• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• 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.

• The Journal of Natural Sciences
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• v.14 no.1
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• pp.123-138
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• 2004

This study was to investigate the planting arrangement of ornamental trees and shrubs that leads to an appropriate, type of templescape. Temples sampled for this study were Woljonsa, Sineunsa, Sinreugsa and Mitasa which fall all under the category of the level land. The results obtained were as follows : Open space of Daewoongjeon in all temples, a main Sanctuary among temple buildings, where Buddha is enshrined in, we could not find any kinds of trees/shrubs to be planted. But tere were Acer mono, Acer planmatum, Crataegus pinnatifidam Raododendron poukhanense, Texus cuspidata and Buxus mincrophylla to be planted, before Jeokkwangjeon, in which Buddha is exceptionally enshrined. In Geugragjeon of both temples of Sinheunsa and Sinreugsa, and Elysium building and Muryangsujeon of Woljeongsa temple, an immeasurable bliss building, in which an Amitabha is enshrined. was Taxus cuspidata planted numerously found. Particularly, Josadang, Muryangsujeon and Samsungkag of Woljeongsa temple commonly had Sciadopiys verticillata, which is known as one of Japanese-favorite trees. Syinga oblata Lindaley was also observed at Jeokkwangjeon of Woljeongsa temple and Keungnakjon of Sinheungsa temple, and Vidurnun opulus var. calvesvens, a symbolic flower tree imaging Buddha's head, was planted in Myungboojeon of Sinheungsa temple and Keugnakjeon of Sinreugsa temple. Juniperus chinensis which could be observed in both temples Sinheunsa and Sinreugsa was well arranged enough to be easily captured by human's eyes. In terms of templescape that might be considered in templescape, the correlation between trees/shrubs and temple buildings was thoroughly discussed. And, with the results obtained through precise studies, we presented here in this paper newly designed model of templescape in level land buddhist temples which is possibly applied for planting and arrangement of trees or/and shrubs.

• Korean Journal of Environment and Ecology
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• v.25 no.4
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• pp.621-630
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• 2011

This research examines the push and pull factors of temple stay in Korean national parks. 152 participants of temple stay in Woljeongsa and Guryongsa in national parks in Gangwon-do area completed a survey to access their reasons for participating in temple stay(push factors) and to evaluate how well the visiting experience performed on a selected set of attributes(push factors). Demographics of respondents were similar to the visitor characteristics of Korean national parks. The result of factor analysis identified 6 push factor domains of 'self actualization', 'health enhancement', 'nature assimilation', 'relationship elevation', 'religious experience', and 'leisure experience'. 6 pull factor domains were 'recuperative quality', 'quality of a temple stay program', 'attributes of a temple', 'user convenience', 'tourism experience' and 'accessibility and transportation'. Satisfaction level of temple stay in a national park was very high of 4.71 in a 5 Likert scale. Gangwon- Do was most preferred with the percentage of 89.2 as a suitable area for temple stay in a national park. Findings of multi-dimensional tourism motivations of temple stay in a national park that encompass nature tourism, cultural tourism and religious tourism is expected to provide useful information for the future development of a more competitive temple stay program and a marketing strategy. However, more defined successive research work is required to generalize findings of wellness oriented push and pull factors of temple stay based on nature in national parks.

• 보존과학연구
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• s.33
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• pp.125-148
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• 2012

The Octagonal nine storied pagoda of Woljeongsa Temple consists mainly of granite with the rockforming minerals quartz, plagioclase, microcline, and biotite. The surface of the stone stupa is light brown that has been discolored by the rust from the metal ornament and aids. The surface of the stylobate and roof stone is colonized by biological contaminants. Therefore, a comprehensive deterioration diagnosis was carried out in this study, and conservation treatment was conducted. It was proven that the $Fe^{2+}$ yield increases depending on the count of poultice used with oxalic acid, but the $Mg^{2+}$, $Al^{3+}$, and $Ca^{2+}$ yields were marginal following the preliminary test. Therefore, the use of poultice is an effective way of removing the rust, and only marginally influences the rock. The biological contaminants were removed through dry cleaning, and the soil located under the contaminants was removed through wet cleaning. Based on this, the dry and wet cleaning of all the biological contaminants, and the use of poultice with oxalic acid, were done to remove the rust. For the conservation treatment of the metal ornament, the rust was removed through physical cleaning, and anticorrosion treatment was performed on the iron ornament using Renaissance wax and copper ornament by BTA.

• Journal of the Korea Furniture Society
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• v.25 no.1
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• pp.72-78
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• 2014

The objectives of this study were to identify the species of a wooden container for written prayers, Sotong, from Guryongsa Temple in Wonju, which is currently stored in the Museum of Woljeongsa, and to date it using wiggle matching of radiocarbon dates. It was made exclusively of basswood, Tilia spp. Wiggle matching the radiocarbon dates of three rings resulted in A.D. 1670 to 1691 (${\pm}2{\sigma}$) for the outermost ring. This interval suggested the age of 'Guryongsa Sotong' as the late $17^{th}$ or early $18^{th}$ century, which became a first date on 'Sotong' in Korea.

