• Title/Summary/Keyword: Stone-made Heritage,

Search Result 120, Processing Time 0.025 seconds

The Establishment Year of 'Jeongnimsa' Temple in Buyeo (백제(百濟) '정림사(定林寺)'의 창건연대(創建年代))

  • Kim, Nak Jung
    • Korean Journal of Heritage: History & Science
    • /
    • v.45 no.4
    • /
    • pp.38-53
    • /
    • 2012
  • This paper investigated the construction year of 'Jeongnimsa(定林寺)temple in Buyeo(扶餘) through the recent archaeological records. First, the composition of land for the construction of temple was linked with Gwanbukri(官北里) sites which is estimated as palace. The composition of land for the palace was formed at late 6th century. Second, the several furnace sites was discovered under the foundation soil layers for the construction of temple. Reference to the pottery excavated from the previous surface indicates that the workshops having been operated a period of time after the transfer of the capital to Sabi(泗?). These workshops having been operated before the construction of roof-tile buildings which were followed by the large-scale composition of land for the palace at Gwanbukri sites adjacent to the north of 'Jeongnimsa. The pottery, roof-tiles and chinese porcelain which were included in the earth laid on the ground for the construction of temple also indicates that the construction year of temple do not go up to shortly after the transfer of the capital to Sabi. This is related with that wooden pagoda would have been present before stone pagoda and the foundation of the wooden pagoda would have soared into the ground. Last, the building layout of temple is familiar to Iksan(益山) Mireuksa(彌勒寺址) temple site than the temples of Buyeo such as Wangheungsa(王興寺址) temple site. This imply that Jeongnimsa temple was not constructed shortly after the transfer of the capital to Sabi like the opinion of the existing. Jeongnimsa temple was probably constructed at late 6th century when composition of the Sabi city was actively made.

A Preliminary Study on the Mingshansi Grottoes (안악(安岳) 명산사석굴(茗山寺石窟) 초론(初論))

  • Sun, Hua
    • Korean Journal of Heritage: History & Science
    • /
    • v.49 no.3
    • /
    • pp.104-135
    • /
    • 2016
  • This paper aims to consider history and value of the Mingshansi Grottoes, a complex of Buddhist rock sculptures in Anyue County, Sichuan Province, China. Mingshansi Shiku, not that far from Baodingshan Grottoes at Dazu District, Chongqing City, is an important art work of Liu Benzun sect. Even though there are not many niches and sculptures in the Mingshansi Shiku, it was designated as a Major Historical and Cultural Site Protected at the National Level due to its large scale and highly valued art works in it. In the Mingshansi Grottoes there is not any information inscribed on the rockface about when the grottoes were established. Because a stone pagoda, which had information about when and by whom they were established, was collapsed, some scholars considered them to be made in North Song or early Southern Song Dynasties based only on the artistic style of sculptures of the grottoes. The School of Archaeology and Museology at Peking University recently carried out a survey documenting the Mingshansi Grottoes, and thereby the school gives an important material for studying the grottoes. The grottoes consist of a Dharma-protection Warrior niche, a statue of Guanyin and Dashizhi seated together, a standing Mahavairocana statue, a standing Manjushuri statue, a standing Wenshu and Puxian statue, a Turning Dharma-wheel pagoda (轉法輪塔 Zhuanfalunta) of Zhao Zhifeng, the founder of Liu Benzun sect. These statues are considered to be produced by an overall master plan in the Middle or Late Period of the Southern Song. The Shiku is believed to be a site at which Zhao Zhifeng performed some Buddhist rites such as Water and Land Rituals (水陸法會 Shuilufahui). Income of the ritual was also a major part of the funding for establishing large-scale Baoding Shiku at Dazu District, Chongqing City.

A Study on the 'Naksubaji(horizontal gutter)' of Ancient Wooden Pagodas in Korea (한국 고대목탑 낙수받이 고찰)

