소쇄원도(瀟灑園圖)와 (소쇄원(瀟灑園))사십팔영(四十八詠)을 통하여 본 소쇄원(瀟灑園)의 구성요소(構成要素)

천득염,한승훈,Cheon, Deuk-Youm,Han, Seung-Hoon 한국건축역사학회 1994 건축역사연구 Vol.3 No.2

Soshaewon(瀟灑園) is the historical relic No. 34, and located in the upper part of Kwangju-dam in Damyang. It is a Byulseo-garden(別墅庭園), a retreated garden near residence, that is constructed by Yang San-Bo(梁山甫, 1503-1557) in 1530's. That is to say, Soshaewon is a space of life that is situated near the village called Changam-chon(蒼岩村), and a place to study, lecture and importune among literary men. Therefore, we can see that it is of great significance in the architectural, landscape architectural, and literary aspects. This paper is based on the 'Pictorial Map of Soshaewon(瀟灑園圖, 1775)' and 'Forty- eight Poems(四十八詠)' composed by Kim In-Who(金麟厚) in 1548. The 'Pictorial Map of Soshaewon' which describes a vestige of Soshaewon makes it easy to understand the composition of space, by offering the important clues to the prototype of Soshaewon. Moreover, 'Forty-eight Poems' are very valuable references from which we can consider an ideal and internal meaning of Soshaewon. In this paper, the central objective is to observe the consitituents of architectural space of Soshaewon; architectural, stone-built, water-spacial, landscape architectural, external- garden and behavioral elements. The research on Soshaewon is to be processed gradually in the future, but this paper is limited only to the areas presented in the 'Pictorial Map of Soshaewon' and "Forty-eight Poems."

광주건축의 어제와 오늘

천득염,Cheon, Deuk-Yeom 대한건축사협회 1999 建築士 Vol.1999 No.5

인도시원불탑(印度始原佛塔)의 의미론적(意味論的) 해석(解析) - 불탑건축의 전래와 양식에 관한 비교론적 고찰 I -

천득염,Cheon, Deuk-Youm 한국건축역사학회 1993 건축역사연구 Vol.2 No.2

Wherever Buddhism has flourished, there were stupas in the form of monuments which have their origin in the tumulm of prehistoric times. After the death of Buddha, his body was cremated following the Indian funeral custom. His ashes, which long reserved for the remains of nobles and holymen, were enshrined under such artificial hills of earth and brick. The Stupa was in origin a simple burial-mound. The form of the burial-mound was a symbolical or magic reconstruction of the imagined shape of the sky, like a dome covering the earth. The domical form of the earliest tumuli may have been concious replicas of the shape of the Vedic hut. There are relationships which may have originally existed between the stupa and West Asiatic monuments. Buddhist Stupa originally cosisted of an almost hemispherical tumulus(anda) and an altar-like structure (harmika) on its top, surmounted by one or several superimposed honorific umbrellas (hti, catta). This hemispherical form is associated with centralisation, lunar worship, mother earth, and Siva. Anda means a symbol of latent creative power, the harmika symbolizes the sanctuary enthroned aboved the world. The honorific umbrella, as an abstract imitation of the shade-giving tree is one of the chief solar symbols and that of enlightenment.

광주(光州) 신창동(新昌洞) 저습지출토(低濕地出土) 나무문짝(비문(扉門))에 관한 연구(硏究)

천득염,신상효,Cheon, Deuk-Youm,Shin, Sang-Hyo 한국건축역사학회 2006 건축역사연구 Vol.15 No.5

A lot of relics were unearthed in the Shinchang-dong wetland site, which can help restore prehistoric life style, including construction tools such as wood doors, wood hammers, ax handgrips, sickle handgrips, wedges, awls, wood pillars and connection members, food vessels made of earth or wood and fish, shell fish, seeds and remains of weapons. In particular, a door was found in the site, which was measured at 110cm long and 37cm wide. If restored it will be 75cm wide. The door seems to date back as far as the 1st century B. C., which would be the oldest one ever discovered in Korea. This paper is intended to explore the implications of the door by investigating the environment of the Shinchang-dong wetland site bearing the relics intact, manufacturing techniques and times of manufacturing of the door as well as attributes of doors presented in the literature related to old time architecture such as Goguryeo tomb paintings and house-shaped vessels. It also intends to provide basic data for study of residential architecture in prehistoric times.

