• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.54-71
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• 2012

This paper investigates Buddhist sculptures of the Gulsan-sa School of Seon Buddhism, which was established by the priest Beomil(梵日) at Myeongju(溟州), present-day Gangneung(江陵) area, and prospered until the late Goryeo period. There are very few surviving Buddhist images at Gulsan2 temple-site showing the Buddhist art when Beomil or his disciples, Gaecheong(開淸) and Haengjeok(行寂), were active, except a set of huge stone pillars for temple-banners and a stone monk stupa. It is therefore necessary to focus on pieces of artworks in Gangneung and nearby areas to explore the characteristics of Buddhist art of Gulsan-sa from the late Silla to early Goryeo period. For example, the stone relief seated Buddha image, one of Four Buddhas of Four Directions, and a stone relief of standing Guardian King both from the stone pagoda at Mujin temple-site(無盡寺址) can be compared with stupa reliefs at the capital Gyeongju area in their high quality of carving. The stone octagonal base showing seven lions on each of seven sides at Boheon-sa(普賢寺) demonstrates that it was made as a part of an octagonal lotus pedestal for a Vairocana Buddha now lost. Since Boheon-sa was erected by Gaechung, a disciple of Beomil as a branch of Gulsan-sa, it is fair to assume that the Vairocana image at Boheon-sa might have been closely related to the Buddhist images at Gulsan-sa in its style and iconography. The stone seated Bodhisattva from Hansong temple-site(寒松寺址) displays a benign face, exquisite necklace, and exotic iconography in its hand gesture and high cylindrical crown. The stone seated Buddha at Cheonghak-sa(靑鶴寺), brought from a temple-site where fragments of roof-tiles with the inscription of Heukam-sa(黑岩寺) were discovered, displays the late Silla and early Goryeo period. Heukam-sa seems to have been related to Gulsan-sa or have been one of the branches of Gulsan-sa. Extant fragments of artworks at Myeongju implicate the high quality of Buddhist art of Gulsan-sa in its iconography and style as well as unique features of Gulsan-sa Seon School.

• Journal of architectural history
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• v.6 no.2 s.12
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• pp.9-22
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• 1997

The results of analyzing opening types in the rear elevations of ninety-six buddhist temples which would be existence can be summarized as follows ; 1) Opening types in the rear elevations of buddhist temples in the Koryo Dynasty were various as the type of doors and windows, and the type of combining with walls. but the fact had something in common that whole door was the swinging pannel one, and the type of the whole window was the lattice and the mullioned casement one. 2) The type of the lattice windows were disappered and the only type of the mullioned casement windows were put in an apperance in the early period of Cho-sun Dynasty. 3) The type of doors + walls and the type of doors + windows in the rear elevations of buddhist temples of the seventeenth century were absolute. Especially the mullioned casement windows were used mainly in buddhist temple of the type of doors + windows. 4) The type of doors + windows in the rear elevations of buddhist temples of the eighteenth century did not be seen, but types of doors + walls and walls + walls which were much enclosed, were mainly put to use in those.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.52-63
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• 2016

The Stupa of Buddhist Monk Soyo in Baegyangsa temple, Jangseong, was erected to pay a tribute to the achievement of the Buddhist monk Soyo, who worked for Baegyangsa temple as a chief monk, and is a bellshaped stupa with the detailed pattern of a Korean traditional buddhist bell. It is composed of pinkish-grey sandstone and the body of the stupa was damaged by longitudinal cracks on the front and back areas and the exfoliation caused break-out in the most part of the sculpture on the left and right areas. According to the ultrasonic test and infrared thermography analysis for physical deterioration diagnosis, most weathering aspects appeared on the body of the stupa and some exfoliated part that could not be seen with the naked eye was detected 6.1% and 5.9% on the left and right side respectively. Hyperspectral imaging analysis was also carried out to assess biological deterioration. According to the result, the surface of the stupa was covered 71.8 ~ 79.9% with vegetation like algae, lichen and moss. NDVI(Normalized Difference Vegetation Index) was higher relatively on the bottom part near the ground, right and back areas of the stupa. Therefore conservation treatment for the exfoliated part and bio-deterioration is necessary and the environment condition needs to be fixed to prevent extra damages on the stupa.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.48-65
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• 2022