  • Tahk, Kyung Baek
    • Korean Journal of Heritage: History & Science
    • /
    • v.42 no.2
    • /
    • pp.4-39
    • /
    • 2009
  • The foundations of ancient wooden pagoda consist of the stylobate soil, exteriors, stairways and etc. The factors were different according to the time, region and the architects. As a result of many archaeological researches, we have the data of horizontal gutters as a part of the foundations of ancient wooden pagodas in Gogureyo, China, Japan. But so far archaeological researches have not revealed such data in Baekje and Silla~Unified Silla period wooden pagodas. In genarally, the eaves must protrude as much as the outer line of the foundation to protect its upper side from rain. The purpose of the aforementioned horizontal gutter was to protect the foundations of ancient wooden pagodas. In this article, we call this horizontal gutter the Naksubaji. After researching many archaeological findings of ancient wooden pagodas of China, Korea and Japan from 5th century to 7th century, it is suggested that the Naksubaji was installed to wooden pagodas of Baekje period in 6th century and Silla~Unified Silla periods in 7th century. In wooden pagodas of Baekje period in 6th century, Naksubajis were found in wooden pagodas of Gunsurisaji temple site, Neungsanrisaji temple site, Wangheungsaji temple site. Especially in case of the Wangheungsaji temple site, presumed line to make stylobate of wooden pagoda in Baekje period was confirmed by archaeological research and this case is similar to the early period wooden pagodas in Japan. Goryeocheok(ruler used in the Three Kingdoms) was used to construct wooden pagodas. According to the restoration plan of wooden pagodas to verify the protrusion of eaves, the ratio of the length of the foundation:the length of 1st storied building:the length of the center:the length of the corner was 4.9:2.7:1:0.9 between Gunsurisaji temple site pagoda and Wangheungsaji temple site pagoda. Also I found tne same length of tne 1st storied building between Gunsurisaji temple site pagoda and Wangheungsaji temple site pagoda. Therefore the exact scales and planning were adapted to the establishment of wooden pagodas in 6th century in Baekje period. But the Naksubaji was not producted after 6th century in Baekje period. Because the big wooden pagoda had been appeared, they were needed other style of the foundation. In wooden pagodas which were made in Silla~Unified Silla periods in 7th century, I found the Naksubaji in wooden pagodas in Youngmyosajl temple site, Hwangnyongsaji temple site, Sacheonwangsa temple site. The line of stone in Youngmyosajl temple site, the 2nd line expressed the area of pagoda, the relative analysis of the lower foundation between Neungsanrisaji temple site pagoda and Sacheonwangsa temple site pagoda were examined the Naksubaji. In Silla~Unified Silla periods, the establishment of wooden pagodas was started at 7th century. So they had the exactly details of wooden pagoda, but we had no data of the Naksubaji after the time made Sacheonwangsa temple site.

A Study on the Characteristics and the Kiln Site of Production of the Buncheong Ware Excavated from the Placenta Chamber (Taesil) in Seongju during the Reign of King Sejong (1418-1450) in the Joseon Dynasty (세종대(1418~1450) 성주 세종대왕자(世宗大王子) 태실(胎室) 출토 <분청사기 상감연판문 반구형뚜껑>의 제작 특징과 제작지 고찰)

  • AHN, Sejin
    • Korean Journal of Heritage: History & Science
    • /
    • v.54 no.4
    • /
    • pp.192-211
    • /
    • 2021
  • In Seongju, Gyengsangbuk-do, the Placenta Chamber (胎室, Taesil) of 18 sons and a son of the crown prince of King Sejong(世宗大王) is located in one place. Taesil refers to the place where the umbilical cord and placenta, which are separated when the baby is born, are placed in a jar made of pottery and stone box and then buried on the ground. The placenta chamber in Seongju has the Buncheong ware (粉靑沙器) cover buried on the ground to protect the baby's placenta. These covers are all hemispherical, with a diameter of more the 20cm. The decorations were made using black and white inlaid techniques only on the outside. The Buncheong ware cover with this shape and pattern has been confirmed only in the placenta chamber in Seongju. This study targets 6 of the Buncheong ware cover whose owners were identified, when and where they were prepared, what the stylistic features and meanings are, and where it was produced. The results of the study are as follows. First, ss a result of reviewing the production background and procurement system of this bowl, it was inferred that it was sourced from Jangheunggo (長興庫) at the central government office, between 1436 and 1439, when the event to bury the placenta of royal members in the ground was the most active. Second, it analyzed the unique features of this cover, such as the shape, pattern, and baked traces. The shape and pattern were compared to the ritual objects contained in the Sejong Silok Oryeui (『世宗實錄』 「五禮」, Five Rites of King Sejong Chronicle) and the lid of the royal placenta jar made in the 15th and 16th centuries. Third, this study suggests that the baking method was based on the shape and location of the traces remaining outside the cover. Finally, the following data were used to estimate the production site: the relationship with the 'Jagiso (磁器所, ceramic workshop) registered in the Sejong Silok Jiriji (『世宗實錄』 「地理志」, Geographical Appendix of King Sejong Chronicle); various records of contribution and dedication about the Buncheong ware made here; and the Buncheong ware and related tools excavated from the kiln site in the area. The place where the Buncheong ware cover was produced is estimated to be the most likely production site for the kiln site in Chunghyo-dong Kiln Site, located in Jeolla-do province by synthesizing the data above.

