朝鮮後期 鐵製入絲工藝品 硏究

이선진 동국대학교 2013 국내석사

統一新羅 石塔의 造形과 特性 硏究

이순영 동국대학교 2018 국내박사

This study set out to examine the construction background and changing factors of stone stupas during Unified Silla and the characteristics and chronology of their changing style in the process. It also aimed to investigate the formative features of stone stupas during Unified Silla and their transmission into stone stupas during Goryeo. To try to examine the background in which stone stupas were built in Silla, the study first looked into the viewpoint of stupas in the kingdom, where the viewpoint of stupas developed along with the idea of Buddha Land until the seventh century. In the early days, stupas were made as space for the faith of Buddha reliquaries. Starting with the nine-story stupa at the Hwangryong Buddhist Temple, however, the people of Silla began to voice their desire to protect the nation with stupas. In the nation, stupas were built as the object of national defense under the leadership of the government until the appearance of stupa construction sutras. Entering the eighth century when Mugujeonggyeong(『無垢淨經』) was introduced in the nation, the viewpoint of stupas shifted its focus from defending the nation to the fulfillment of personal merit and virtue. This changing viewpoint became the driving force behind the diversification of causes for stupa construction since the ninth century and opened a path to the various changes of stone stupa styles. The formative nature of stone stupas in Silla changed from stone brick stupas at the beginning stage to typical stone stupas made of granite. This formative change meant that the people of Silla changed their perspective of building stone stupas as well. The early scriptures show that they recognized the brick stupa method, which was to build a stupa by processing a material into a brick, as a method of building a stupa from the early days, and also the origin of materials. Typical stone stupas are assumed to have been constructed by the need for new stone stupa construction after the unification of the three kingdoms. It seems that they were created in a new stone stupa form unique to Silla by reflecting the sublime beauty to express their nature as monuments to commemorate the great achievement of unification as well as respect for essential faith. The changing patterns of stone stupas during Unified Silla were divided into three types according to their characteristics: stone stupas with overall changes from general stone stupas, those with partial changes to the stylobate or body, and stone brick stupas. These stone stupas were examined by type, and the results show that the change toward the single-story stylobate recorded the highest frequency and that the change toward the first-story body support took place in most cases. There were also cases in which various changes overlapped with each other in a single stone stupa, which reflected the active and diverse nature of the changing phenomena. There was only one case of overall changes, and it was Dabotap stupa(多寶塔) at the Bulguk Buddhist Temple. The slabstone composition of the stylobate and the steps increased the visual ascent effects along with the vertical ascent effects with the structure emphasizing the feel of ascent. Based on the analysis results of Uisangjeongyojo(義湘傳敎條) in Samgukyusa(『三國遺事』), the study discussed the possibilities that the host of the event of circling the stupa was Pyohun and that the place was not the Hwangbok Buddhist Temple but the Bulguk Buddhist Temples with its Seokgatap and Dabotap stupas. As for the changing pattern of stylobates, the old Byeolseok construction method emerged again at the stage in which the Panseok(板石) method made a full settlement, which indicates a structural change. As for external changes, the study examined the changing patterns toward a single-story stylobate, Pedestals of the Buddha Statues-type stylobate, four-lion stylobate, and natural stone stylobate. As for the changing pattern of the body, the study examined the method of separating the roof stone from the body as a structural change. External changes were examined in changes toward the first-story body support including the Uuderpinning Made of Different Stone(別石) and Uuderpinning of bend out style, the octagon-shaped body, the creation of a hip at the Naksumyeon of the roof stone, the Milcheom-style(密檐式) lapse rate, and the expression of detailed wooden structure techniques on the surface of the body. Stone brick stupas were examined according to the typical stone stupas in the line of the stone brick stupa at the Bunhwang Buddhist Temple and the imitation stone brick stupas in the line of the five-story stone stupa in Tapri-ri. This study also divided the stone stupa styles during Unified Silla into general stone stupas and stone brick stupas. The former was highlighted by changes to the Uuderpinning Made of Different Stone(別石) construction methods in the stylobate and the Uuderpinning Made of Different Stone(別石) first-story body support. These changes are considered autonomous ones based on the typical stone stupa style. The Milcheom-style(密檐式) construction style had its origin in the stupas of Southeast Asia. This style was introduced in China and Japan as well as Silla and evolved into a new Silla-based style in the stone stupa at the site of Jeonghye Buddhist Temple. In Silla, stone brick stupas basically emerged autonomously in the cases of the stone stupa at the Bunhwang Buddhist Temple and the five-story stone stupa in Tapri-ri. None of them deviated much from the basic style. In this universal phenomenon, however, the stylobate exhibited diversity in its changes lintel stylobates, natural rock stylobates and stacked rock stylobates. The five-story stone stupa at the site of Jukjang Buddhist Temple displayed its own uniqueness as the only structure with awning columns surrounding the exterior of the stylobate. The stacked rock stylobate seems to have exerted influence on the natural rock stylobate in the general stone stupas in Mt. Nam in Gyeongju according to the changing locations. These findings indicate that the style changes of stone brick stupas and general stone stupas had an impact on each other in a mutually organic way. This study, then, examined the chronology of the subject stupas by period to examine the changing flow of stone stupas during Unified Silla. The seventh century marked a period when the typical Silla style settled down and developed with no style changes to general stone stupas. Stone brick stupas had their basic style settle down during this period rather than introducing new changes with the stone stupa and the five-story stone stupa under construction as the beginning style at the Bunhwang Buddhist Temple and Tapri-ri, respectively. The eighth century witnessed the beginning of stone stupa changes, which became full-blown in the middle of the eighth century. General stone stupas made an attempt at various styles including overall and partial changes; thus, establishing a foundation for more diverse changes to stone stupas in the next period. Entering the eighth century, stone brick stupas also displayed full-blown changes to the stylobate. There were designs unique to stone brick stupas, which indicates that there were various changing phenomena in stone brick stupas just like general stone stupas. These phenomena seem to reflect the Silla people's desire for artistic creation in its culture and the social atmosphere of accepting new formative works with an open mind in the eighth century. The ninth century saw the changing phenomena of stone stupas becoming even more diverse and making developments. General stone stupas showed new changing patterns not found in the eighth century with even richer and more comprehensive changes to the stylobate and the body. The changing types of this period hold important significance in that they became a matrix for the styles of stone stupas in Goryeo. Stone brick stupas continued to have changes to the stylobate in the ninth century, but their overall style showed a simplification trend. Finally, this study examined the formative features of stone stupas according to the style changes during Unified Silla and their succession into stone stupas during Goryeo. In Unified Silla, the style changes of stone stupas were characterized by diversity and originality. The changing phenomena of the stylobate and the body, and the changing process of stone brick stupas reflect the creation of various styles. Unlike the trend of simplification according to the progress of the stone stupa styles, they also tried to fully preserve the original form of wooden stupas. In addition, the autonomous style changes eventually established the original stone stupas of Unified Silla and were transmitted to the stone stupas of Goryeo. The stone stupas of Unified Silla became a matrix for the stone stupa styles of Goryeo based on their changes, and their creative ideas about stone stupa construction were applied to the stone stupas of Goryeo and served as the internal driving force for the creation of a new style. These findings indicate that the stone stupas of Unified Silla hold important significance in the history of stone stupas in Korea.