• Journal of the Korean Society for Library and Information Science
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• v.50 no.1
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• pp.395-416
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• 2016

This study analyzes periodic phenomena on publication and characteristics of Buddhist scriptures engraved on woodblock in temples located in Hwanghae Province during the Joseon Dynasty period in bibliographic approach. There are total 85 Buddhist scriptures published in Hwanghae Province, 5 scriptures among them including Yonggamsugyeong appear to be engraved on woodblock only in temples in Hwanghae Province. They, published in 64 printings during the early days of the Joseon Dynasty, occupy 75% of total Buddhist scriptures, and are analyzed to be intensively published with the support of royal family members such as Queen Munjeong in the reign of King Myeongjong. However, as the publication displayed a sharply declining tendency in the late Joseon period after the Japanese invasion, it is understood to be identical with historical fact that the people's livelihood in Hwanghae Province closed to ruin through invasions from Japan and Manchuria. In addition, the analysis on characteristics of these Buddhist scriptures by subject indicates that over 80% of them are generally sacred books and dogmas. In fact, woodblock engraving works in temples emphasize on the duty of an engraver, and many engravers are investigated that they engraved only 2 to 3 Buddhist scriptures in temples located in Hwanghae Province. Doseong and Suyeon can be regarded as remarkable itinerant monks as they were appeared to engrave Buddhist scriptures in not only Hwanghae Province and also other regions by moving from one place to another. This study is expected to be meaningful as a paper that can be used on future studies to compare Buddhist scriptures engraved on woodblock in other regions in North Korea.

• Journal of architectural history
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• v.16 no.2
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• pp.99-118
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• 2007

Kyedan(戒壇) is an altar to perform a rite of Buddhist Initiation which gives Precept to a Buddhist monk. Sometimes it is called the Place of Precept and Mandala by Sanskrit. In this study, the Sutra of the Tang(唐) Dosun(道宣) regarding First Kyedan of Jetavana-anathapindasyarama(祇園精舍), which was the first temple such as, Kyedandokyung(戒壇圖經), Kiwonsadokyung(祇洹寺圖經), Sabunyul(四分律) were analyzed to find out original form and layout. Ultimately, the study was intended to examine the spatial formation-principle by comparing with Kyedan Temple. The results of this study could be summarized as below. First. Except for Kyedan in Bakryensa, the height of lower stone plate of Buddhist Bell-Shaped Stupa of Korean Kyedan is higher than three storied Kyedan that described in Kyedandokyung. Second. Buddhist Bell-Shaped Stupa above Kyedan was presumed that embodied image of Bell Pedestal and symbolism of overturned-bowl were combined together, when Kyedandokyung and Kiwonsadokyung were referred. It could be examined by the existence of stone lantern. Third. In Korea, the rite of Buddhist initiation that gives Precept in Kyedan has been considered impossible. However, when the rite was conducted, there was a possibility to establish wood stair. It is because that the Buddhist Stupa of Silleuuksa(神勒寺) and Woljeongsa(月精寺), which reflected the image of Kyedan had stone stair. Fourth, The method to build Kyedan of Dosun divided into Large Region and Small Region was applied to the method to construct Stone terrace behind Jeongmyeolbogung(寂滅寶宮) like Tongdosa(通度寺) and complete Kyedan on the stone terrace. In other words, Jeongmyeolbogung became Kyedanwon(戒壇院) and Kyedan, itself became Small Region. The area of Stone terrace became Large Region and naturally, they constituted an Institution. Fifth, Korean Kyedan which is consist of Jeongmyeonlbogung and Kyedan is a Korean original composition principles of Kyedangaram(戒壇伽藍) that can satiate all the functions of Kyedan as a religious subject and the place of the rite of Buddhist initiation, as it had complex of Outdoor Kyedan, which was suggested by the sutra of Dosun and Institution of Kyedan.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.190-205
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• 2016

Buddhist stupas, which are a symbolic architecture of Buddhism and enshrine the Jinsinsari of Buddha, were reinvented as stone stupas appropriate for the natural soil of Korea from existing wooden stupas around the 7th century after the introduction of Buddhism. Later, the construction of a stone stupa was expanded to local areas from the central area around the 9th century; thus, stone stupas of more diverse local colors were built in a nationwide scale, and today it is called a "country of stone stupas". While focusing on the stylistic interchanges between stone stupas, which were established in each region in accordance with the localization of the establishment of stone stupas that was begun actively from the 9th century, this paper selected several cases of stone stupas among about 50 stone stupas in the Gangwondo-region. First, the study compared the stone stupas and Buddhist priest tower of Seollimwonji, Jinjeonsaji, and Geodonsaji, which are located at the same temple site as the current Buddhist priest tower, from among typical Silla style stupas that match the 9 stone stupas in the Gangwon-do region. This is because stylistic interchanges were possible while there were mutually organic relationships between Buddhist statues such as stone stupas, Buddhist priest towers, stone lanterns, and Buddhist pedestals, which used the same stone material along with the expansion of Buddhism to local areas in accordance with the spread of Zen Buddhism in the 9th century. Second, a comparison was made of the stylistic similarities between the Woljeongsa Palgakgucheong (eight sides nine-storied) stone stupa and the Sinboksaji Samcheung (three-storied) stone stupa, which are totally different in regard to the number of stories and the flat form. These two stone stupas are representative Goryeo stone stupas. The Woljeongsa stone stupa is a Goguryeo-oriented stone stupa with many sided multiple stories whereas the Sinboksaji stone stupa has been known as an early case of the insertion of the support of Tapsin in each story. Although the two stone stupas may look very different, but through close investigation it was confirmed that there were many stylistic interchanges between them and not only the seated stone Buddha statue in the cylinder jewel case in front of the stupa but also the stone stupa established by the same master. Consequently, this paper aimed not merely to mention the simple patterns of stone stupas, but, further, to trace the interchange in patterns in accordance with the construction period based on those patterns.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.142-171
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• 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.