광주목 희경루의 복원 연구

천득염,김민주,Cheon, Deuk-Youm,Kim, Min-Joo 한국건축역사학회 2010 건축역사연구 Vol.19 No.6

This Hee Kyeong Ru, a kind of "Nu-Gak" in Gwangju is a high storied old government official building memorizes the recovery of Gwangju area reputation. Hee Kyeong Ru, literally means, delightful and happy occasions. This kind of the buildings were build for the receptions and the banquets for the high government officials in travelling areas to areas. It provided very high formality as compared to the buildings in the mountains. Nu-Gak buildings have a lot in common, since they had been constructed under the influence of the then time period and for the common reasons. Several records about Hee Kyeong Ru can be found in the old literatures, poetries, pictures and atlases. Also, we can see the shape of the building and the location through the mark in the old map. According to the historic materials, Nu-Gak buildingsof other old goveenment offices with Hee Kyeong Ru are similar to that of the size and construction. So we can draw the common points of the existing old official buildings and could assume the original form of Hee Kyeong Ru. In conclusion, we need to restore Hee Kyeng Ru as the historical meaningful building and use it as a representative cultural building in Gwangju.

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."

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.

한.중.일 목조 불탑의 비교론적 고찰(I) - 귀공포를 중심으로 -

천득염,양태현,이재연,Cheon, Deuk-Youm,Yang, Tae-Hyeon,Lee, Jae-Yeon 한국건축역사학회 2012 건축역사연구 Vol.21 No.2

As the corner of wooden pagoda forms the roof by closely bordering left and right eaves on the various purlins and angle rafters, it is designed for every face to be recognized as front whose structure system increases load to bear proportionally. The corner of wooden pagoda is inseparable with the corner bracket set as it becomes stable thanks to the corner bracket set structurally and load burden under restrained structure makes the corner bracket set really important. Accordingly, this study could figure out some facts by analyzing corner bracket sets of Palsangjeon of Beobjusa Temple in Korea, Seokgatap of Bulgungsa Temple in China and Ojungtap of Beobryungsa Temple in Japan which were constructed with pure wooden structure. This study demonstrated that corner bracket set played a pivotal role in keeping balance of concentrated load of corner (corner of opening) in each floor that contributed to the stability of wooden pagoda structurally despite multiple duplications of floors and also figured out the outfit of corner bracket set was subject to the floor type and the cross section of Gongpo installed on top of Pyeongju. Wooden pagodas in 3 countries were two floor types of octagon and square, and employed different connection method between upper and lower floors. The difference between floor and duplication method determines the method of corner, but even different methods were sufficient to have entirety in every side by completing dynamic principle of corner bracket set even though old method had to solve the problem of concentrated load and it also confirms that it was essential Gongpo to prevent any deformation of corner.

불탑의 의미와 어원

천득염,Cheon, Deuk-Youm 한국건축역사학회 2011 건축역사연구 Vol.20 No.5

Buddhism that has arisen in India began to build the Stupa to enshrine body and Sari of Buddha as an object of worship. The stupa existed as a tome of holy leaders even before the birth of Buddha, which was called stupa or tupa in the Sanskrit and the Pali, the ancient language of India. The stupa was renamed accordingly in each Buddhism transmitted countries such as Ceylon, Tibet, Nepal, Myanmar, Thailand and China and also reshaped according to their own formative style. But its original meaning and type are kept unchanged. The stupa was established in the 4 holy places including the birth place of Buddha, the place where Buddha found enlightenment, the place where Buddha preached for the first time, and the place where Buddha died. Thus, a pagoda to commemorate holy ancient places is called Chaitya, which became differentiated from the stupa in which Sari is enshrined. The stupa means Nirvana, the eternal body of Buddha, and also a place filled with teaching and preaching of Buddhism. It signifies the symbol of Buddha who escaped from the death and rebirth, to achieve complete extinction, i.e. parinirvana, and to reach ultimate eternal world, rather than simply means death. During the non-statue of th Buddha period, people built the stupa to embody Nirvana of the Buddha, and worshipped the tomb where body of holy saints was enshrined. On the other hand, they also sanctified memorial things such as tools that holy saints used, the Bo tree under which one achieved Nirvana, Dharma cakra that implied words, footprint that carried out mission work, and a way to reach to heaven.