高麗時代 懸爐 硏究

정승은 동국대학교 2018 국내석사

An incense burner is the instrument offered to the Buddha for burning incense. Offering incense to the Buddha has been emphasized since the ancient times. There was a unique type of an incense burner in the Goryeo Dynasty and it is the very 'hanging incense burner'. The hanging incense burner means an incense burner to be hung up. This study was done for 13 hanging incense burners manufactured in the Goryeo Dynasty and examined the hanging incense burner from a variety of perspectives including its origin and manufacturing background, types and characteristics and use. In the Chapter II, The Origin and the Advent of Hanging Incense Burner in the Goryeo Dynasty, this research examined its manufacturing background and designation. An hanging incense burner existed in the ancient China. However, it differs from that of our nation in terms of appearance. Therefore, the hanging incense burner of the Goryeo Dynasty may be said to have been standardized in the Goryeo Dynasty . As for the designation of the hanging incense burner, this study investigated it based on incense burners excavated from the Beopcheonsa TempleSite, in particular, 'Hanging Incense Burner with Inscription of Muja’ and identified if it was substituted by other terms. In the Chapter III, this study identified kinds and developments of incense burners in the Goryeo Dynasty. In the Goryeo Dynasty, Buddhism was developed greatly since Goryeo was the Buddhist nation. Hence, in order to offer incense to the Buddha, there were a number of kinds of incense burners necessarily. In the Goryeo Dynasty unlike other dynasties, there were three kinds of incense burners including ones held with a hand, positioned at a table and hung up somewhere for use. In this Chapter, this study examined kinds of incense burners and characteristics of hanging incense burners in the Goryeo Dynasty. In the Chapter IV, this study investigated types and characteristics of the hanging incense burners in the Goryeo Dynasty. External forms of the hanging incense burners in the Goryeo Dynasty may be divided into three types according to the height and the maximum width of a body. Besides, as a result of analyzing each characteristic, it shows that handle and body express lotus blossoms and leaves intentionally and there is a little subtle difference in decoration. Finally, as for their use, as shown from the inscription, the hanging incense burner excavated from the Beopcheonsa TempleSite was manufactured to hang in front of Amitabha at the Amita Buddha Buddhist ceremony on February, Muja Year. As such, hanging incense burner was manufactured to be hung for use. As a result of measuring weights of 13 hanging incense burners, there was the one weighted less than 100g so it is assumed that one may hang it up enough. In addition, there is an incense burner hung at the back of luggage of a monk in the Gubeopseungdo excavated from Dunhuang so it is regarded that mobile incense burner was used too. Accordingly, it may be assumed that hanging incense burner in the Goryeo Dynasty was hung on a handle or a chain at a Buddhist ceremony. Also, mobile incense burner was used too. In the Chapter V, based on analysis above, this study estimated the chronology and transition of the hanging incense burner. As for the objects excavated from temple sites, research was conducted mainly for relics having a correct chronology or showing a stylistic characteristic clearly. As a result, it shows that these temples existed commonly from the mid 11th century to the early 13th century. Based on such a fact, transitions of hanging incense burners were examined through their characteristics and it reveals that in the early times decoration of lotus petals was detailed and splendid, schematized and decayed gradually. From the mid 13th century, hanging incense burners did not appear any more and a jade lamp very similar to a hanging incense burner appeared from the late 13th century. It may be said that hanging incense burner in the Goryeo Dynasty changed into a lamp in terms of its use. Art culture the most Korean bloomed in the Goryeo Dynasty from the 11th century to the early 13th century. Unique craft works of the Goryeo Dynasty's own unlike those from other dynasties were created and one of them is a hanging incense burner. Along with the activation of Buddhism since the mid 11th century, in such a period, it is assumed that objects of a kind were used for different purpose in a temple to make Buddhist rituals more magnificent. Hanging incense burners came to appear along with such recognition of people in the Goryeo Dynasty. Hanging incense burner is both an aspect showing the crafts in the Goryeo Dynasty and an important key word reflecting the variety of the Buddhist crafts. This paper has significance in that it analyzed hanging incense burners in the Goryeo Dynasty and their interconnections with other craft works in terms of the cultural history.