미얀마 불탑의 기원과 형식 유래에 대한 고찰

천득염,염승훈,Cheon, Deuk-Youm,Yeom, Seung Hoon 한국건축역사학회 2018 건축역사연구 Vol.27 No.2

Pagodas in Myanmar can be largely divided into Zedi and Pato. Zedi is a developed form of the early domed pagodas in India and Sri Lanka, which can be found in the introduction of Buddhism in Myanmar and the comparison of early pagodas in India, Sri Lanka and Myanmar. On the other hand, Pato is where statues of Buddha were enshrined, which is why many scholars referred to it as a temple. However, this study proposes that Pato shall be referred to as a temple-style pagoda in a form unique to Myanmar, based on the origin of Pato, definition of pagodas, and Sarira Enrichment Record of Pato. Moreover, it seems more appropriate to name this type of structure Stupa Temple(塔殿) or Stupa Shrine(塔堂) rather than a Buddhist temple(佛殿) or Buddhist shrine(佛堂) for clear distinction. Pato, or temple-style pagodas, has a ${\acute{S}}ikhara-style$ structure at the center like Ananda Pato upon entering the Pagan (Bagan) kingdom period, on which Zedi-style structures are built. As a result of examining the integration of various Buddhist schools and religions focused on Theravada during the period of King Anawrahta and King Kyanzittha, the ${\acute{S}}ikhara-style$ structure is a symbolic representation of the fact that Theravada embraced Hinduism. The common features shared by pagodas in Myanmar are the centrality of place and the verticality of $y{\check{a}}ngti{\bar{a}}n$ (looking up to the sky) in terms of shape. All temples are placed at the most important and central space, and their forms represent strong religious $y{\check{a}}ngti{\bar{a}}n$ and verticality. These are the features that stand out most among various pagodas in Buddhist countries.

한국전통주거(韓國傳統住居)에 나타난 가택신앙(家宅信仰)과 공간구성(空間構成)에 관한 연구(硏究)

천득염,나경수,손희하,나하영,Cheon, Deuk-Youm,Na, Kyung-Su,Son, Heui-Ha,Na, Ha-Young 한국건축역사학회 2001 건축역사연구 Vol.10 No.4

Living spaces are the results of social environment and also the reflection of the viewpoints by their residents toward human culture and society. Therefore, in studying living spaces, the true essence of the spaces could be easily distorted when cultural and symbolic motives and values are disregarded and only their apparent characteristics are looked into. Hence, it's necessary to simultaneously understand both physical dwelling spaces from architecture's view points and social ideas, simultaneously, of people who form and interact with the spaces. Hence, this paper tries to study housing religion which is one of shamanistic religions which, in turn, have been the fundamental element of ancient religions and came into existence on the basis of dwelling spaces. This study presumes that house religion may have been permeated with its creators' ideas about living and those ideas could be one of those factors which plays a role in organizing of dwelling spaces. As such, with these prior analyses, this thesis attempts to understand the meaning of various dwelling spaces via the characteristics and functionalities of various house spirits which are mentioned in a local house religion and also will find out spatial harmony of Korean traditional living spaces by way of corelations among living spaces, people, and personalized house spirits. Almost all traditional Korean houses have assigned a house spirit to their individual dwelling space. This means a traditional house was considered as a scared space in a secular world called human society and the space was actually intended to protect sacredness of dwelling places from earthliness outside. So when the hierarchy of house spirits in housing religion is projected to a Korean traditional house, it can be shown that a dwelling house as a building was personified to a respectable human status. In other words, it can be concluded that each space was synonymous with a dwelling place for each house spirit and was considered a sacred godly place. In a nutshell, not only each space in a Korean traditional house was a physical and functional space, but also it formed a scared spatial place along with the concept of house spirits intending to ward off disasters and enjoy a comfortable life through those religious symbols and meanings. Housing shamanistic religion which has long been existing with residents and their lives is seeped with the viewpoints of the residents toward life, and hence understanding the meanings and organization of Korean traditional housing can reveal commonly practiced principles of spatial organization of the traditional houses. Therefore an analysis of Korean traditional housing on the basis of humanistic social ideas will help learn Korea's traditional houses which need to be understood in various methods.

한국의 건축가(11) - 김순하(완)

천득염,Cheon, Deuk-Yeom 대한건축사협회 1998 建築士 Vol.1998 No.3

순천왜성(順天倭城)의 구조(構造)와 축성방법(築城方法)에 대한 조사연구

천득염,조준익,정철성,Cheon, Deuk-Youm,Jo, Jun-Ik,Jung, Chuel-Sung 한국건축역사학회 2001 건축역사연구 Vol.10 No.2

The purpose of this study is that it is made clear the construction method of Japanese Castle Architecture in Korea as I study the construction method of Suncheon-Japanese Castle(順天倭城) in those days of Jeong-yu Japanese Invasion. Moreover, I intend to analyze the similarity and the difference between Suncheon-Japanese Castle and Korean Castle Architecture by a comparative study. The result of the study is showed that Suncheon-Japanese Castle seemed to be built with the object of a long time stay rather than it was of strategic importance for the national defense. In addition, it was different from other Japanese Castle in Korea because the watch tower(天守閣) of it stood in the middle of stronghold and the watch tower stronghold dividing the round of it while that of it stood the comer of stronghold. The face stone used in important part of watch tower, gate, and so on was mostly a trimed hexangular stone. On the other hand, the face abbuting on the Gulf of kwang-yang was made of naturally wild face stone. The stone cleared traces of Si-hyeol(矢穴) and domestic Castle in Japan was also made of this method after Im-Jin Japanese Invasion. According to the construction method, the wall of castle made use of the Netak(內托) method except the gate, the support stronghold and the watch. The early mountain castle in Korea have this construction method in common.

한국의 건축가(11) - 김순하(1)

천득염,Cheon, Deuk-Yeom 대한건축사협회 1998 建築士 Vol.1998 No.2

인도 쿠샨시대의 스투파 형식

천득염,김준오,Cheon, Deuk-Youm,Kim, Juno 한국건축역사학회 2012 건축역사연구 Vol.21 No.6

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.