왕흥사 목탑의 복원 연구

김경표,성상모,Kim, Kyeong-Pyo,Sung, Sang-Mo 한국건축역사학회 2010 건축역사연구 Vol.19 No.3

The form of the Wangheungsa Temple's wooden pagoda site is that of the traditional form of the wooden pagodas constructed during the Baekjae Period. Likewise, it is an important ruin for conducting research on the form and type of the wooden pagodas constructed during the Baekjae Period. In particular, the method used for the installation of the central pillar's cornerstone is a new technique. The purpose of this research is to restore the ruin of the Wangheungsa Temple's wooden pagoda of the Baekjae Period that remains at the Wangheungsa Temple's wooden pagoda site. Until now, research conducted on the wooden pagoda took place mostly centered on the Hwangryongsa Temple's wooden pagoda. Meanwhile, the reality concerning Baekjae's wooden pagoda is one in which there were not many parallel cases pertain to the design for restoration. This research paper wants to conduct academic examination of the Wangheungsa Temple's wooden pagoda to organize the intention of design and design process in a simple manner. This research included review of the Baekjae Period's wooden pagoda related ruins and the review of the existing wooden pagoda ruin to analyze the wooden pagoda construction technique of the era. Then, current status of the Wangheungsa Temple's wooden pagoda site is identified to define the characteristics of the wooden pagoda, and to set up the layout format and the measure to estimate the size of the wooden pagoda in order to design each part. Ultimately, techniques and formats used for the restoration of the wooden pagoda were aligned with the wooden pagoda of the Baekjae Period. Basically, conditions that can be traced from the current status of the Wangheungsa Temple site excavation using the primary standards as the standard. Wangheungsa Temple's wooden pagoda was designed into the wooden pagoda of the Baekjae's prosperity phase. The plane was formed into $3{\times}3$ compartments to design into three tier pagoda. The height was decided by factoring in the distance between the East-West corridors, size of the compartment in the middle, and the view that is visible from above the terrace when entering into the waterway. Basically, the origin of the wooden structure format is based on the Goguryeo style, but also the linkage with China's southern regional styles and Japan's ancient wooden pagoda methods was factored in. As for the format of the central pillar, it looks as if the column that was erected after digging the ground was used when setting up the columns in the beginning. During the actual construction work of the wooden pagoda, central pillar looks as if it was erected by setting up the cornerstone on the ground. The reason that the reclaimed part of pillar that use the underground central cornerstone as the support was not utilized, was because the Eccentric Load of the central pillar's cornerstone was factored in the state of the layers of soil piled up one layer at a time that is repeated with the yellow clay and sandy clay and the yellow clay that were formed separately with the $80cm{\times}80cm$ angle at the upper part of the central pillar's cornerstone was factored in as well. Thus, it was presumed that the central pillar was erected in the actual design using the ground style format. It is possible to presume the cases in which the reclaimed part of pillar were used when constructed for the first time, but in which central pillar was installed later on, after the supplementary materials of the underground column is corroded. In this case, however, technique in which soil is piled up one layer at a time to lay down the foundation of a building structure cannot be the method used in that period, and the reclamation cannot fill up using the $80cm{\times}80cm$ angle. Thus, it was presumed that the layers of soil for building structure's foundation was solidified properly on top of the central pillar's cornerstone when the first wooden pagoda construction work was taking place,

실상사 목탑의 복원 연구

김경표,Kim, Kyeong-Pyo 한국건축역사학회 2007 건축역사연구 Vol.16 No.6

This article is about restoring the wooden pagoda which located in Silsangsa Temple after historical research. The process of this study, first of all, the theoretical study was considered about similar examples of wooden pagoda and gilt-bronze pagoda in Gorye period and wooden pagoda in contemporary period. After that, the study was established by the present condition of Silsangsa wooden pagoda site, the characteristic of Silsangsa wooden pagoda, the form of arrangement, the scale and height. Finally, considering those studies, the wooden pagoda designed in detail. This restoring design tried to follow the inference in that time. Moreover, the design tried to involve the elements of characteristic of region and Silsangsa wooden pagoda. Therefore, the research establish period of Silsangsa wooden pagoda in Gorye period. Locally, it considered both elements of Silla and Baeckje. The arrange form of restoring wooden pagoda was freestyle arrangement that had two main building of a temple and one middle pagoda. The idea of structure was to establish of double Core system. This system inferred from the system of building structure in ancient wooden pagoda and middle and modern age of multistory wooden construction. According to measurement of foundation stone, the scale of restoring wooden pagoda followed the skill of Tang-scale. The connection structure of each floor followed laminated structure which was the general form of log frame in that time. After study of foundation's condition, the present writer deseeded to have restoring the wooden pagoda 9 stories tall. The final aim was to depend on the structural intuition of the present writer, the writer tried to restore beautiful wooden pagoda according to in those days which is solution for contradiction of unclear point. So, it could be make out a plane of restoring wooden pagoda.