統一新羅 8-9世紀 舍利莊嚴具 硏究

김민송 동국대학교 2018 국내석사

This study was conducted for 29 Sarira Reliquaries produced in the 8-9th centuries Unified Silla to analyze origins, types and manufacturing backgrounds of the Sarira Reliquaries of the Unified Silla and examine them from multilateral aspects including their association with art works. Firstly, in the Chapter 2, this research investigated origins and manufacturing backgrounds of the Sarira Reliquaries in the 8-9th centuries Unified Silla. The number of the Sarira Reliquaries more than doubled in the Unified Silla of the 8-9th centuries compared with prior periods. Such an increase of the Sarira Reliquaries resulted from a variety of changes under the periodic situation which were reflected in their production including rise of Stupa constructions, expansion of prayers for the Sarira Reliquary and inflow of a new Buddhist sect. In the Chapter 3, this study examined types of the 8-9th centuries Sarira containers in the Unified Silla. The Sarira container may be divided into the exterior and interior Sarira containers and the Sarira bottle and in particular exterior and interior Sarira containers for protecting the Sarira bottle may be segmented into the Box shape, Buddhist altar&Coffin lid shape, Royal palace shape, Case shape, Cup shape, Jar shape and the Monk-stupa shape according to their appearance. In addition, Sarira bottle may be divided into types Ⅰ, Ⅱ depending on whether it has a base or not. Sarira containers of each type differ from their use according to each period. In the Period Ⅰ corresponding to the early and mid 8th century, Sarira containers of the Box and Case shapes were used for the exterior and interior Sarira containers and as for the Sarira bottle Ⅱ-A type, a green glass bottle with a clear distinction between body and neck though having no base may be identified. In the Period Ⅱ ranging from the mid 8th century to the early 9th century, there were various types of Sarira containers. Along with new types of Sarira containers that began to be manufactured including the Buddhist altar&Coffin lid shape, Royal palace shape and the Cup shape, the existing types of Sarira cases like the Box shape were made continually. Besides, as for the Sarira bottle both types of Ⅰ, Ⅱ may be identified. In the Period Ⅲ corresponding to the mid and the end of the 9th century, there were Sarira containers of the Seung-tap(Monk-stupa) shape and the Jar shape made of agalmatolite and the noteworthy thing is that both were Sarira containers used in the Period Ⅲ only. Both Ⅰ, Ⅱ types of Sarira bottles may be identified but in general show changes of simplified shapes and decorations. Various types of Sarira containers in the 8-9th centuries Unified Silla may be identified but it shows a tendency to favor types easy to make as time passed. It seems to be resulted from the lack of economic power by prayers though they were expanded from the Royal family to individual so simplified Sarira cases were preferred gradually. In the Chapter 4. this research investigated changes of offerings along with composition of enshrinement for the Sarira container. The Sarira Reliquary in the 8-9th centuries Unified Silla may be divided into the Sarira container and offering. As for the Sarira container, case was enshrined by superposition and dual composition of enshrinement increased as time passed from the original triple and quadruple compositions of enshrinement. In the same manner as changes of Sarira container types, it seems to be connected to expansion of prayers. Changes may be also identified from offerings and they were extended to new kinds of offerings including the Buddhist statue· Miniature Stupa from those similar to burial goods of the tomb in the early period. Particularly, miniature stupa is the offering that appeared after the influx of 󰡔Mugujonggwangdaedaranigyong󰡕 so attracts attention in that it was used intensively in the 8-9th centuries Unified Silla. Finally, in the Chapter 5, this study examined the relation between artworks and Sarira Reliquaries in the 8-9th centuries Unified Silla. The Sarira Reliquary is the work having a closed property that may not be discerned until repair of a stupa once it was enshrined. Hence, rather than similarities among Sarira Reliquaries, it is required to examine their connection with artworks in those days. As for artworks, analysis may be conducted in terms of architecture, sculpture and crafts. Firstly it shows that those days' architecture had an effect on a variety of structure-typed Sarira cases. Connection of sculpture with the Sarira container may be shown from various ornaments and it reveals that manufacturing techniques were shared by diverse crafts and Sarira Reliquaries in those days. A variety of Sarira Reliquaries of the Unified Silla had an influence on those of the Goryeo Dynasty. It may be examined in terms of succession of an enshrinement method for the Sarira container, type of the Sarira container, decorative expression and offering. In particular, some types of the Sarira containers including those of the Monk-stupa shape are identified even in the 14th century as well as in the early Goryeo period. As such, Sarira containers of the 8-9th centuries Unified Silla have significance in that they influenced Sarira Reliquaries in the Goryeo Dynasty. Hence, Sarira Reliquaries in the 8-9th centuries Unified Silla succeeded to prior types of Sarira cases, at the same time manufacturing Sarira cases of new types including the Buddhist altar&Coffin lid shape, Royal palace shape, Cup shape and the Monk-stupa shape and showing the originality of the Unified Silla's own. Sarira Reliquaries in the 8-9th centuries Unified Silla reveal various changes influenced by those days' social and religious transitions. Furthermore, they have significance in that they shared manufacturing techniques with diverse artworks including those days' architecture, sculpture and crafts.