Three Japanese Buddhist scuptures of Daehyusa temple in Gimcheon, Gyeongsangbuk-do province(慶尙北道) are enshrined in the main hall(本堂) of Henjoin temple in Daegu, an annex temple built by the Chisan School(智山派) of Shingi Shingon sect(新義眞言宗) in Daegu around 1910 when the Japanese colonial period began. The following statues are believed to have been made around this time: the Statue of Kobo daishi(弘法大師像), which is the figure of monk Kukai(空海, 774-835), the founder of the Shingon sect(眞言宗) of Japan, and the Statue of Dainichi nyorai(大日如來像) and the Statue of Fudo myo-o(不動明王像), which are notable sculptures representing the thought and belief of the Shingon sect. Most statues identified of Dainichi nyorai, Kobo daishi, and Fudo myo-o from the Japanese colonial period thus far are rock-carved statues or stone statues. The statues of Daehyusa temple are noteworthy in that they are the first discovered Japanese Buddhist sculptures made of wood, known to have been enshrined in Japanese temples. Furthermore, they are valuable sources that can provide clues to the religious atmosphere of the temples of Chisan School of Shingi Shingon sect at the time. Although these statues have formative features that partially reflect modern aesthetics, their iconographic origins date back to the Heian period(平安時代, 794-1185). In other words, the Statue of Dainichi nyorai inherits the religious tradition of the Statue of Dainichi nyorai, which was created by monk Kakuban(覺鑁, 1095-1143), the founder of the Shingi Shingon sect. The Statue of Kobo daishi follows the Shinnyo Shinno(眞如親王) style founded by Monk-Imperial Prince Shinnyo who was a disciple of monk Kukai. The Statue of Fudo myo-o manifests the Genjo(玄祖) style among the statues of Fudo myo-o. Although not much is known about how the statues were enshrined in the Henjoin temple in Daegu during the Japanese colonial period, it is very likely that these statues were created as Shingi Shingon sect's statue of three-wheeled body(三輪身). That is, it is estimated that the Statue of Dainichi nyorai, Statue of Kobo daishi, and Statue of Fudo myo-o have the characteristics of the body of self-nature chakra(自性輪身), the body of great dharma chakra(正法輪身), and the body of order chakra(敎令輪身), respectively. The fact that the statue of three-wheeled body was established in the Shingon sect in Japan by monk Kakuban also lends credence to this possibility. It is thought that people who came to the Henjoin temple in Daegu worshiped the statue of three-wheeled body to understand the teachings of the Dainichi nyorai. Although it is the case of Sildalsa Temple (悉達寺, the successor of Henjoin temple in Daegu) in the first half of the 1950s, the main hall includes features that reinforce the idea that the tradition of Kobo daisi faith(弘法大師信仰) is passed on. To illustrate, the human skeletal remains in the main hall of Sildalsa Temple reflect Koyasan(高野山)'s tradition in laying ashes to rest, which has been popular in conjunction with the Kobo daishi faith in Japan since the 11th century.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.74-88
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• 2019

This study developed the Assessment Indicator evaluating eco-cultural value of temple forest in Korea and applied the developed Assessment Indicator to Songgwang-sa(also known as Seungbo-sachal), one of the Three Jewels Temple. Literature reviews and the draft of Assessment Indicator were drawn from brainstorming(including 2 forest therapy experts, 1 Buddhist monk expert, 1 landscape architect, 1 forest expert, and 6 researchers). After that, the Assessment Indicator drawn from the group of experts(the 1st in-depth interview: 32 people, the 2nd in-depth interview: 30 people) was verified and revised. The final Assessment Indicator, which was composed of 4 parts and 20 items, was developed. The results are as follows. The eco-cultural Assessment Indicator of temple forest was composed of 4 parts, which were Historical Cultural value, Ecological value, Recreatory Visitational value, and Educational Useful value, and 20 items and each item had 5 points. Historical Cultural value had 5 items and its total points were 25. Ecological value had 5 items and had total 25 points. Recreatory Visitational value had 6 items, 30 total points. Educational Useful value had 4 items, 20 total points. The total points of the eco-cultural Assessment Indicator were 100 points. As a result of applying the developed Assessment Indicator to the target place, Songgwang-sa in Mt. Jogye, Historical Cultural value of temple forest was calculated as 23 points(out of 25). Ecological value was 21 point(out of 25), Recreatory Visitational value, 22 points(out of 30), and Educational Useful value, 16 points(out of 20). The total points were 82(out of 100). Consequently, this study is meaningful based on the following 5 aspects. Firstly, this study challenged the development of the eco-cultural Assessment Indicator of temple forest for the first time. It is significant because the developed Assessment Indicator can be a useful resource for the eco-cultural value of temple forest. Secondly, the result showed that Educational Useful value and Recreatory Visitational value of forest temple were very low. Therefore, the supports for leisure, tour, education, and use of temple forest are needed from Korea Forest Service, Ministry of Environment, Cultural Heritage Administration and other government agencies since they acknowledge the temple forest as the best customers in Korea. Thirdly, the excellence or for eco-cultural value of temple forest needs to be extended in a national level. It is possible to make a Korean National Bran(e.g., the Therapy at the Temple) by blending temple stay, which is only in temples, and therapy, and is also possible to be a global tour industry. Fourthly, this study suggested legal definition about the necessary of legal definition for temple forest because there is no legal definition on temple forest in the current situation. When the definition of temple forest is legally arranaged, it would be a foundation for conserving eco-cultural value of temple forest, for organizing exclusively responsible departments in governmental institutions, and further for registering temple forest as World Natural Heritage. Lastly, the developed eco-cultural Assessment Indicators of temple forest from this study would be applied to "the 7 Sansa, Buddhist Mountain Monasteries in Korea(Sansa)" and the characteristics of each 7 temple are drawn. This study would be a basic data for temples' management and use with the eco-cultural Assessment Indicator of temple forest.