고려(高麗) 금동탑(金銅塔)을 통해 본 법주사(法主寺) 팔상전(捌相殿)의 구조형식계통(構造形式系統)

김경표,Kim, Kyeong-Pyo 한국건축역사학회 2005 건축역사연구 Vol.14 No.1

The central aim of this thesis is to see if the structure of Palsangjeon(捌相殿) in Pubjoo Temple(法住寺), a five sto wooden pagoda in Chosen(朝鮮) Dynasty, was handed down from the ancient and middle ages. This study was performed through an analysis of Gilt-Bronze Pagoda built in Koryo(高麗) period. In other words, it is aimed at analyzing which lineage the structure of Palsangjeonbelongs to as a wooden pagoda. In analyzing the structure of Palsangjeon, I attempted to find out its source from the remains of Koryo period prior to the Chosen Dynasty. Examples are the Gilt-Bronze Pagoda, built during the Koryo period. I have also examined its relationship with other existing wooden pagodas and remains. The analysis of Palsangjeon, a five story wooden pagoda in Chosen Dynasty, focuses on the following: First, I explored the possibilities of whether the structure of Palsangjeon was newly invented in Chosen Dynasty, or if it had been derived from the wooden pagodas in the Koryo period. Secondly, I tried to find out if the stable vertical planes, with a great successive diminution ratio, were derived from the middle age, i.e. Koryo period. The results of the study of Palsangjeon through Gilt-Bronze Pagoda analysis are as follows: 1. The structure of Gilt-Bronze Pagoda, a wooden pagoda from the Koryo period, is roughly classified into the accumulation type, using pipe pillars, and the one story type using whole pillars. In the accumulation type, stories are connected in either a flat format or an intervening format. The Gilt-Bronze Pagoda is mainly composed of pipe pillars, with some whole pillars. However, the central pillar was omitted in the building structure. Generally, the upper and lower stories are connected by pipe pillars in a crutch format. All the pillars, whether they are pipe pillars or whole pillars, used Naiten(內轉) technology. The Eave supporter has the Haang type(下昻) and the Muhaang type(無下昻). In most cases, high balustrades are furnished, but few tables of high balustrades have been found. The slanting roof formats have been handed down from Paekche(百濟), Silla(新羅), or Koryo(高麗). However, the structure of the octagon is assumed to be derived from Koguryo(高句麗). The structure of the Gilt-Bronze Pagoda from the Koryo period is mainly composed of accumulated flat squares, with some spire types. intervening format, the structure of Palsangjeon used whole pillars in a half story format in which upper level side pillars are installed on the lower level tie beam. From the Bronze Pagoda from the Koryo period, we can assume that the half story format of wooden pagodas that has stable vertical planes with a great successive diminution ratio was created during the mid-Koryo period at the latest and had been idly developed by the time of the Chosen Dynasty. 3. The whole pillars in Palsangjeon are also found in Gilt-Bronze Pagodas from the Koryo period. Hence, all of the pillars in Palsangjeon seem to have been handed down from the ancient construction technology. They were also used in the construction of wooden pagodas from the Koryo period. Therefore, it is assumed that Palsangjeon was constructed using the construction technology of the Chosen Dynasty that had been developed from the wooden pagoda construction technology of the Koryo period. The stable vertical planes with a great successive diminution ratio in Palsangjeon are derived from ancient Korean wooden pagodas, which have developed into indigenous Korean wooden pagodas with fairly stable vertical planes and a great design, in the half story format of Koryo and Chosen Dynasty. Therefore, it is assumed that the structure of Palsangjeon has a systematic relationship with traditional Korean wooden pagodas and is one of the indigenous Korean wooden pagoda structures. 4. In China, the intervening format has been mainly used between stories in multi-story architecture since the ancient days. At the same time, the flat format as also