高麗前期 石塔 基壇部의 蓮瓣紋 裝飾 硏究

박찬형 동국대학교 2018 국내석사

The stone pagoda with lotus pattern was appeared in Goryeo period. This pattern has been highlighted in that this shows not only the decorative feature of stone pagoda, but also plays a significant role in criteria to distinguish stone pagodas in between Sila and Goryeo era. In the previous study, however, it was just described as the trait of stone pagoda in Goryeo period and didn’t proceed to more deepening studies that collect some cases of the patterns and make the transition of patterns. Thus, this study focused on gathering 41 cases of the patterns and then speculate on a background, construction time and the feature of stone pagoda with lotus pattern. A background of decorating a lotus pattern in stylobate of stone pagoda can be described as three cases. Firstly, this pattern was appeared to the stone pagoda of Sila period prior to Goryeo era. Three-stories stone pagoda at Dopiansa temple(到彼岸寺 三層石塔), made in about 865, is the first stone pagoda with lotus pattern in its stylobate, so it can be the initial form of pedestal pagoda. In addition, the stone pagoda with body stone near four Buddhist image in Dong-Cheon Dong(東川洞四方佛塔身石), Gyeong-Ju is decorated with lotus pattern in upper and lower of stylobate stones. Master Doui’s stupa is not a stone pagoda but, its underpinnings made of different stones are also decorated with same pattern. Second, the phenomenon of sharing styles in stylobate expanded. In the early Goryeo, the tendency of sharing styles between stone works was spread to stone pagodas contrary to the same tendency in Sila period, showed within pedestal, monk’s stupa and stone lantern. This expansion might cause the stylobate of stone pagoda to adorn with the pedestal of Buddha. Through this sharing tendency, the stone pagoda might have became to make lotus patterns in the stylobate. Additionally, the decoration that adorns with lotus patterns in the upper-layer stone of monk’s stupa was shown during the Unified Sila period, and continued to monk’s stupa in the early Goryeo era. As a result of the tendency of sharing styles in stylobate, the stone pagoda was also decorated with lotus patterns in the flat stone, which is a material put on the body stone of pagoda. Third one is the spread of Buddhist scriptures. ‘Baoqieyin Dharani Stura(寶篋印陀羅尼經)’ was a standard scripture in constructing pagoda for the Goryeo period. In the scripture, it said that if someone published the Dharani and then sealed it in a pagoda, the pagoda would be same as Buddha and he or she could be protected. Therefore, the owe to Sarira in pagoda can express to decorating with lotus patterns on the strength of ‘Baoqieyin Dharani Stura’. Plus, this assumption can be drawn by the fact that the time of introducing scripture coincided with the reveal of decoration with lotus patterns. The stone pagoda with lotus pattern can be divided into three types, and also detailed based on its subsidiary materials. This is because the location of decorating with lotus pattern spread increasingly from 11th century. Thus, this study can look on more clearly the transition of patterns through this classification. This study also divided Goryeo era into first and second period, and then assumed the construction time of each pagoda and looked through the transition of patterns. The first period ranges from 936 to the late 10th century, when Goryeo had unified the later three Kingdoms. The second period is from the early to late 11th century. Considering stone pagodas with lotus pattern one by one, this study arranges the stone pagodas into each period. In the first period, the lotus pattern appeared in the stylobate of stone pagoda and its decorating was established. During the second period, the lotus pattern of stylobate expanded and furthermore its pattern was renewed, so it shows its original formativeness. When gathering and looking through the cases of stone pagodas with lotus pattern, this study can discover characteristics observed in the stone pagoda with lotus pattern in early Goryeo period. In the stylobate, the stone pagoda appear tendency to stick to double-stylobate, while the other stone pagoda prefers to single-stylobate at the same time. This tendency might have an objective to adorn Ansang pattern(眼象紋) in lower-stylobate. Therefore, it is assumed that Ansang pattern might be reflected on the purpose of enlarging fanciness too, because the stylobate with lotus pattern might be the outcome to emphasize the fanciness of stone pagoda. The range of stone pagodas decorated with lotus pattern has a little difference, but the noticeable thing is that most of them was located in the area of later three kingdom’s period. It might be considered as the tendency to return to previous tradition lasted from the late Sila period. This assumption can be supported by the fact that the stone pagodas with lotus pattern are situated within the area of boundary of Goryeo except for three stone pagodas. Plus, it is appeared that subsidiary materials decorated with lotus pattern had increased. In the first period, stone pagodas were not decorated with lotus pattern, apart from the pedestals-upper surface of lower-layer stone and lower one of upper-layer stone-flat stone of upper stylobate, and underpinnings made of different stones. In the second period, however, the lotus pattern appeared in the flat stone of lower stylobate and foundation stone as well as was decorated in both upper and lower flat stone. This change means that the lotus pattern had increasingly a purpose to decorate contrary to previous meaning, which is Sarira in the body stone of pagoda. Meanwhile, a noticeable thing is that the area of lotus pattern decorated in flat stone was decreased. Three-stories stone pagoda in JukSan-Li(竹山里 三層石塔), three-stories stone pagoda at Seungansa temple site(昇安寺址 三層石塔), and three-stories stone pagoda in Nongok-Li(論谷里 三層石塔) made in the first period were full-decorated with the lotus pattern, especially in the flat stones. But in the second period, it is appeared that the areas of lotus pattern were either decreased or stylized. Stone pagoda in SangLim-Li(上林里 石塔), nine-stories stone pagoda at Sajabinsinsa temple site(獅子頻迅寺址 石塔), and other stone pagodas constructed in the second period also showed this changes. Additionally, it is important that the lotus pattern of stone pagoda’s stylobate not only had impact on the construction of stone pagodas during the same period, but also proceed to the stone pagoda of Joseon dynasty period. This study identified the influence on stone pagodas of same period by speculating the stylobate of blue-stone stupa and metal stupa adorned with lotus pattern. The number of stone pagoda constructed in the Joseon dynasty period might be nothing more than twenty, but most of them has the stylobate decorated with lotus pattern. Also, the stone pagodas of Joseon dynasty period were related to the ones of Goryeo era in that the planes of stone pagoda are square and octagon. In addition to the stylobate stone pagoda, six-stories stone pagoda in Seonunsa temple(禪雲寺 六層石塔), Gochang is decorated with lotus pattern on the lower surface of flat stone. Seven-stories stone pagoda at Naksansa temple(洛山寺 七層石塔) and five-stories stone pagoda in Bosalsa temple(菩薩寺 五層石塔), CheongJu are adorned with lotus pattern on the lower-layer stone. Lastly, the stone pagoda in Yongyeonsa Temple(龍淵寺 石塔), Gangneung is decorated with same pattern on the foundation stone. Through these cases, it is supported that the lotus pattern appeared in stone pagoda during Goryeo period was succeed to Joseon dynasty era. This study gathers and looks through some cases of stone pagoda with lotus pattern. Through a series of considerations, it is identified that the stone pagoda with lotus pattern has its trait and transition. Consequently, the lotus pattern appeared in stone pagoda is not understood as a kind of fanciness but one type of stone pagodas by itself. However, The object of this study is limited to the stone pagodas in the early Goryeo period that have an absolute chronology and many precedent studies dealt with same pagoda. In this regard, this study has a shortage because it didn’t inspect on the other stone pagodas in the middle or late Goryeo era. Therefore, studies about the stone pagodas with lotus pattern in the Joseon dynasty as well as late Goryeo period should be proceed in the afterwards. Especially, the stone pagodas located in the North Korea, where there are stylobate stone pagodas also be demonstrated. Hopefully, this study will be some help to use details of stone pagodas as a kind of standard, when studying stone pagodas.

