• 한국실내디자인학회논문집
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• 제15권2호
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• pp.158-165
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• 2006

God, existing in the Tabernacle was designed not by man but was designed by Him Personally. The LORD said to Moses..... 'Then have them make a sanctuary for me, and I will dwell among them. Make this tabernacle and all its furnishings exactly like the pattern I will show you(Exodus25:1-9). These words represent the Godly Origin of the Tabernacle. He referred to it as'A copy and shadow of what is in heaven' (Hebrews8:5) , Furthermore, The Tabernacle, a copy and shadow of what is in heaven, used in the Old Times, was his body(John2:21). Therefore The Lord is the true designer of the Tabernacle(Exodus25:8-9), and is where He dwells(Exodus29:46), and is where the sinful man meets the Lord(Exodus30:6). It is where the Lord dwells(Exodus29:46) and where Forgiving takes place(Leviticus4:20,26,31). Because of this, The Tabernacle is the most important out of any piece of architecture designed by man.

• 한국실내디자인학회논문집
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• 제16권1호
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• pp.108-118
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• 2007

The tabernacle architecture is the paradigm of the new testaments and the modern church, and has been from the temples to synagogues, the Old Testaments to the New Testaments, and from present to future. Nevertheless, research on the Tabernacles has never been studied architecturally but has only been researched Biblically or partially. This would be because people interested in the tabernacle lack in architectural knowledge, and architects would be limited theologically. Furthermore, the start of church architecture until now was the architecture of the Roman-court style and the Greece Temple as the exterior, such as the Basilica, a non-Christian, strangely styled piece of architecture, which was seen as the basis of the church architectural style, which is a great mistake, due to the effect of modern architectural educational system with the central figure of humanism and western styled architecture. The measurement and the pattern of the Tabernacle architecture were not recorded in the Bible in order to produce the shape of the Tabernacle. The 'Architecture of God' was designed for the very first time on Earth so that He could dwell among His people.

• 한국실내디자인학회논문집
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• 제14권6호
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• pp.185-192
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• 2005

The Tabernacle was Personally designed by God and was ordered from God to Moses to build it as the first Piece of church architecture that accurately showed God's love and will of salvation towards humankind. Tabernacles, through the architecture of tabernacles teaches the Lord being among us. His Holiness and man's sins, and also reflects the path of eternity as well as the good news and salvation through Jesus Christ. And the Tabernacle is talking of the Glory of New Jerusalem that is provided Kingdom of Heaven for us at the same time being a completion of a final and ultimate church constructed long predicted through the Bible being already designed by God. The external expression of modern architecture may follow the uniqueness of that age but the special quality of the interior and exterior symbolism of church architecture will have to consist the standards of God for He is the first, sincere designer.

• KIEAE Journal
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• 제17권2호
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• pp.21-28
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• 2017

Purpose: The early churches such as tabernacle, temple and synagogue had played a important role to form space concepts of western churches. Tabernacle and temple were designed with vertical axis which consisted of sanctuary, sanctum, outdoor yard. Synagogue was designed pew of congregation around pulpit to give a sermon. The aim of this paper is to analyze spatial principles of churches designed with vertical axis and centralized plan. Method: The concept of vertical axis plan succeeded to Basilica, Romanesque and Gothic churches, and the concept of centralized plan succeeded to Byzantine and Renaissance churches. Therefore, this paper analyzed spatial characteristics and role of light in churches according to epoch, and was progressed by examining the existing researches and case studies. Result: The churches designed with vertical axis plan realized spatial composition to show the concept of domus dei, and worship space was illuminated with mysterious light. The churches designed with centralized plan realized spatial composition to show the concept of domus ecclesiae, and light created dramatic holiness in worship space.

• 건축역사연구
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• 제1권1호
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• pp.179-190
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• 1992

In order to meet the needs of the liturgical reform implemented by the Second Vatican Council, existing churches have been reordered and guidlines drawn for new buildings. With this reordering, perhaps the most perplexing issues facing priest and architect alike are the question of reservation and placement of the tabernacle. While in several documents including the documents of the Second Vatican Council, the church has made statement concerning this problem, not much has been stated definitely, And there are many different and. ambiguous things in the interpretation of liturgists and Episcopal Conferences. I examined and compared the issues which has been raised this while based on the Vatican Documents. The findings may be summarised as follows : (1) As the history of church architecture has seen great variety and innovation in solving the needs of the day, the church gives certain guidelines, but also allow great flexibility. (2) To achive good result, the priests and architects should work together in a language the other will understand. So theological interpretations on church architecture may be very useful. (3) The seperate eucharistic chapel which is near the santuary will be recommended as a location which accounts for both the communal and individual aspects of eucaristic adoration.

• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2004년도 제20회 발표논문집
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• pp.92-100
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• 2004

The host rocks of brick-shaped stone pagoda in the Bunhwangsa temple are lots of kinds andesitic rocks, which has gone through mechanical and chemical weathering. As the overall observation, the pagoda is serious damages by air pollutants, and the northeast parts show the much advanced state of turning white, while the southeast parts are heavily cracked in the materials. The rocks of brick-shaped pagoda body are in a relatively stable condition of weathering and damage except for the abrasion and cracks of the corners. The rocks of the pagoda roof suffer from more symptoms including multiple peel-offs, exfoliation, cracks forming round lines, and falling off stone pieces. The pagoda roof rocks are dominated by the thriving leafy lichens and mosses, especially, there are higher plants (selaginella involvens, dandelions) taking root actively between the brick stones and content mortar. There are even light gray precipitates like stalactites between the rocks of the body, In particular, the 1st and 2nd floor in the east side and the body parts in the north side are the most serious. Their major minerals are calcite, gypsum and clay minerals. The rocks of the stylobate and the tabernacle in all the four directions are composed mainly of granitic rocks. The materials consisting of the tabernacles show the severe splits and distortion, which causes the structural instability. The stylobate rocks are heavily contaminated by some weeds with the often marks of inorganic contamination by secondary hydroxides. The central part of the east stylobate has been sinking, while that of the 1st floor west stylobate is protruded nesting a line of cracks. Accordingly, the inside of the tabernacle is always humid with the constant introduction of rainwater. The stone lion standing in the southeast and northeast side are alkali granite, while that in the southwest and northwest lithic tuff. Each of the stone lion also coated with various colored lichens, mosses, algae, bacteria and bryophyte. The external materials of the pagoda have deteriorated the functions of the rocks and made the loss, falling off, and biological contamination even worse due to the surface weathering. Thus it's urgent to come up with scientific restoration and conservation measures through clinical tests.

• 건축역사연구
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• 제21권6호
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• pp.77-90
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• 2012

The typical form of Indian Stupa, which is going to understood the gradual development and various forms at the Kushan-era Stupa. Buddhist art and architecture of the Kushan-era was influenced Gandharan Hellenistic culture of the foreign. And indigenous Indian cultures of mature was visually big change. The Kushan-era Stupa has been ten feature. First, a circular podium at typical form of the initial Stupa was constantly changed. Second, is the Stupa of the overlaps and increase podium. Third, the Stupa has been square podium. Forth, is down scale of Anda(Bokbal). Fifth, increases the Stupa and Railing smaller, and Change the position of the Torana(gateway). Sixth, changing the target of the faith, thereby a statue of Buddha has been added in the Stupa. Seventh, around the main Stupa and podium are made in a tabernacle. Eighth, the developed spokes structure was added to on the podium inside. Ninth, crosswise plan appears unlike general Stupa. This type has relevance with Tower Stupa. Tenth, the Votive Stupa was added to the temples and Apse type chaitya has been developed.

• 미술자료
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• 제99권
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• pp.50-71
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• 2021

부여 동사리사지 오층석탑은 수도 개성 양식 계열의 남방한계선을 점하는 중요한 위치에 건립된 고려 전기 탑이다. 갑석 받침인 부연의 사선형 곡면 처리 등에서는 고려 개경 중심의 탑에서 보이는 고려중앙 양식의 특징을 잘 살펴볼 수 있었으며, 11세기 석탑과 양식을 공유하는 특징들도 뚜렷하게 관찰되었다. 하층기단의 안상문에서는 고려 1028년(현종 19)에 대대적으로 중수된 것으로 추정되는 부여 정림사지에 있는 석불좌상 대좌와, 천안의 천흥사지 당간지주에서 동일한 문양과 치석 수법이 조사되어, 동사리사지 오층석탑 건립 연대를 11세기로 추정했다. 부여 동사리사지는 금강 인근에 위치해 고려의 조운제도상 중요한 교통로이며, 고려 왕실의 원찰인개태사로 가는 길목에 자리잡고 있어 고려 현종대(1009~1031) 부여 정림사지가 크게 중수되고 동사리사지도 주요 거점으로 부각되면서 석탑이 조성되었을 것으로 짐작된다. 또한 동사리사지 석탑은 1021년(현종 12) 천안의 홍경사와 홍경원의 창건과 관련된 것으로 추정되는 인근의 천흥사지 석탑 및 당간지주와도 양식을 공유하고 있어 이를 통해 개경 양식의 유입 루트도 살펴볼 수 있었다. 부여 동사리사지 오층석탑은 고려 11세기 문화의 우수성을 보여주는 이 지역의 또 하나의 석조미술품이다. 수도 개경의 거대한 현화사 석등과 석탑과 비견되는 고려 초 논산 개태사나 관촉사, 부여 대조사 석조미륵보살입상 등의 거불(巨佛)과 함께 이 석탑 역시 고려 특유의 당당하고 자신감 있는 미감을 보이고 있다. 11세기 활발한 지역간 문화교류의 배경 아래 부여 동사리 지역은 고려 개경의 불교문화 영향권 아래 완숙한 문화 역량을 총 발휘해 경쾌하고 날렵하며, 엄정하면서도 세련된 이러한 석탑을 탄생하게 했을 것으로 추정된다.