• Journal of Conservation Science
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• v.7 no.1
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• pp.9-18
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• 1998

There are about 1470 stone-cultural properties in Korea which have been registered and protected by the government. Representative of them are pagoda, stupa, stone-buddha, stele support of banner pole and stone-lanterns. Most of them have been exposed to and weathered by natural environments. Stone-cultural properties are destroyed and/or destructed mostly by weathering and its related features of rocks. Therefore, it is necessary to conduct geological studies on the weathering phenomena and related features as well as characteristics of the rock itself must be done for the conservation. Thus geological investigation should include detail measurements, rock varieties and phases, structural lineaments of the rock, cause and degree of weathering, degree and patterns of crack development structural stability, identification of reusable parts for restoration, geomorphological characteristics of the site, and etc. The interaction among these factors must be investigated and analyzed, which must be used as basic data to establish the guideline of conservation and to plan for repair and/or restoration. The conservation plan should involve parts to be repaired, method of repair, type of cementing material, the characteristics of rock phases to be supplemented, method for maintaining structural stability, and method to delay or to prevent the rock weathering.

• Korean Journal of Heritage: History & Science
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• v.44 no.2
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• pp.76-95
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• 2011

After dismantled, Mireuksajiseoktap(Stone pagoda of Mireuksa Templesite) is being in the stage of restoration design. Now, different ways - producing restoration model, a 3 dimension simulation - have been requested to make more detailed and clearer restoration design prior to confirmation of its restoration design and actual restoration carry-out. This thesis proposes the way to build the detailed model for better restoration plan using extensively-used Reverse Engineering technique and Rapid Prototyping. It also introduces each stage such as a 3-dimension actual measurement, building database, a 3-dimension simulation etc., to build a desirable model. On the top of that, this thesis reveals that after dismantled, MIruksaji stone pagoda's interior and exterior were not constructed into pieces but wholeness, so that its looks can be grasped in more virtually and clearly. Secondly, this thesis makes a 3-dimension study on the 2-dimension design possible by acquiring basic materials about a 3-dimension design. Thirdly, the individual feature of each member like the change of member location can be comprehended, considering comparing analysis and joint condition of member. Lastly, in the structural perspective this thesis can be used as reference materials for structure reinforcement design by grasping destructed aspects of stone pagoda and weak points of the structure. In dismantlement-repair and restoration work of cultural properties that require delicate attention and exactness, there may be evitable errors on time and space in building reinforcement and restoration design based on a 2-dimension plan. Especially, the more complicate and bigger the subject is, the more difficult an analysis about the status quo and its delicate design are. A series of pre-review, based on the 3-dimension data according to actual measurement, can be one of the effective way to minimize the possibility that errors about time - space happen by building more delicate plan and resolving difficulties.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.38-53
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• 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.

• Economic and Environmental Geology
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• v.52 no.1
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• pp.91-106
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• 2019

The Donghachong tomb from Royal Tombs at Neungsanri is composed of 15 sides including the floor, and the most highly proportion of rock, two-mica granite, are used on the 7 sides (46.6%). Also, augen gneiss consist with another 3 sides (20.0%), and each of the remaining 3 sides (6.7%) are made up of granodiorite, gneissous granite and leucocratic granite, all of which were used to comprise the tabural stone. Meanwhile, the two floors of the burial chamber and the front chamber, are made up of brick-shaped amphibole schist (13.3%). These rocks are occurred in the Buyeo area and their provenance sites are located at the side of Guemgang river. The Memorial Stone for Liu Renyuen in Tang China is a typical augen gneiss showing distinct schistosity and augen texture. This rock has the same petrographic characteristics with the rocks used to build the Donghachong tomb, Sanjikri dolmens and Setapri pagoda in Buyeo. This augen gneiss is distributed from the Jeungsanri in Buyeo to Dukjiri in Gongju as a large scaled rock body, and where currently are the quarries to produce stone aggregates, garden and landscape rocks. Thus, it is highly probable that the site around Buyeo was the source area of augen gneisses since the Bronze Age. However, while augen gneiss is easier to form into shapes it should have disadvantages when it comes to painting on the tomb wall because of their petrographic characteristics of low strength and dark color. Therefore, it is very intriguing to investigate which transportation method the people of Baekje chose with consideration of the distance and terrain, efficiency and convenience.

• Journal of the Korean association of regional geographers
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• v.10 no.1
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• pp.132-150
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• 2004

According to cultural characteristics, Jung-Won cultural region are divided 10 sub-regions. These regions must be highlighted cultural image as core symbols and created new and regional culture to differentiate development strategy of cultural resources: (1) Chungju: historical and cultural region(stone pagoda of Tap-Pungri), (2) Zechun: cultural region of the righteous soldiers (captain Yu, In-Suk), (3) Dunyang: cultural region of Gogurue(mountain castle of On-Dal), (4) Chongju: educational and cultural region(Zikzi and Chull Dandgan), (5) Boeun: cultural region of buddhism(Bupzoo temple,) (6) Okchun: cultural region of Silla and Bakje(war of Silla and Bakje), (7) Yongdong: cultural region of three provinces(harmony monument stone of Samdobong), (8) Eunsung: cultural region of scholar spirit(Monument of 6. 25 war), (9) Goessan: cultural legion of cofucianism(confucianist Song, Shi-Reull), (10) Zinchun: cultural region of Sam-Guk unification spirit (general Kim, You-Shin).