慶州 皇龍寺 九層木塔 金銅刹柱本記 硏究

구청미 東國大學校 2019 국내석사

This paper aimed to overall research with regard to <Engraved Gilt- bronze Plaques from the Nine-Story Wooden Pagoda of Hwangnyongsa Temple, Gyeongju>, which is the Cultural Treasure No. 1870. Hwangnyongsa Temple is a representative big Sangharama of the Silla Dynasty since it had been first constructed in the 14th year of the King Jinheung (553) of Silla. However, the temple was burned out at the 13th century of the Koryeo Dynasty due to invasion of Mongolian troops, thereby, causing a severance of the Buddhism heritage, which had been succeeded for over 700 years. Afterwards, it was never reconstructed again and currently remains just the site of the temple that has been a land or farmlands. The Nine-Story Wooden Pagoda in this temple was built by a lead of Yongchoon based on the suggestion from Jajang at the 14th year of Queen Sunduk (645) and it has showed off its splendor as a treasure of Silla. The wooden pagoda was a significantly high structure with a height of about 80m, however, it inclined several times because of thunder-strokes, causing rebuilding and repairing repeatedly. In the 11th year of the King Gyeongmoon (871), Wihong led a large-scale reconstruction and various remains were additionally buried in the space for cremated remains of the wooden pagoda with 9 stories at that time. Those remains were first robbed by the tomb raiders and collected again in 1964, thus, exact excavated position or historical source has not been clearly known. In addition, those were discovered together with other remains that seemed to be sealed in other pagodas and those that were from various different times. Of those remains, one very evidently belonged to the Hwangnyongsa Temple and it is <Engraved Gilt-bronze Plaques>, which was sealed during the repair process of the Nine-Story Wooden Pagoda in the 12th year of the King Gyeongmoon (872). The <Engraved Gilt-bronze Plaques> is a Gilt-bronze inner box for cremated remains in which 5 gilt bronze plates are connected with hinges. Except 2 plates, which played a role of gates, the remained 3 plates are carrying about 930 characters of inscription on both sides. The inscription indicates lots of information such as details about construction of the Nine-Story Wooden Pagoda, the fact that it was reconstructed in 872 based on 󰡔Great Dharani Sutra of Immaculate and Pure Light󰡕, and items of the gear of the cremated remains sealed together. In particular, the inscriptions of <Engraved Gilt-bronze Plaques> were mainly highlighted and the major objective was to elucidate a difference of the chirography shown in the inscription technique of the plates. It is noteworthy that the inscription with about 930 characters was inscribed by a unique and scarce method called the double hooked technique (雙鉤技法) unlike other inscriptions. The double hooked technique inscribed here mainly appears in the 9th century and it was verified so far that 8 samples from the unified Silla and 4 samples from the Tang Dynasty in China are available at the moment. This technique inscribes the contour lines on a gilt bronze plate according to the order of making strokes. It requires highly advanced skill set because the complete understanding on the ending of a character and the composition of next character according to the order of making strokes must be sketched from the head in advance. The <Engraved Gilt-bronze Plaques> can be divided into the main scripts at the inner side and the name directory at the outer side. The main scripts accounted for the 1, 2, and 3 plates. In addition, the sentences of the main scripts were created by Park Geo Mool, written by Yo Geuk Il who was a calligrapher and inscribed by Chong Hye, So Yeon Jeon and Yeon Jeon. The name directory corresponds to the 4, 5, and 6 plates, and no description is available on the writer and the inscriber. However, in case of a memorial stone, in light of a tendency that both main scripts on the front side and characters on the rear side were typically written by one person, it seemed to be relevant that Yo Geuk Il had wrote the name directory as well. Moreover, it was more evident in that both main scripts and name directory are in line with each other in terms of the style of characters. It was recorded that Yo Geuk Il, who was a calligrapher <Engraved Gilt-bronze Plaques>, was well following the calligraphy of Goo Yang Soon in the early Tang Dynasty. However, it was revealed that he mixed the altered chirography after the mid of Tang Dynasty in examining <Gravestone of King Heungduk>. In addition, when analyzing the inscribing tendency of main scripts that were inscribed by each inscriber, it was able to confirm that they all were familiar with the calligraphy after the mid of Tang Dynasty. Furthermore, it was confirmed that the difference in chirography was evident due to discrepancies in skills and techniques of each inscriber although inscribers of <Engraved Gilt-bronze Plaques> exerted to imitate the characters of Yo Geuk Il. This deemed as a result caused by differentiation of skills and techniques that were emulated by each inscriber. In the meantime, since the inscription skill in the rear side in the plates was lower than the front side, it is thought that the name directory was highly likely inscribed by other inscribers such as the students of the inscribers who inscribed the main scripts on the front side that had higher quality based on the typical instances that the quality of the rear side is relatively lower than the front side. In addition, titles of core people, who were involved in the reconstruction of the wooden pagoda with 9 stories, appear differently in the name directory and from this context, it left open the possibility that main scripts and name directory were inscribed with certain time difference. In conclusion, it was able to know that <Engraved Gilt-bronze Plaques> is a remains of the double hooked technique that was fabricated by a patronage of royal family and its completeness as a work is far advanced and exceeds to that of China in terms of unique creativeness and individuality of the unified Silla. The double hooked technique requires several times of effort and duration compared to those of the lining inscription technique. As such, the <Engraved Gilt-bronze Plaques> advanced the complex process that considers the shape of each character and the order of making strokes into the almost perfect level. From that perspective, it has a significant value as an unique remains that can measure the overall level of society in the unified Silla era including the expression techniques of artistic mind and conception of Buddhism, and further a sense of loyalty to the country.

운현궁 금속공예품 연구

김안나 동국대학교 2019 국내석사

This thesis examines the metal crafts of Unhyeongung(雲峴宮), in order to defining significance of these crafts and their meaning through art historical aspects in the late Joseon and early modern Korea. Unhyeongung was a palace for Lee Haeung(1820-1898) known as the noble title, Heungseon Daewongun(興宣大院君) and his son Gojong(高宗)(1863–1907) who became the last king of Joseon and the first emperor of Korea. As Heungseon Daewongun ruled Joseon for 10 years instead of the under-aged king Gojong between 1864-1873, Unhyeongung became the place of special treatment and power. Besides political and social issues of the personnel, the metal crafts from various kinds of artifacts of Unhyeongung were presumably produced between the mid 19th and late 20th century. They are significant examples of artisanship and the taste of the royal family as well as the upper class of the period. Thus, the quality of the crafts could remained high standards as the artifacts from the royal palace as a result of Gojong’s utmost support for Unhyeongung. Metal crafts of Unhyeongung are made of different kinds of materials such as albata, brass, gold, iron silver, and, stainless steel. and the majority of its collection is brassware. Other objects from Unhyeongung are made of various materials including lacquer ware, ceramics and textiles. These objects are also found equivalent quality to the artifacts remained in the royal family collection which suggests that the artifacts of Unhyeongung reflects the taste of the high culture at the time. While imperialist countries including Japan coerced the Joseon to open her ports to trade, crafts and their producers also struggled to carry their tradition. Joseon was in a states of confusion, exposed to issues of industrialization and modernization and forced to face cultural and political changes. In order to retain high quality crafts and traditional skills, Art factory(美術品製作所) was established under immediate control of the royal family. Upon the social ongoings, silver crafts made from Hanseong art factory(漢城美術品製作所) and Yi Wangjik art factory(李王職美術品製作所) commonly bear the royal coat of arms of the Korean Empire, Ehwamun design(李花紋) and, some with Ehwamun and manufactory inscription. Especially artifacts excavated from Heungwon(興園), the tomb of Heungseon Daewongun and the tomb of Leejunyong(永宣君 李埈鎔)(1870-1917) also have obvious manufactured date. These artifacts inclusive of a number of metal crafts are important reference to Korean traditional craft history. The interesting founding is that the metal crafts from Unhyeongung have Ehwamun design and some are decorated with round shape lines around Ehwamun design that differentiate from the original Ehwamun design creating Unhyeongung Palace design, Unhyeongungmun(雲峴宮紋). Unhyeongungmun is found in other artifacts and it is necessary to understand and separate Unhyeongungmun from commercialized Ehwamun in the remained artifacts. Defining Unhyeongungmun from previous studies was an important step stone to further research that one may appreciate the metal crafts of the transition period of traditional Joseon and modern Korea. Also it reflects the transition of spreading Korean metal wares from hand crafted art to practical crafts along with mass production in the late 20th century. Previous studies on the metal craft of the transition period between Joseon and Korea were based on the broad understanding of the art of Joseon and historical background. As more research works on the topic, cover art social and historical backgrounds in time, it is expected to observe art historical importance in detail and hopefully, this study leads one to additional consideration and further research in near future.

