• Acta Via Serica
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• 제8권2호
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• pp.125-154
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• 2023

Historically, commerce was a significant factor in the proliferation and development of Buddhism, which is especially manifest in the cult of the bodhisattva Avalokiteśvara. Iconographic and textual evidence testifies that maritime trade on the Indian Ocean played a fundamental role in the formation of Avalokiteśvara worship. The sea was also a major conduit through which elements of the Avalokiteśvara faith were transmitted from India through China to Korea and Japan, the easternmost ends of the Silk Road. These elements include Avalokiteśvara's role as a maritime savior, oceanic symbolism, and the concept of the bodhisattva's worldly abode, Potalaka. Cultic sites dedicated to maritime safety were established at important transport hubs in East Asia. Due to China's strategic location on the Silk Road, as well as its cultural influence, the most important cultic sites were founded in China, first on the Shandong Peninsula, then in the southern Jiangnan region, in present-day Zhejiang Province. Especially notable is the role that Korean seafarers played in this process by assisting monks in search of the Dharma, establishing temples, and transmitting religious beliefs across the ocean. The present study focuses on the role that maritime figures played in the cultural exchanges between Korea, China, and Japan examined through Avalokiteśvara faith. By this, it aims to demonstrate how Korean seafarers inherited and continued the traditional relationship between commerce and Buddhism, while extending the Maritime Silk Road to the "East Asian Mediterranean."

• 건축역사연구
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• 제22권4호
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• pp.7-18
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• 2013

Integrated-Salmi can be suggested as a character of Da-po type Kong-po in Korea's traditional architecture. However, only few studies are made on this subject yet. This study is to investigate the integration process of Salmi through cases of certain Kong-po which have the same number of inner and outer Chul-mok and are also known to precede in time. The results of the study are like below. First, Integrated-Salmi is more dominant in inner and outer 3 Chul-mok Kong-po than in inner and outer 2 Chul-mok Kong-po. Second, While inner and outer 2 Chul-mok prevail in Yeong-nam region, inner and outer 3 Chul-mok prevail in Ho-nam region. Third, integrated Salmi of Inner and outer 3 Chul-mok, first appeared in internal Jusangpo to be carried over to internal Juganpo then eventually to outer Salmi. Fourth, the reason why integrated form precede in internal salmi of inner and outer 3 Chul-mok Kong-po is due to 2 main factors. First of which is the impact of integrated Boaji that developed in Da-po type since the early 16th century. The second factor is downward expansion of Cho-gak's Boaji which was adopted to cope with disorders made in structure of Chum-Cha, due to inner and outer 3 Chul-mok type buddhist temples' wide reconstruction throughout Jeolla region following the Japanese invasion of Korea in 1592. This study is to disclose the regularity of development process of Salmi's Cho-gak(草刻) which is a characteristic of Korea's Da-po type Kong-po.

• 한국지역지리학회지
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• 제18권1호
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• pp.42-54
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• 2012

지리산은 수많은 사람들이 살았던 오랜 생활문화의 터전으로서 많은 역사유적과 종교경관, 생활경관이 남아있다. 지리산의 문화경관은 산의 신령한 장소성과 사람의 생활문화터전이 통합된 새로운 지평의 산악문화경관의 개념을 제시한다. 지리산은 예부터 '신성한 어머니산'으로 여겨져 신성시 되고 많은 사람들이 거주하였다. 지리산에는 삼국시대의 산성과 가야 고분을 비롯한 각종 역사 유적이 남아 있고, 국가적인 산신제의가 행해진 곳으로 현재까지 '남악제'로 이어지고 있다. 불교 사찰에는 수많은 문화재가 있고, 현재까지 불교신앙이 성행하여 살아있는 문화전통을 유지한다. 그리고 다양한 풍수경관이나 다랑이 논 등의 생활경관도 함께 존재하면서 역사, 종교문화 등과 어울려 지리산 문화경관의 모자이크를 이루고 있다.

• 한국전통조경학회지
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• 제31권3호
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• pp.114-121
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• 2013

관음현상기는 세조가 미지산 상원사에 행차했을 때, 담화전(曇華殿) 상공에서 목격한 백의관세음보살의 화현 모습을 최항에게 일러 찬(讚)한 글이다. 관음현상기에는 화공이 그린 백의관음화현도가 붙어 있는데, 이 그림으로 인해서 조선 초기의 상원사의 모습을 알 수가 있게 되었다. 본 연구에서는 관음현상기에 실린 기록과 그림을 통해서 조선 초기 상원사의 경관성을 살피는 것에 주목하였다. 연구 결과, 조선 초기 상원사의 건물 배치나 공간구성 그리고 건물의 형식이나 조경처리에 있어서 다른 산지 사찰과는 다른 특별성이나 차별성을 확인할 수 있었다. 이러한 특별성이나 차별성은 상원사가 왕실의 원찰이라는 사격을 가지고 있었기 때문에 가능했던 것으로 보인다. 특히, 조경적 측면에서 볼 때, 경석은 주목되는 바가 큰데, 그것은 사찰조경이 주로 물을 재료로 해서 이루어졌다는 지금까지의 생각을 보완케 만드는 자료가 될 수 있기 때문이다.