A Study on the Sanctuary of the Residence in East China Sea Skirts Area (동중국해권 민가의 성역(聖域)에 관한 연구)

  • Youn, Lily;Onomichi, Kenji
    • Korean Journal of Heritage: History & Science
    • /
    • v.43 no.2
    • /
    • pp.60-81
    • /
    • 2010
  • Jeju Island, in Korea, shows many characteristics that are differentiated from the rest of Korea. Its culture is rooted in mythology which advocates a egalitarian, rather than hierarchical, social structure, the place of women in the home is relatively high, and the formation of buildings, the separation of cooking and heating facilities, and the living format of residential homes is dissimilar. These disparities in culture indicate that Jeju Island's heritage was not formed only from influences from the North, but also from other places as well. To fill in the blanks, residential homes in Jeju Island were compared with those scattered throughout the East China Sea, which connect the southern coastline of the Korean peninsula and Jeju Island. The regions encompassed by the East China Sea, sharing the Kuroshio current and a seasonal wind, can be considered as one cultural region integrating cultural aspects from the continental North and the oceanbound South. The unique characteristics of southern culture as seen in southern residences was examined through an investigation of the sacred places in which gods were considered to dwell. First, the myths of these areas usually concerned with the ocean, and a sterile environment made sustenance impossible without a dual livelihood, usually taking on the forms of half-farming and half-fishing, or half-farming, half-gardening. Although family compositions were strongly matricentric or collateral thanks to southern influence, a patriarchical system like those found in the North were present in the upper classes and in the cities. Therefore, residential spaces were not divided based on age or gender, as in hierarchical societies, but according to family and function. Second, these areas had local belief systems based on animism and ancestor worship, and household deities were closely related to women, agriculture and fire. The deities of the kitchen, the granary and the toilet were mostly female, and the role of priest was often filled by a woman. After Buddhism and Confucianism were introduced from mainland Korea, China and Japan, the sacred areas of the household took on a dual form, integrating the female-focused local rites with male-centered Buddhist and Confucian rites. Third, in accordance with worship of a kitchen deity, a granary deity, and a toilet deity led to these areas of the home being separated into disparate buildings. Eventually, these areas became absorbed into the home as architectural technology was further developed and lifestyles were changed. There was also integration of northern and southern cultures, with rites concerning granary and toilet deities coming from China, and the personality of the kitchen deity being related to the southern sea. In addition, the use of stone in separate kitchens, granaries, and toilets is a distinguishing characteristic of the East China Sea. This research is a part of the results gained from a project funded by the Korea Research Foundation in 2006.

A Study on the Taeshil of Great King Jungjo of Joseon (조선 정조대왕 태실 연구(朝鮮 正祖大王 胎室 硏究) - 태실석물(胎室石物)의 구조(構造)와 봉안유물(奉安遺物)의 특징(特徵) -)

  • Yun, Seok In
    • Korean Journal of Heritage: History & Science
    • /
    • v.46 no.1
    • /
    • pp.76-101
    • /
    • 2013
  • In this article, we examine the Taeshil of King Jungjo, the 22nd King of the Joseon dynasty located in Yongwol, Gangwondo. The Jangtae culture - burial of the navel cord - is a unique Royal ritual which began during the Shilla dynasty and continued to be carried out for a long period until the Koryo and Joseon dynasties. Until today, about 300 Taebong sites have been discovered, most of which are the Taebong of the decedents of the royal family of the Joseon Kingdom. Most Taeshils built for Kings of the Joseon dynasty were destroyed during the Japanese colonial period, among which only a few have been recovered and managed across the nation. The Taeshil of King Jungjo is one of the leading examples among existing Taeshils in Korea which has managed to preserve well enshrined relics as well as literature documents including stone relics in perfect sets. Thus, in order to examine the Taeshil of King Jungjo comprehensively, first of all literary materials related to the construction of King Jungjo's Taeshil such as the Josunwangjosilrok - "Annals of the Choson Dynasty (朝鮮王朝實錄)". "Jungjongdaewang Taesilgabong Euigwe (正宗大王胎室加封儀軌) - Royal activities related to Taeshil, and local historic documents etc were searched and put together, while a focus was placed on examining the geographical location and state of the Taebong, including the specific style of each part of the Taeshil stone and characteristics of enshrined relics. Such materials are believed to have important utility in the future as a basic material to be used for research, maintenance, and restoration of Taeshil relics. So far, Taeshil relics is a field that has not been able to attract much attention from the academic world, however attention has begun to be paid to Taeshil relics due to recent archaeological excavations as well as an approach to artistic history. Academic research results are expected if Taeshil relics are able to be examined comprehensively in future covering various areas such as literature history, archaeology, and artistic history etc.