高麗時代 靑銅銀入絲淨甁의 紋樣과 編年 硏究

김정훈 동국대학교 2014 국내석사

The patterns and chronology of chongbyong, or bronze kundika inlaid with silver of Goryeo Dynasty have been studied in this paper. While there are rooms to be improved due to the limited number of inherited relics and the lack of absolute chronology that indicates the time of creation, this paper brings to light the following aspects. First, a Goryeo kundika took its form from that of the Unified Silla period. As no inherited or excavated kundikas existed ahead of Goryeo Dynasty, the forms of kundika from the earlier eras had not been clearly identified. However, the recent discovery of two bronze kundikas at Ingaksa Temple that presumably were created in the Unified Silla have led to the early forms of bronze kundikas that are believed to have been passed down from India through China. Second, the ritual sprinklers can be categorized into three types in terms of the basic form and inscribed pattern. The first type of kundikas have difference with regard to the curve or the ratio of body, neck and spout but share commonalities in the basic form and structure, with the approximate height of 37 to 43 centimeters. The first type has a tubular spout that tapers to the top as a pointed, straight line, and the round rim under the spout serves as the lid. The Y-shaped neck under the spout flows towards the body where the main pattern such as the waterside landscape design depicted of cattail, willow, reed thickets and ducks is incised alongside the sub-patterns like bands of yeouidu. Most type-Ⅰkundikas have a resemblance to those illustrated in Goryeo-dogyeong (高麗圖經, Illustrated Book of Goryeo) and are considered a formulaic kundika that portrays the waterscape motifs created with the metal inlay technique in the 12th and 13th century. The second type has a similar formation to the first one but varies in the location of a projecting mouth as well as in the size and shape of kundika. To be specific, Type-Ⅱ kundikas have shorter spout and neck, and the round rim over the neck is incised with the patterned swastika (卍). As such, the change in pattern and form of kundika is in line with the shift in those of incense burner of 13th century and in the overall metalware in the 14th century. The third type has a wide shoulder, narrowing body to the bottom, long neck and a trumpet-looking mouth. Such types of a long-necked vase trace back to the early types of a vase with tall, narrow neck that enjoyed considerable popularity in China from the 6th to 8th century. The origins can be found in kundikas of Baekje Avalokitesvara and nine-faced Avalokitesvara statue of Horyuji Temple in Japan as well as eleven-faced Avalokitesvara of Seokguram Grotto in Gyeongju. Third, the detailed analysis on inlay technique was provided. The silver-inlay technique, relevant to the sanggam technique, can be divided into line and face. Line inlay, the main expressive technique, can be further divided into subcategories of thin and think lines. Thin lines are mostly used to portray the realistic and familiar waterside scenary due to its delicate characteristics. Fourth, the patterns were classified into the main patterns such as waterscape, dragon and phoenix and the sub-patterns like plantain leaves, yeouidu, cloud, etc. The classified patterns and their interpreted meanings usher the contemporaries into the slow-paced and peaceful lifestyle of Goryeo Dynasty. Fifth, Goryeo kundikas were chronicled, with silver-inlaid censers that hold absolute chronology being a reference point. The challenges in keeping a chronicle of bronze water sprinklers can be attributed to the ambiguous literature on creation records. The chronology was defined based on the comparison made between the form of yeouidu pattern of silver-inlaid censer that has a clear timeline and that of kundika. Also, the arranged patterns and expressive techniques of waterscape design of kundika were compared and contrasted with those of engraved/embossed celadon and sanggam celadon. Kundikas were chronicled into three time frames in accordance with the findings. The first phase corresponds to the 12th century and was chronicled based on the similitude to yeouidu pattern of Bronze Incense Burner with Inlaid Silver Decoration of Pyochungsa Temple created in 1177 and designated as National Treasure No. 75. The waterscape design inscribed on the container and descriptive expression were also regarded as factors. The second phase centers around kundikas that display a similar pattern with the bands of yeouidu inlaid in Bronze Incense Burner from Heungwangsa Temple housed at Leeum, Samsung Museum of Art and designated as National Treasure No. 214; Bronze Incense Burner with Silver Inlay with Name of Hampyeonggungjubang at National Museum of Korea; and Bronze Incense Burner with Silver-inlaid design from Tongdosa Temple designated as National Treasure No. 334. Especially, the incised waterscape design was compared with that of celadon of the 13th century in terms of its formation and expressive technique to chronicle kundikas. The third phase is chronicled based on the basic structure and bands of Yeouidu depicted in Hyangno of Jungheungsa Temple (1344), Hyangwan of Sangwonsa Temple (1346), Hyangwan of Pyohunsa Temple (1352), Hyangwan with Inscription Jijeong 17th (1357), Hyangwan of Sojaesa Temple (1358), and Hyangwan of Jeondeungsa Temple (1366). Another reference point was the similar characteristics with the Sanggam patterns of 14th century celadon. This phase corresponds to the 14th century. In conclusion, the paper pursued a versatile approach to kundikas that hold value in the history of Buddhist metal craft in regard to its basic form, pattern and inlay techniques. While the research saw limitations due to insufficient literature and a handful of remaining relics, the potential excavation of directly and indirectly related relics may hopefully contribute to the future research. 불교가 전래된 이후 우리나라에서는 불상조각 및 불화와 더불어 여러 가지 불교 관련 미술품들이 꾸준히 조성되어 왔다. 그 중에서도 특히 통일신라 이후 불교가 성행했던 고려시대에는 조형적으로나 기술적인 면에서 뛰어난 불교공예품들이 많이 조성되기에 이른다. 이들 불교공예품은 원래는 불교의례에 사용하였던 것이나, 점차 그 쓰임새가 확대되어 일상용으로 사용되기도 하였는데 그 대표적인 예가 바로'淨甁'이다. 정병이란 본래 인도에서 승려가 여행을 할 때 밥그릇(발우)이나 의복과 함께 메고 다니던 물병에서 유래한 것으로서 梵語로는 '쿤디카(Kundika)'라고 하였으며, 이를 중국에서는 소리 나는 대로 '軍持' 또는'軍雉迦'라고 漢譯하였다 淸水乞編,『佛具辭典』水甁條, 東京堂出版, 1978, pp.90~92. 인도로부터 비롯된 뒤 중국을 거쳐 우리나라에 유입된 정병은 통일신라를 지나 고려시대에 이르러서는 고려만의 기형 출현과 함께 銀入絲라는 새로운 기법이 탄생하였으며, 이러한 기형과 기법을 잘 보여주는 청동은입사정병은 고려만의 차별화된 공예품이라는 점과 다양한 문양을 담아내고 있다는 점에서 주목된다고 하겠다. 그러나 지금까지 정병에 대한 연구는 청자 및 청동정병의 기형에 관한 연구가 주로 진행되어 왔을 뿐 기존의 청자 및 청동정병에 대한 기형연구 결과는 다음과 같다. 이난영, 「扶蘇山 出土一括遺物의 再檢討」,『美術資料』20, 국립중앙박물관, 1977 이미휘,「高麗 淨甁에 關한 硏究 」, 淑明女子大學校 대학원 석사학위논문, 1989 김지환,「高麗時代 靑磁에 나타난 蒲柳水禽紋에 關한 考察」, 檀國大學校 大學院 석사학위논문, 1990 권주한,「高麗時代の金屬水注、浄瓶に関する研究:製作技法を中心に」,『韓國工藝論叢』3-2호, 2000 안귀숙,「中國 淨甁 硏究」 弘益大學校 大學院 박사학위논문, 2001 임현화,「高麗時代 靑銅器의 入絲文樣에 關한 硏究」, 전남대학교 교육대학원 석사학위논문, 2001 권상인,「韓國 軍持에 關한 硏究」,『文化傳統論集』11호, 경성대학교 한국학연구소, 2003 ,「軍持に關する硏究」 京都工藝纖維大學院 박사학위논문, 2005 주경미,「淨甁의 기원과 전래에 대한 일고찰」인도 정병을 중심으로,『中央아시아 硏究』10호, 중앙아시아학회, 2005 윤희봉,「高麗靑磁에 보이는 金屬器皿의 影響」弘益大學校 大學院 석사학위논문, 2006 김인창,「관음보살의 도상, 淨甁 연구」,『강좌미술사』28호, 한국미술사연구소/한국불교미술사학회, 2007 금미희,「高麗靑磁 蒲柳水禽紋의 特徵과 變遷 硏究」京畿大學校 傳統藝術大學院 석사학위논문, 2008 박형진,「高麗時代 軍持形 淨甁 硏究」, 이화여자대학교 대학원 석사학위논문, 2008 최응천,「軍威麟角寺출토 佛敎金屬工藝品의 性格과 意義」,『先史와 古代』32호, 한국고대학회, 2010 김하나,「高麗時代 象嵌靑磁에 나타난 繪畵素材 文樣 硏究」, 弘益大學校 大學院 석사학위논문, 2012 청동은입사정병의 문양 및 편년에 대해서는 연구가 부족한 편으로, 이에 본 연구에서는 고려시대 청동은입사정병의 기형 및 문양과 이를 바탕으로 한 편년에 주안점을 두고 연구를 진행해 보고자 한다. 이의 연구를 위하여 국립중앙박물관 소장 국보 제92호 청동은입사포류수금문정병을 중심으로 하여 국립중앙박물관 소장 청동은입사포류수금문정병과 국립경주박물관의 청동은입사포류수금문정병, 합천 해인사성보박물관의 청동은입사포류수금문정병, 양산 통도사성보박물관 소장의 청동은입사용문정병 등 국내에 전해오는 청동은입사정병 7점과, 일본에 전해오는 出光美術館 및 大和文化館 소장의 청동은입사포류수금문정병 4점, 영국 빅토리아앨버트박물관 소장 청동은입사포류수금문정병 1점 등 12점을 연구 대상으로 삼았다. 먼저 제2장에서는 정병의 기원 및 전개와 고려시대 정병의 선행이라고 할 수 있는 통일신라 정병의 유형과 양식특징에 대해 간략하게 알아본 다음, 제3장에서는 고려시대 청동정병의 유형에 대하여 기형에 따라 세 가지 유형으로 분류를 시도해보도록 하겠다. 그리고 제4장에서는 고려시대 청동은입사정병에 시문된 문양의 종류에 따라 주문양과 종속문양으로 구분한 다음 해당 문양별로 시문된 문양의 소재에 따른 의미와 성격에 대해 살펴보겠으며, 절대연도가 있는 고려시대 청동은입사향완의 여의두문을 중심으로 청동은입사정병의 시기를 구분해 보고 문양 주제 및 포치방법에 대하여 알아보겠다. 그리고 고려시대 청동은입사정병의 입사기법에 대하여 선입사와 면입사로 구분한 뒤 그 기법을 구체적으로 살펴본 뒤, 위 내용들의 종합적인 검토를 바탕으로 편년에 대한 고찰 또한 시도해 보도록 하겠다.