• 한국주거학회논문집
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• 제25권6호
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• pp.111-121
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• 2014

The purpose of the study is to understand the unique characteristics of decoration style in traditional Javanese houses. Reviewing literature and visiting site were applied as the research method. Javanese House can be divided into three parts; roof, wall and floor. First, the roof of the traditional Javanese House is the most unique and important decorative element. The roofs are covered with roof-tiles and have clay carving ornaments on top. Usually there are no ceilings, just exposed to the oblique shape roof, which are made of wood to enable air ventilation. Joglo roof is the outstanding and representative roof type of Javanese houses. There is artistic and constructive roof structure named as tumpang sari in Joglo roof. The decoration on tumpang sari is the most colorful and symbolic ornaments. Secondly, the most unique element in the wall is the gebyok. Gebyok is made of wood and full of carved ornament, which has an artistic appearance, and also important function. The top part of doors are designed as perforated woodcarving, which give both aesthetic and ventilation purposes. Last, the stratified floor is begin with ground yard, then veranda that made from hardened clay, and main room constituted with a wood scaffold to provide air circulation and remove the humidity of the ground. The decorations of the column stand (umpak) are unique, where usually lotus flower is carved into black stone or lime stone. The outside of the buildings in Java Houses is not decorated by colors or symbols, whereas colors are only used in temples, pavilion or in royal housings. Instead they have carvings and decorations on important structural elements such as columns and beams inside. The ornaments and colors of decorations symbolize their god, ancestors and piece.

• 한국조경학회지
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• 제30권4호
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• pp.82-91
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• 2002

The site for this plan is located at the foot of Mt. Unseo at Galcheon-ri, Changsu-myon, Youngdeok-gun. On the site stands Jangyutsa Temple, built by priest Naong in 1355 (in the 4th year of King Gongmin during Koryo Kingdom). The purpose of this plan is to widely publicize and commemorate priest Naong by designing a district centering around the temple. The basic directions of design can be summarized as follows 1) A special Buddhists'pilgrimage and sight-seeing district aimed at commemorating priest Naong will be developed to preserve the historic figure of priest Naong. To this end, a facility will be built to collect, preserve and exhibit materials related with the great priest in order to preserve his legacy and enhance the image of the space. 2) Special fractions which are rare in other districts will be introduced to create an image different from the conventional memorial districts or sight-seeing zones. To this end, the district will be divided into the Jangyuksa Temple area proper and a district memorial area, each of which will have its own unique characteristics with different functions. On the other hand, the two different areas will be related with each other and complemented by each other. Such planning techniques as articulation and superimposition will be used for a synergistic effect. 3) The plan will accommodate various programs centering around historical and cultural assets, and at the same time will allow tourists to have various experiences and access to the natural environment as well as to a variety of events. 4) In order to plan such landscapes as shown in the traditional mountain temples, the traditional tectonic forms will be used for the facilities. It is expected that the district surrounding Jangyuksa Temple will become a popular sight-seeing destination, and with new historical and cultural environments will become a valuable resource to widely publicize the culture of Youngdeok-gun.

• 건축역사연구
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• 제14권2호
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• pp.41-55
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• 2005

Temple with Multi-Buddha's Pavilions is a temple consisting of more than 2 Buddha's Pavilions. Individual Buddha's Pavilions tend to form distinguished area, or to keep independent axis from other Buddha's Pavilions. This study is to understand the philosophy of layout of individual Buddha's Pavilions located in the Temple with Multi-Buddha's Pavilions. To investigate a relationship to layout of individual Buddha's Pavilions on the basis of Buddhism doctrine makes us to understand philosophies about temple layout which temple constructors had. Bulkooksa, a temple having several pavilions placed in parallel, integrates diverse philosophies such as Vairocana Buddha-Ksetra from Vairocana Buddha's Pavilion, Sakyamuni Buddha-Ksetra from both Sakyamuni Buddha's Pavilion and two stupa, and Amitayus Buddha-Ksetra (Sukhavati) from Amitayus Buddha-Ksetra Pavilion. Sakyamuni Buddha's Pavilion and Amitayus Buddha's Pavilion are placed east to west in parallel, and Vairocana Buddha's Pavilion is placed behind them. Beobjusa, a temple having several pavilions placed cross axis, combines three axes such as the first, main axis linking Kumkang Gate - Chunwang Gate - Palsang Pavilion - Amitayus Buddha's Pavilion - Sakyamuni Buddha's Pavilion, the second axis linking Palsang Pavilion -Maitreya Pavilion, and the third axis linking Amitayus Buddha's Pavilion - Avalokiteshvara Pavilion. Relationship among each Buddha's land is clearly expressed by means of this cross axis layout of Buddha's Pavilions, reflecting a philosophy of rebirth in Nirvana that Wonhyo and Eusang propagated. Buseoksa, a temple having several pavilions placed the before and the behind, combines three Buddha's lands such as Maitreya Buddha-Ksetra, Amitayus Buddha-Ksetra and Vairocana Buddha-Ksetra, by means of arrangement of Maitreya Pavilion, Anyang Pavilion and Amitayus Buddha's Pavilion at bended axis, and east facing Amitayus Buddha. By investigating the philosophy of Temple layout with Multi-Buddha's Pavilions in this study, Buddha's Land conception, for people, that ancient Korean temples have, is understood.

