in the scriptures were written as dongbal(銅鈸) mostly, and that it was used as ritual tool(法具), instrumental offering, and religious ornament(莊嚴物). The oldest record which can verify that dongbal was used in Korea is 『Seodaesajajaeryugijang(西大寺資財流記帳)』(A.D.780). The oldest cymbals-like relic remaining today, the reliquary from the temple Gameunsa built in A.D.628, dates back to the early period of Unified Silla. This indicates that dongbal has been used at Korean temples by the 7th century at least. The records of dongbal(銅鈸) written in cheong-gyu(淸規, buddhist monastic rules) and ritual texts are classified as myeongbal(鳴鈸) and dongbal(動鈸). The letter 'myeong(鳴)' of myeongbal means to make a sound, and thus myeongbal refers to clash and make the sound of the bara. It is verified that myeongbal had certain established rules and methods. It appears that dongbal(動鈸) refers to Baramu(the cymbals dance) since the letter 'dong(動)' means movement or to move. Hence, the concept of movement was added to the signification of myeongbal, and became dongbal(動鈸), and then developed into baramu being transmitted until today. There are 8 types of Baramu transmitted in Korean Buddhist rituals, and they could be classified into purifying ritual, inviting ritual, protecting ritual, offering ritual, bathing ritual, dressing ritual, saluting ritual, and praising ritual according to their attributes.

• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.153-182
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• 2021

The Buddhist monk, Kim Ji-jang (金地藏), a native of Silla, is still revered as Ksitigarbha Bodhisattva in China. In Chinese Buddhism, Kim Ji-jang's becoming Ksitigarbha Bodhisattva is unique in at least two ways. First, it is said that his becoming the bodhisattva originated not in Silla, but in China, a foreign country. Second, it is said that the historical person became regarded as a mythical being, Ksitigarbha Bodhisattva. The process of Kim Ji-jang's becoming Bodhisattva can be divided into three periods. The first period is the period of entering and practicing at Mount Jiuhua in China, and this also includes the period wherein he was first revered as Ksitigarbha Bodhisattva. The second period begins immediately after Kim Ji-jang's death and ends three years later. In this period he became regarded as Ksitigarbha Bodhisattva. The third period spans three years after his death to the present age. His status as Ksitigarbha Bodhisattva carries on at present. There are two main causes for Kim Ji-jang's transformation into the bodhisattva. The first is an internal bodhisattva process. According to Ksitigarbha Bodhisattva's main vow, Kim Ji-jang's practice and edification impressed the public. The second is an external bodhisattva process. The miracles that appeared at the time of his death or the manifestation of the incorruptible relics three years after his death played a decisive role in the process of Kim Ji-jang becoming a bodhisattva. In line with the public's devotion, the Chinese imperial family repaired and supported the temple that enshrined the relics of Kim Ji-jang. Various factors could be analyzed in the process of Kim Ji-jang's becoming Ksitigarbha Bodhisattva, but more than anything else, it was Kim Ji-jang's severe ascetic practices and his virtuous edification of others.