한국 무쇠솥 주조기술과 전승에 관한 연구

김다감 동국대학교 2019 국내석사

The casting technique is to inject molten metal into the mold and then cool them to produce finished metal products. The feature of this technique is that it easy to mass-produce complex shapes compared to welding because of it is easy to process. The casting technique is divided by porcelain clay casting, sand mold casting, and beeswax casting, and mainly five metal materials are utilized, which are gold, silver, copper, tin, and iron. The difference between these casting techniques comes from the environmental factors and the utility of the technology. Being a crucial part of culture and industry, iron has been a foundation for the civilization development. Korean casting technique has been utilized in various ways since it was generated during the Bronze Age. Master craftsman of casting technique were called ‘Sangcheoljang’ (zinc master) during the Korean dynasty and ‘Jujang’ or ‘Jucheoljang’ (master of tempering iron) during the Joseon Dynasty. The master craftsmen were managed by the government. Korea has preserved and fostered numerous traditional craft techniques that are disappearing from modern society, with intangible cultural property designation system, and seven people are designated and recognized in six categories for intangible cultural assets of national and provincial related to casting technique. In this paper, we have studied about the process of making the cast iron pot and the Jeju Special Self-Governing Province Intangible Cultural Heritage No.7, the Deoksuri Bulmi-gongye (Bellows Craft) and the Gyeonggi Province Intangible Cultural Heritage No.45, the Casting Craftsman (Anseong-jumul). ‘Bulmi-gongye’ and ‘Anseong-jumul’ each uses volcanic soil and moulding sand respectively to make a mould. Both methods produce cast iron pots using iron mold melted with a traditional furnace. The summarized production process is as follows: material preparation→mould production→melting of iron→pouring iron mold→finishing work. The process is technically similar to shaping a mould using ‘dorae’ (an iron band) in terms of functions of the used tools and materials. However, there are some differences such as mould and furnace compositions and reutilization of a mould. Although the process of production of casting pot is partly done by machine unlike the past, it is still not so different from traditional crafting method. Therefore, understanding their work process will be helpful to understand pre-modern iron making methods. While Bulmi-gongye and Anseong-jumul have been transmitting the clay and sand mould casting methods with thier distinctive ways, both are having difficulty in securing transmitters and expanding the cast iron pot market. It is necessary to investigate and record the status of the tradition of these people, and to worry about activation.