• Journal of architectural history
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• v.23 no.4
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• pp.35-46
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• 2014

The temple Hoeamsa(檜巖寺) was repaired by Naong(懶翁), and with this the power of the temple became far greater to be the greatest Buddhist temple during late Goryeo and early Joseon. Naong's reconstruction of Hoeamsa was originated from Jigong(指空)'s teaching 'Samsan Yangsu(三山兩水)'. But it is not clear whether Samsan Yangsu really meant Hoeamsa. By the way, after 14 years, Naong suddenly remembered this word and began to repair Hoeamsa in a large scale. From this, we can guess that Naong tried to give the contemporary Buddhism some change through the repair of Hoeamsa. But, as King Gongmin(恭愍王) the greatest supporter of Naong was suddenly assassinated, the political situation changed a lot and Naong also died unexpectedly. Naong's death brought out the critical sense to Hoeamsa and, in the process to resolve the crisis, the repair of Hoeamsa began to be justified through diverse religious factors. As these were expanded and developed on and one, Hoeamsa came to be honored as the most divine temple in Korea during the early Joseon dynasty. Furthermore, into the cause structure for the Naong's repair of Hoeamsa, the influence of Jajang was added through Odaesan Buddhism. As we can well understand, late Silla situation of Jajang and the late Goryeo of Naong were very similar and the both Buddhist leaders should have derived out some religious solution for them. In other words, both of them had a similar recognition in finding the religious solution for the contemporary crises. It becomes a way to understand the Hoeamsa repairing structure taken by Naong and his disciples. Therefore, by comparing the similar religious solution structures given by Jajang and Naong and by clearer understanding on Samsan Yangsu spirit, we can see the repair of Hoeamsa and the related aspects more accurately.

• Journal of the East Asian Society of Dietary Life
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• v.16 no.2
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• pp.215-225
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• 2006

This study was peformed to evaluate the served menu and investigate the management of food service in Korean Buddhist temples. Among the available temples in the nation, 34 temples were carefully selected considering practice type, location and the gender characteristics. A survey about meal preparation and management was conducted to the cooking staff in each the temple using questionnaire by interview between Jan 2004 and Aug 2004. The menus over A five consecutive days menu was were also collected for analysis to analyse. Civilian cooking staffs were preparing meals in 23(67.6%) of the temples and the proportion 18(52.9%) of the temples were planning their own the menus was 52.9%. Most kitchens in the temples were equipped with modernized kitchen appliances. The major food supply was the conventional market Even though the majority of the temples were using processed food, Korean fermented sauces as the most traditional temple food products were prepared by themselves. There were 114 menu patterns and the most frequently served meal pattern was ${\ulcorner}Rice+Soup+Kimchi+3{\sim}4\;side\;dishes{\lrcorner}$. Analyzing from the cultural characteristics point of view, the most frequently served dish type was 'Korean'(90%), while other types were 'modified Korean'(3.7%) and 'Western'(2.7%). The varieties of Various 438 different dishes provided were 438 provided and with Kimchies (19.8%), Seasoned vegetables(16.8%) and Rice(11.0%) being the highest were high in frequency when dishes were categorized into dish classes. Among the main dishes, the frequency of gruel(13.7%) was relatively high. These results suggest the need to conduct Based upon the results found, it was required to continue further research about preserving and inheriting the originality and uniqueness of the temple food.

• Journal of architectural history
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• v.23 no.3
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• pp.7-19
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• 2014

The temple Hoeamsa(檜巖寺) was repaired by Naong(懶翁), and with this the power of the temple became far greater to be the greatest Buddhist temple during late Goryeo and early Joseon. Naong's reconstruction of Hoeamsa was originated from Jigong(指空)'s teaching 'Samsan Yangsu(三山兩水).' But it is not clear whether Samsan Yangsu really meant Hoeamsa. By the way, after 14 years, Naong suddenly remembered this word and began to repair Hoeamsa in a large scale. From this, we can guess that Naong tried to give the contemporary Buddhism some change through the repair of Hoeamsa. But, as King Gongmin(恭愍王) the greatest supporter of Naong was suddenly assassinated, the political situation changed a lot and Naong also died unexpectedly. Naong's death brought out the critical sense to Hoeamsa and, in the process to resolve the crisis, the repair of Hoeamsa began to be justified through diverse religious factors. As these were expanded and developed on and one, Hoeamsa came to be honored as the most divine temple in Korea during the early Joseon dynasty. Furthermore, into the cause structure for the Naong's repair of Hoeamsa, the influence of Jajang was added through Odaesan Buddhism. As we can well understand, late Silla situation of Jajang and the late Goryeo of Naong were very similar and the both Buddhist leaders should have derived out some religious solution for them. In other words, both of them had a similar recognition in finding the religious solution for the contemporary crises. It becomes a way to understand the Hoeamsa repairing structure taken by Naong and his disciples. Therefore, by comparing the similar religious solution structures given by Jajang and Naong and by clearer understanding on Samsan Yangsu spirit, we can see the repair of Hoeamsa and the related aspects more accurately.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.

• 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.