• 건축역사연구
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• 제14권3호
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• pp.103-118
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• 2005

This study is about the meaning of wooden brackets that are distinctive elements of wooden architecture in Korea, Japan, and China. Existing studies about wooden brackets have been limited to the boundary of formalism, so the object of this study is to make a breakthrough in the field of those studies. The Wooden brackets in this study are considered to be decorative elements, and the principles of their design are examined. The specific subject of the study is wooden architecture with Jusimpo-styled brackets that have brackets only on pillars. The definition of Jusimpo is reexamined first, and ChulMok-Ikkong which has not been regarded as a Jusimpo-styled wooden bracket is interpreted as Jusimpo-styled one in this study. Categorized into three types, Jusimpo is examined how it is expressed according to the type of the roof in a building. In view of the results, the wooden bracket system is an effective technique to express the formality, and two designing principles can be seen in Jusimpo; one that wooden brackets observed externally are standardized and regarded as the same ones, and the other that the style of wooden brackets used in the most formal building is Yi-ChulMok. These designing principles mean that the carpenter who was in charge of building the architecture had certain principles when expressing wooden brackets as well as the roofs according to the class of the architecture. In addition, although the styles of wooden brackets that were used in the most formal architecture during the Chosun period were mostly Dapo, Jusimpo in the form of Yi-ChulMok was also adopted in some temples depending on their scale, and that means Jusimpo-styled wooden brackets were never considered to be inferior to Dapo-styled ones. And this point leaves the argument that the reexamination of Jusimpo-styled wooden brackets which have been regarded as the style used in the attached building or small structures since the Choun dynasty should be conducted.

• 대한예방한의학회지
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• 제18권2호
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• pp.81-88
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• 2014

Objective : This study is a survey research that investigates the kinds of medicinal herbs actually used in Yaksun(medicianal food) restaurants, the frequency and the way of using herbs in Yaksun. Through this study, we assumed that it will be used basis data on further Korean Yaksun research. Method : We conducted survey targeting for 26 Yaksun restaurants and Temple food restaurants serving Yaksun cuisine(medicinal food) menu from July 2012 to January 2013. The questionnaire was composed of several parts including the kinds of medicinal herbs that was used in Yaksun, medicinal food types that use a lot of medicinal herbs, medicinal herbs criteria used in the selection of medicinal food, and education experience learning Yaksun cuisine. Results : Only 11 restaurants answered the questionnaire among the targeting restaurants of survey objects. The number of Herbs was investigated in each restaurant was maximum 65 kinds and minimum 7 kinds (average 32 kinds). All restaurants used Angelicae Gigantis Radix in their restaurant. And Nelumbinis Semen, Zingiberis Rhizoma, Glycyrrhizae Radix, Acanthopanacis Cortex, and Gardeniae Fructus are well used medicinal herbs in Yaksun. Types of medicinal food using a lot of herbs were rices porridges rice cakes, both vegetables salads and stews soups. Almost chefs or restaurant's representatives learned cooking medicinal food at temples, food research centers, university attached institutions, and cooking schools. Conclusion : Medicinal herbs used in Yaksun restaurants are familiar with Korean and easily available. These herbs has better efficacy, taste, scent, color in comparison of the others. For the development of Korean Yaksun, further research of divers parts in Yaksun materials should be conducted.

• 한국콘텐츠학회논문지
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• 제18권9호
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• pp.240-247
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• 2018

본 논문에서는 관음 설화에 등장하는 33관음을 일반인의 기원에 따라 시각화하는 디지털 콘텐츠로 구현한다. 33관음은 유형문화재인 삼국유사의 관음 설화와 일반 사찰의 벽화에서도 쉽게 찾아볼 수 있다. 33관음은 일반인의 기원에 따라 33가지 모습으로 변신하고 자비를 베푸는 보살로서, 변화된 모습에 따른 다양한 관음 설화가 민간에 전래되어 확산되었다. 본 논문에서는 33가지 관음을 일반인들의 기원에 따라 치유, 안심, 학업성취, 재난 구호의 4가지 기원으로 분류하고, 각 관음에 대한 상징성과 활동성을 분석한다. 또한 일반인들의 사용 용이성을 지원하기 위한 2차원 디지털 콘텐츠를 제작한다. 응용 분야로는 전통문화 캐릭터 개발, 전통문화의 디지털 스토리텔링, 불교의 교리 교육, 게임 등 불교문화에 대한 서비스 등에 활용할 수 있다.