The Creation and Transformation Process of Ssangsanjae as a Private Garden in the Late Joseon Dynasty (조선 후기 민가 정원 쌍산재의 조영과 변화 과정)

  • Kim, Seo-Lin;Sung, Jong-Sang;Kim, Hee-Su;Cui, Yu-Na;Jung, Jin-Ah;Cho, Seong-Ah
    • Journal of the Korean Institute of Traditional Landscape Architecture
    • /
    • v.39 no.2
    • /
    • pp.1-14
    • /
    • 2021
  • Ssangsanjae was created in the mid-1800s, It is located at Jiri Mountain to the north and the Seomjin River to the south. This garden has not changed much even though it has passed through the sixth generation since its creation, so it still retains the features of a private garden in the late Joseon Dynasty. This study focused on the changing landscape of Ssangsanjae as a historical garden; through field surveys, interviews and analysis of builder's collection, boards and couplets. Ssangsanjae is largely classified into inner and outer gardens, and the inner is divided into an entry space, a residential space, and a backyard. The backyard consists of Seodangchae, it's garden, Gyeongamdang, and swimming pool, and is connected to the Sado Reservoir area, which is the outer garden. The distinct vegetation landscape of Ssangsanjae are a 13,000m2 bamboo and green tea field, Peony(Paeonia suffruticosa Andr. and Paeonia lactiflora var. trichocarpa(Bunge) Stern) planted on both sides of the road that crosses the lawn, the view through a frame(額景) shown by the twisted branches of Camellia and Evergreen spindletree, and a fence made of Trifolia Orange(Poncirus trifoliata) and Bamboo. Ssangsanjae stands out for its spatial composition and arrangement in consideration of the topography and native vegetation. The main building was named by the descendants based on the predecessor's Aho(pseudonym), and it is the philosophical view of the predecessors who tried to cultivate the younger students without going up on the road. The standing stone and white boundary stone built by Mr. Oh Ju Seok are Ssangsanjae's unique gardening facilities. The stone chairs, and swimming pool which were created by the current owner for the convenience of families and visitors also make a distinctive landscape. Ssangsanjae, for residents, was a place for living, exchanging friendships, training himself and seculusion, for children was a place for learning, but now is 'the private garden' where many people can heal themselves. Over the 200 years, the landscape of Ssangsanjae's inner and outer gardens experienced large and small changes. As such, it is necessary to recognize the historical gardens with changing properties as a living heritage. This study is significant in that, as the first study to approach Ssangsanjae in the view of landscape research, it provides basic data on Ssangsanjae as a destination of garden tourism.

Inflow at Ssangyongmun Gate During the Goryeo Dynasty and Its Identity (고려시대 쌍룡문경(雙龍紋鏡) 유입(流入)과 독자성(獨自性))