발해사 논쟁의 건축사적 해석

김경표 (Kyeong Pyo Kim) 충북대학교 건설기술연구소 1996 建設技術論文集 Vol.15 No.2

N/A

발해건축문화의 위상

김경표 ( Kyeong Pyo Kim ) 충북대학교 건설기술연구소 2011 建設技術論文集 Vol.30 No.2

본고에서는 발해건축의 유형을 살펴보고, 그 성향을 해석해 본 후, 발해건축의 위상을 파악하였다. 발해건축의 계통사적 위상은 고구려 건축을 근간으로 하여 당의 요소를 받아들이며 발해 스스로의 발해건축으로 승화시켜, 고려, 요, 금에 영향을 끼친 것으로 사료된다. 발해건축문화의 위상은 고구려 건축문화가 고대 동북아 건축문화를 이룩한 데 반해, 발해는 이를 이어받아 중고대 동북아 건축문화로 승화시킨 것이라고 본다. 이것은 동북아 지역에서의 마지막 국가정체로서의 건축 문화를 형성하고 완성하였으며 한 주류의 건축문화의 축을 형성 하였다고 볼 수 있다. 고려건축문화에서 지방적 특성으로 나타나는 투박하고 고졸한 측면은 멀리는 고구려의 영향요인으로 해석할 수 있으며 가까이는 발해건축의 영향요인으로 해석된다. 발해건축문회는 24개 돌과 같은 새로운 건축유형을 만들었을 뿐만 아니라 제반 요소에서 궁극적으로 발해 자신의 독자성을 이루어 내었다. 발해건축문화는 그 연원이 고구려인에 의한 고구려풍의 건축문화이지만, 당의 기풍을 받아드려 이를 순화시키고, 부분적으로 이민족의 요소도 수용하면서, 궁극적으로 발해 사람들의 문화적, 풍토적 정서에 맞는 스스로의 풍요롭고 장엄한 건축문화를 형성하였다. In this thesis, the researcher looked at the architectural types and tendencies in the Balhae Kingdom, then investigated the architectural status of Balhae`s architecture. When it comes to the Balehae`s architecture in accordance with the period, the castles, palaces, and graves in its early kingdoms seemed to be based on the architectural culture of the Goguryeo Kingdom. Also the architecture in the late Balhae Kingdom was found to contain the architectural elements of Tang Dynasty. Given the architectural type, castles being the authority of architecture showed the architectural elements of both the Goguryeo and Tang Dynasty. Royal tombs and aristocratic graves strongly displayed the elements of Goguryeo over the early, mid, and late Balehae Kingdom. Authority architecture illustrated the elements of the Goguryeo and Tang Dynasty. On the contrary, it was archaeologically found that the residences and graves of the ordinary people showed the elements of Goguryeo and Malgal. Given the hereditary type of architectural culture and art history, the architectural type was formed through the mutual relations of general elements such as unique and natural elements, humane elements, and influential relations with the outside. When it comes to each element of architectural culture, the architecture in the early Balhae Kingdom strongly showed the elements of Goguryeo, while the mid and late Balhae Kingdom was influenced by the architectural elements of the Tang Dynasty. Balehae`s architecture was primarily created on soil on the basis of its own social tradition, and then was influenced by foreign elements. As a result it, Balhae ultimately formed its own unique culture. When it comes to the he systematic status of the Balehae`s architecture, it was considered that the Balehae`s was based on Goguryeo architecture, and received the architectural elements of the Tang Dynasty. Then was elevated to its own style which affected the Goryeo, Lio, and Jin Dynasty. In regards to the status of the Balhae`s architectural culture, while Goguryeo`s architectural culture became culture in the ancient North and East Asia, Balhae`s culture inherited Goguryeo`s and was elevated to become an architecture in the later North and East Asia In other words, it was considered that Balhae created and completed its own architectural culture as the last state identity in North and East Asia, and formed an axis of architectural culture as one of the mainstreams. It is interpreted that the regional characteristics found in Goryeo`s architectural culture were, on one hand, influenced by Goguryeo whose architecture had a rustic and simple style and, on the other hand, was affected by the Balhae`s architecture. Balhae not only created a new architectural type such as architecture with 24 stones, but also formed its own uniqueness on the basis of the general elements. Balhae`s architectural culture originated from the Goguryeo-style architectural culture by Goguryeo people, and received and purified Tang`s characteristics, and partially accepted the elements of other races. As a result, Balhae created an affluent and magnificent architectural culture in harmony with the cultural and climatic spirits of the Balhae people.