高麗時代 石棺 硏究

이준 동국대학교 대학원 2016 국내석사

The culture of graves is relatively less volatile culture among the diverse cultures which human made, and it has obvious regionality and contemporary characteristic. The sort of tombs in Goryeo period is classified as pit burial, stone-lined chamber, stone chamber tombs, and stone-cist tomb(sarcophagus), and only sarcophagus was made by clay slate. Sarcophagus were used after secondary burial(洗骨葬) or cremation. Sarcophagus in the period of Goryeo dynasty was built by assembling six slates and was embossed or engraved with the patterns of the Four Deities(四神), the Twelve Zodiac Animals(Twelve Calendrical Animal, 十二支神), peony, lotus, and Flying Apsaras(Flying Deva, 飛天) and the record of the owner of the tomb. In this sense, sarcophagus is the most outstanding material among art history, costume history, folklore, and funeral arts including epitaph related to history, literature, and caligraphy. Nevertheless, it hasn't received attention yet from the art history. Existing research results show the method of funeral or ideological foundations about sarcophagus, or deal with only one example individually. Therefore this study tried to illuminate the art-historical value of sarcophagus, examining the origin of sarcophagus and the position of the owner of the tomb who chose the sarcophagus and analyzing the structures and motifs of sarcophagus. First, about the origin of sarcophagus, stone-cist tombs and cremation tombs which existed before the period of Goryeo dynasty and sacrophagus in China were examined. Cremation tombs in the period of Unified Silla were chosen by the part of ruling class such as the royal family, Buddhist monks, and the Yookdoopoom(六頭品) mainly in the royal district, and they could be classified into burial urn, stone case, stone-lined chamber, and stone cist. Burial accessories were the earthen image of the Twelve Zodiac Animals(Twelve Calendrical Animal, 十二支神), bronze ingots, scraps of iron, and so on. On examination of Chinese stone cist, funeral arts on a variety of subjects such as the Four Deities(四神), the Twelve Zodiac Animals(Twelve Calendrical Animal, 十二支神), procession had already been developed since the Han period, and the form that the pattern of the Four Deities(四神) and the Twelve Zodiac Animals(Twelve Calendrical Animal, 十二支神) are engraven was not changed though the expressions were different. The important thing is that the epitaphs of Goryeo made of the same quality of the material of sarcophagus was produced before the period when sarcophagus of Goryeo was emerged, and among those epitaphs, the oldest things which inherited until now are the epitaphs of Chae In-beom and Yu Ji-seong who were naturalized from China. In addition to them, some naturalized people were engaged in ritual work in the central government, and the fact that the regulations about funeral in Goryeo were organized at that time can be found in the records. Through this, the origin of sarcophagus is assumed that it was developed from the cremation tomb chosen by some ruling class of Unified Silla and changed to ornament the Four Deities(四神) or the Twelve Zodiac Animals(Twelve Calendrical Animal, 十二支神) on the four wall stones by emboss or petrogram under the Chinese influence. Also, the status of the owner is analyzed by investigating the outside and the inside of sarcophagus or the epitaph produced separately and attached to sarcophagus. In the case of 23 examples of 45 sarcophagi which have examined until now, the owner of sarcophagus can be identified. On investigation of the owners focused on the process of holding the government position, final position, and the family, they held the government position through the state examinations, the protected appointments, or making a contribution, and stayed over the fifth grade of office. Most of them belonged to hereditary aristocracy including famous royal in-law families. Judging from this, the fact that cremation tomb of Unified Silla was turned into the way of culture which was enjoyed by hereditary aristocracy under the influence of China in the period of Goryeo. The evidence of this is the similar periods in which hereditary aristocracy was built and in which sarcophagus emerged. The structure of sarcophagus consist of the foundation stone which plays a role of floor, wall stones which compose the four sides with four slates, and cover stone. The assembling methods are largely classified into two methods: the structure style and the joint style. The structure style is inserting the part of wall stones into the ring or hole made in each other, and the joint style is interlocking the long wall stones into the shallow grooves which is cut on the short wall stones vertically. Images are generally ornamented on the outside and the inside of four wall stones and cover stone as the raised carving or the petrogram. On the outside of wall stones are mainly decorated the Four Deities(四神) and the Twelve Zodiac Animals(Twelve Calendrical Animal, 十二支神), and on the inside of wall stones are the peony motifs. The images of lotus, Flying Apsaras(Flying Deva, 飛天) and constellations are carved on the cover stone. These images are only different in terms of forms, and similar to general subject decorated on burial system in Korea or on Goryeo Celadon and the object of metal craft at that time. In this respect, sarcophagus shows simultaneously universal arts and funeral arts of Goryeo. Sarcophagus was produced actively in the early and middle period of the twelfth century, and the appearance of style and shape was somewhat multiple. However, the amount of sarcophagus was definitely decreased since Goryeo military regime. In this regard, the estimation can be arised that there were two backgrounds. First, because hereditary aristocracy which mainly selected sarcophagus loose their footing at the central government, their culture changed. Second, due to the introduction of Neo-confucianism, Buddhist funeral system was prohibited and burial place was also changed from temple to one's own house. This seemed to cause sarcophagus to decline and moreover become extinct. This is in the same vein of trend of thrifty tombs rather than lavish tombs in East Asia in the fourteenth century. Under the influence of Buddhist burial system inherited from the period of Unified Silla and of foreign culture, the only prefabricated tomb type of Goryeo formed, and due to the introduction of Confucianism, the tomb type disappeared. In this sense, the sarcophagus style is a typical example to demonstrate the process where material culture is built and disappears naturally in human living..