용문석굴(龍門石窟)의 탑형부조(塔形浮彫) 연구(硏究)

천득염,김준오,Cheon, Deuk-Youm,Kim, Jun-O,Liu, Zheng 한국건축역사학회 2011 건축역사연구 Vol.20 No.1

As Overturned-bowl Stupa of India, the origin of Stupa, is accepted by neighboring countries, pure form and local characteristics combined to bring change in unique style for each country. Such change is established as new style through combination with contemporary tradition in China. In this thesis, pattern of Stupa shown in Longmen Grottoes' Relief-Stupa relieves. Since study on how Indian Stupa was introduced into China has been partially undertaken, this study focuses on the pattern of Stupas from that perspective. 40 Stupas were explored during field work with naked eyes, among about 50 stupas reported on the research data by Longmen Grottoes Institute. Relief-Stupa relieves of Longmen Grottoes are as important as Yungang Grottoes. While Yungang Grottoes were built during a period when Gandhara style and Occidental expression were adopted and integrated with Chinese culture and Buddhism, building of Longmen Grottoes can be called a starting point of 'Chinese' style of Buddhist culture and Stupa, fully integrated with Chinese culture.

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.

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.

한국석탑의 세부 명칭과 의미 고찰

천득염,정지윤,오창명,Cheon, Deuk-Youm,Jung, Ji-Youn,Oh, Chang-Myeong 한국건축역사학회 2018 건축역사연구 Vol.27 No.3

The detailed names and meanings of Korean stone pagodas have not yet been properly studied or clearly defined. Therefore, an aim of this report is to compare the detailed names of Korean, Chinese, and Japanese stone pagodas by focusing on content used previously by Ko and his students and content that is currently in use (i.e., since the Japanese colonial era). Additional objectives are to assess the significance of these names and propose an appropriate detailed draft regarding names of stone pagodas. The discussion will proceed by dividing the stone pagoda into three parts: the podium, main structure, and finial. First, the content in Luo Zhewen(羅哲文)'s "Ancient pagodas in China(中國古塔)" (1985) is considered; then, "朝鮮の石塔" (1943)-published by during the Japanese colonial era-is explored. The thesis written by Yu-Seop Ko regarding Korea's first stone pagoda and the content in "A Study of Korean Pagodas(朝鮮塔婆의 硏究)" (1948), which contains Yu-Seop Ko's posthumous works published in book form by his student Su-Yeong Hwang, Heu-Kyoung Kim are examined. to pagodas that are used today, are compared and reviewed. Since Korea, China, and Japan influence each other, pagoda-related terms are shared to some extent. In this study, these were applied to stone pagodas, and names used thus far that have not drawn criticism were studied and proposed as suitable alternatives.

전남지역 석탑의 출현과 특성

천득염,Cheon, Deuk Youm 한국건축역사학회 2014 건축역사연구 Vol.23 No.1

Formative and structural characteristics of stone pagoda in Jeonnam area are known in largely two flows. One is that characteristic of stone pagoda in Jeonnam area of the Unified Silla is shown in eastern Jeonnam and some southern Jeonnam. But it is not shown in surroundings of Yeongsan river. Another is that besides stone pagoda in Silla style where social aspects of Goryeo are reflected, stone pagoda in Baekje style appeared. On the other hand, stone brick pagoda and non-typical stone pagoda appeared. These stone pagodas were developed mainly in north and west of Jeonnam, and could be classified in pure Baekje style and a cross style according to formative and structural characteristics. Stone brick pagoda is extant in Wolnamsa site and Woonjusa in Chungcheong and Jella areas which are old places of Baekje.