동양건축역사의 계통

김경표 ( Kyeong Pyo Kim ) 충북대학교 건설기술연구소 2012 建設技術論文集 Vol.31 No.2

동약건축역사의 지역별, 국가 민족별 특성을 분석한 후, 역사적 계통을 파악하고, 그 흐름을 고찰 하였다. 동양건축역사의 계통은 대별하면 중국계, 인도계, 서아시아계, 이슬람계로 구분된다. 동양건축을 지역별로 보면 동아시아 건축, 남아시아 건축, 중앙아시아 건축, 서아시아 건축으로 구분된다. 동아시아 건축은 중국, 한국, 일본, 건축이 그 주류가 왔다. 중국, 한국, 일본은 목조건축문화를 근간으로 하는 독특한 건축문화를 형성하여 왔다. 남아시아 건축은 인도 대륙을 기준으로 하여 서역남로, 서역북로를 통하여 중국에 영향을 주었으며, 남으로는 스리랑카, 동으로는 동남아시아 지역에 커다란 영향을 미쳤다. 동남아시아 건축은 중국 남부지방의 영향도 있으나 대체로 인도의 영향을 주로 받아, 미얀마, 태국, 라오스, 자바, 캄보디아 등에서 불교건축문화의 꽃을 피웠다. 서아시아계 건축은 고대 바빌론을 기준으로 하여 서아시아 일원에 영향을 주었으며, 서쪽으로는 그리스 건축에 영향을 주었다. 중앙아시아 지역은 아시아 대륙의 중앙초원지대를 기반으로 이동하는 유목계열로서 서로 이전되는 문화의 전수에 큰 역함을 담당하였다. 우리나라는 시베리아계 문화, 중앙아시아계 문화, 중국 동북지방 문화, 한문화(漢文化) 등 북방 대류계가 근간을 이루며, 인도 문화를 수용하여 발전하였고, 남방 해양계는 한반도 남부지역으로부터 형성되어 온 것으로 보인다. This research tries to form oriental architecture types, systems, and flow historical1y. The theories of oriental scope are various but the Asian continent is the focus of this research. The genealogy of oriental architecture is classified by Chinese, Indian, western Asian, and Islamic. The regional classification of oriental architecture is eastern Asia, southern Asia, south-eastern Asia, central Asia, and western Asia. By surveying each region, China, Korea and Japan make up the major part of east Asian architecture. China, Korea and Japan have formed unique architecture cultures based on wooden architecture. Southern architecture affected China from the south and north roads of western China to the Indian continent which affected Sri Lanka and south-eastern Asia. Indian buddhist architecture advanced to the east wide1y but could not advance to west so much. South-eastern Asian architecture was affected by southern China but mainly affected from India and its buddhist architecture culture blossomed in Myanmar, Thailand, Laos, Java, and Cambodia. Independent buddhist art of south-eastern Asia which was based on high tower had been built. However, Vietnam had been affected by China direct1y but not much by India except for Champa architecturc. Java which was an old country of Indonesia had been affected by buddhist architecture of Central India and Sri Lanka and affected Cambodia and Champa. Western Asian architecture affected major parts of western Asia based on old Babylon and affected Greek architecture. Central Asian architecture had been composed of fixed architectural shapes by region and fixed notions were rare because of characteristics of the nomadic system. However, they took the big role of cultural transfer as movable nomadic families based on central grasslands of the Asian continent. Concerning religious aspects, there are not so many types, but they are classified Hinduism of India, Buddhism, Jainism, Taoism of China, Confucianism, Zoroastrianism of west Asia and Islam. Buddhism of India, Taoism of China and Confucianism which influenced Korean history and ulture. Buddhist art which started from India affected Gandhara, Korea, Japan, Tibet and Mongolia through western China, the entire south-eastern Asian continent in the east, and Sri Lanka in the south. In regional aspects, Islam architecture which appeared from the 7th century had very wide range of influencc and advanced to western Asia, North Africa, Spain, south Asia, south-east Asia and China. Islamic arts which was developed by western Asian arts affected widely due to strong religious tendency but the effectiveness to Korea was very rare. In central Asia, Lamaism influenced Tibet, Mongolia 3lld China. In Korea, the Siberian culture, north-eastern Chinese culture and Manchurian culture are formed as a basis while the southern oceanic division has been formed from the southern region of Korea. The research which analyzes this reciprocal system should proceed with oriental architecture typology scientifically and systematically based on empirical data.

충북지역의 민가 특성

김경표 ( Kyeong Pyo Kim ) 충북대학교 건설기술연구소 2013 建設技術論文集 Vol.32 No.2

고려시대 목조건축기술의 특성

김경표 ( Kyeong Pyo Kim ) 충북대학교 건설기술연구소 2010 建設技術論文集 Vol.29 No.2

고려시대 목탑의 구조형식 유형 : 금동탑(金銅塔)을 통한 구조적 해석

김경표 ( Kyeong Pyo Kim ) 충북대학교 건설기술연구소 2009 建設技術論文集 Vol.28 No.1

일본 고대 불사건축의 계통사적 성격

김경표 ( Kyeong Pyo Kim ) 충북대학교 건설기술연구소 2004 建設技術論文集 Vol.23 No.2