• Journal of Fashion Business
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• v.13 no.2
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• pp.100-114
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• 2009

In Honam province, the cultural prototype are largely unknown to the people, also the research on this subject are scarce, the artistic excellence, somewhat under evaluated, both in our country and internationally. It is imperative that we develop the modern design using this prototype. thereby apply it to many areas of cultural products. We should extend the dimension not only to the local festival but also to the mass production resulting in the commercial gains. The Unjusa Buddha festival for promoting the public relation would be greatly benefited by using the concept of the temple, the local prototype, by which we expect to create a ingenious textile design pattern, coinciding with the main purpose of this study. The ancient material around Unjusa come to be the subject of our textile design by way of selecting the most remarkable ones of heritage among the materials of Unjusa. In the long run, the harmonious contrast of both traditional and modern image were sought in this study. Designed patterns were edited using Adobe Photoshop CS3, a multi-purpose graphic program and were simulated in the towel for visual presentation. The design is of two kinds, the one is of the free style using combinations of reclining Buddha, stone Buddha, stone pagoda, and geometric patterns freely not to be standardized. The other one is mixing of lotus pattern, reclining Buddha, and geometric patterns. These designs were applied delicately on the towel, necktie and handkerchief, and the various colors were suggested by the 6 color ways. The brilliance of our traditional cultural property should be noted by these designs and I hope that this study would be a help to develop our cultural prototype and make a product of using the outstanding heritage.

• 한국문화재보존과학회:학술대회논문집
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• 2004.03a
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• pp.78-91
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• 2004

염(Salts)은 일반적으로 가장 강력한 풍화요인 물질 중 하나이다. 염의 결정화(crystallization) 및 수화(hydration)작용은 석재의 화학적 풍화 뿐만이 아니라 물리적 풍화를 가속화 시킨다. 감은사지 석탑은 오랜 세월 대기 중에 노출되어 대기환경오염으로 인한 화학적 풍화 뿐만이 아니라 지리적으로 바다에 인접해 있어 바다에서 기원한 염화나트륨(NaCl)의 영향으로 다른 석조물에 비해 심한 물리적 풍화현상을 보이고 있다. 편광 현미경 및 SEM, XRD, XRF를 이용하여 석탑의 구성석재 및 염(salts)에 대한분석을 실시하였으며, 용출실험을 통해 얻은 용액에 대해서는 IC와 ICP-AES를 이용하여 분석하였고, 염류와 석재의 반응산물로 만들어진 염에 대해서는 정방위시료와 부정방위시료를 제작하여 분석하였다. 감은사지 석탑을 이루는 암석은 결정응회암으로 주 구성 광물은 사장석 및 정장석이며 소량의 석영 및 흑운모 등이 함유되어 있고 소량의 유리질 석기로 구성되어 있다. 석재의 표면에는 주 구성 광물들의 화학적 풍화로 인해서 생성된 2차 광물로 팽창성 점토광물인 스멕타이트가 존재하며, 대기오염물질과의 결합에 의해 생성된 대표적인 황산염인 석고$(gypsum,\;CaSO_4{\cdot}2H_2O)$, 소금(halite, NaCl), 해양기원 염류인 소금성분과 대기오염물질이 만들어낸 테나다이트$(thenardite,\;Na_2SO_4)$가 존재한다. 이들 염류는 일차적으로 암석의 표면에 백화현상을 초래하기도 하고, 대기 중의 오염물질과 결합하여 일부는 흑화현상을 보이기도 한다. 또한 암석 내 수분이 증가할 경우 이들 염들이 암석의 공극이나 열극을 따라 내부로 이동하여 subflorescence를 발생시켜 박락 및 박탈의 원인이 되었으며, 온도와 수분의 변화에 따른 이들 염(salts)의 수화 및 결정 작용 그리고 새로운 염(salts)의 침전작용을 반복하면서 석재 내부와 외부의 암석 및 결정에 균열과 미세열극 등이 생성되어 석재 자체의 구조적 안정성에 영향을 주고 있다. 따라서 감은사지 석탑은 지리적 환경 차이로 인해 일반적인 환경의 석조물들과는 다른 형태의 풍화양상을 보이고 있어서 풍화양상 및 풍화형태에 대한 정확한 연구와 이해를 바탕으로 보존대책이 마련되어야 한다.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.104-121
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• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• 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.

• 한국문화재보존과학회:학술대회논문집
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• 2001.11a
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• pp.15-18
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• 2001

The sarira reliquary excavated as a lot of fragments were restored by conservation treatment by us. The sarira reliquary was made using fine techniques such as chasing work and engraving work, etc. The analysis of base metals showed that different materials had been used on decorative parts in consideration of the casting and forging technique. Gold granules $(97wt\%\;Au)$ of the small bell were adhered by using a soldering material $(85wt\%\;Au,\;10wt\%\;Ag)$. The lead isotope analysis of lead glass $(74wt\%\;PbO)$ revealed that it agreed with the lead mine in the middle of south area in Korea.