  • Choi, Juyeon
    • Korean Journal of Heritage: History & Science
    • /
    • v.52 no.2
    • /
    • pp.142-171
    • /
    • 2019
  • The dragon is an imaginary animal that appears in the legends and myths of the Orient and the West. While dragons have mostly been portrayed as aggressive and as bad omens in the West, in the Orient, as they symbolize the emperor or have an auspicious meaning, dragons signify a positive meaning. In addition, as the dragon symbolizes the emperor and its type has been diversified considering it as a divine object that controls water, people have tried to express it as a figure. The records related to dragons in the Goryeo dynasty appeared with diverse topics in 'History of Goryeo' and are generally contents related to founding myths, rituals for rain, and Shinii (神異), etc. The founding myth emphasizes the legality of the Goryeo dynasty through the dragon, and this influenced the formation of the dragon's descendants. In addition, the ability to control water, which is a characteristic of the dragon, was symbolized as an earth dragon related to the rainmaking ritual, i.e., wishing for rain during times of drought. Since the dragon was the symbol of the royal family, the use of the dragon by common people was strictly restricted. Furthermore, the association of a bronze dragon mirror with the royal family is hard to be excluded. The type and quantity of bronze double dragon mirrors discovered to have existed during the Goryeo dynasty is great, and the production and the distribution of bronze mirrors with double dragons seem to have been more active compared to other bronze mirrors, as bronze mirrors with double dragons produced during Goryeo and bronze mirrors originating in China were mixed. Therefore, in this article, the characteristics of diverse bronze mirrors from the 10th century to the 14th century in China were examined. It seems that the master craftsmen who produced bronze mirrors with double dragons during the Goryeo dynasty were influenced by Chinese composition patterns when making the mirrors. Because there were many cases where a bronze mirror's country of origin could not easily be determined, in order to identify the differences between bronze double dragon mirrors produced during the Goryeo dynasty and bronze mirrors produced in China, meticulous analysis was required. Thus, to ascertain that Goryeo mirrors were not imitations of bronze mirrors with double dragons originating in China but produced independently, the mirrors were examined using the bronze double dragon mirror type classification system existing in our country. Bronze mirrors with double dragons are classified into three types: Type I, which has the style of the Yao dynasty, includes the greatest proportion; however, despite there being only a small quantity for comparison, Types II and III were selected for the analysis of the bronze mirrors with double dragons made in Goryeo because they have unique composition patterns. As mentioned above, distinguishing bronze mirrors made during Goryeo from bronze mirrors made in China is challenging because Goryeo bronze mirrors were made under the influence of China. Among them, since the manufacturing place of the bronze mirrors with double dragons found at the nine-story stone pagoda in Woljeongsa Temple in Pyeongchang is questionable and the composition pattern of the bronze mirror is hard to find on bronze mirrors with double dragons made in China, the manufacturing place of those bronze mirrors were examined. These bronze mirrors with double dragons were considered as bronze mirrors with double dragons made during the Goryeo dynasty adopting the Yao dynasty style composition pattern as aspects of the composition pattern belonged to Type I, and the detailed combination of patterns is hard to find in mirrors produced in China.

A Study on Glass Mirror Trade and its Characteristics of Craft after Joseon Dynasty (조선 후기 유리거울의 수입과 공예품의 특징)

  • Park, Jinkyung
    • Korean Journal of Heritage: History & Science
    • /
    • v.52 no.4
    • /
    • pp.206-225
    • /
    • 2019
  • This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

A Study on the Position and Meaning of the Back Garden in Wanggung-ri Site, Iksan (익산 왕궁리유적에서 후원의 위상과 의미에 대한 연구)

  • Jeon, Yong-Ho
    • Journal of the Korean Institute of Traditional Landscape Architecture
    • /
    • v.34 no.4
    • /
    • pp.1-13
    • /
    • 2016
  • The Back garden in Wanggung-ri Site, Iksan clearly presents an aspect of the landscape gardening techniques of the Baekje, which are significantly unique in the landscape gardening history of East Asia as the structure connected to the main garden through a complex waterway system on a hill. The rear garden has a complex waterway system comprising a large inverted U-shape waterway and its branch waterways, sinuous waterway and water catchment system to enhance the landscape effect with a minimum amount of water on a hill, reducing damage by floods in the case of heavy rain and securing the amount of water required by the main space in the palace. A landscape element using various kinds and sizes of oddly shaped rocks decorated the water catchment area inside or around the large inverted U-shape waterway. On the top of the hill, the center in the Back garden, a building site in the size of 4 Kans each on the front and side was made on a square base surrounded by a round base stone. The building was identified on a space partially surrounded by the rectangular stonework on the left and right slope of the hill. While the functions and roles of the rectangular stonework are not accurately identified due to the poor conditions of the present site, the stonework may be related to the building inside it. The back garden in Wanggung-ri Site, Iksan has a winding pond-shaped waterway to pull or push water into or out of the garden in a rectangular pond shape, which was a conventional landscape gardening technique during the Baekje period. Since the main garden and the back garden in Wanggung-ri Site, Iksan form a systematic connection system, this paper tried to newly establish the main garden inside Iksan Wanggungseong as the 'royal garden'.