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.

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.

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.

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.

한국의 건축가(11) - 김순하(1)

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

광주건축의 어제와 오늘

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

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.

한국의 건축가(11) - 김순하(완)

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

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.