This paper first claims that the Avatamsaka (Sanskrit) Sutra, or the Flower Ornament Sutra (大方廣佛華嚴經) is the best writing among the innumerable Sutras and other books that describe Truth. The Chinese characters in the Avatamsaka Sutra shows infinity, innumerable Bodhisattvas and the infinite Dharma body (無限法身) of Vairocana (毘盧遮那佛). Yet this dimension of the ultimate reality is not simply that of the nihilistic (虛無主義的) nothingness or void. Emptiness is the perfect emptiness with wondrous movement, and it is the most profound source (根源) of all animate existences and inanimate things. I claim that literary reading and watching films have the innate purpose (目的) of having this meditative mind, of which the most profound spiritual vision is presented as Ocean Samadhi in the Avatamsaka Sutra. In the first place, the innate (內在的) guide us to clearly see the binary structure (二元對立構造) of ego (自我). The ego is unstable between good and evil, right and wrong, decency and destitute. In order to let the audience feel free from the ego, we should take a profoundly different way than thematic approach (主題的接近). This way of understanding literary works and films is not to find the author’s intention and the main message implied in the work. Literature, film, and other arts are special areas that lead audiences outside the local, petty ego that is, into the dimension of the true self or the Transmiddle zone (領域) with special power of sensibility (感覺). As a literary text or film constructs the plot, story, and mood, it deconstructs itself (in terms of postmodernism). Ethical deconstruction would lead the audience beyond the limits of time and space into the spiritual dimension. A serious (深奧) literary text or film Great works (傑作) of literature and film direct our attention to break the shell (外觀) of our ego and encounter (直面) the source of life outside the ordinary habit of the ego. The exterior of the ego is the dimension of the pure consciousness. The unveiling process is the way in which it unlocks our spiritual sight (靈的視視) and presents with us a story of the protagonist’s failure (失敗) to flourish (繁榮) in the society (社會). The primal reality of the ego is that it is split into two, and thus fundamentally unstable. The ocean Samadhi (海印三昧) as portrayed in the Avatamsaka Sutra presents us with the vision that the whole cosmos (宇宙) and uncountable atoms are one. In this spiritual light, all phenomena in the whole universe are dependent co-arising or interdependent arising (同時發生); it is possible because everything is empty and has no stable substance. The Avatamsaka Sutra presents that the Buddha-body comprises, and thus it is truly “Emptiness (眞空) as Fullness (充滿).” Phenomena as the variances of Emptiness go through the processes of birth and death, not the Emptiness itself. It is like “empty space.” In the Hua-yen marvelous cosmos of Emptiness as fullness, one and all are interconnected with one another, and it is beyond our intellectual understanding (知的理解). In this way, Chinese characters (漢字) in the Avatamsaka Sutra (華嚴經, 大方廣佛華嚴經) describe (描寫) the infinite Dharma body (無限法身) of Vairocana (毘盧遮那佛). The ultimate truth is nondual (不二), and thus nonphenomenal (非現象的). The truth (眞理) of every existence (存在) is actually the spiritual dimension of not one, not two (不一, 不二). “Not one, not two” is the characteristic nature of the dimension beyond time and space, for it indicates the most fundamental realm (根本領域) of transcendence, where all phenomena are both separate and one.

One of the most notable architectural aphorisms in modern period must be undeniably Louis Sullivan's, 'Form Follows Function.' The aphorism has been not only an important source of new aesthetic but also an formal principle of machine age. Other most famous source in order to justify modern aesthetic was the short essay by an cynical critic, Adolf Loos(1870-1933), 'Ornament and Crime' of 1908. Apart from what the essay asserted it is also famous for the influence of Sullivan's architectural notion during Loos' States staying. For Architectural historians of the early 20th century this connection is so useful to create a legacy of modern architecture. The historians seemed to believe that Loos understanded Sullivan's aphorism on which the historians wanted to focused. When we however look into two buildings designed and built in the period of publishing both aphorism and essay there must be a big fissure between the buildings and the historians interpretations. With this view point this study aims at showing the true meanings of Sullivan's aphorism and Loos' essay and also the big difference between the machine age's aesthetic and theirs.

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

This study is to examine the Severe-Ornament (Vyuha :Sanskrit) of wooden pagodas in Shilla period in order to assume a detailed shape of wooden pagodas called the palace style, the multi-story style, the towered namsion style, that were built at the temples in Gyeongju during Shilla period. The Severe-Ornament had been used traditionally by installing a Buddhist image, Guardians, Sarira and by printing a color. The other hand, The roof tiles and tiles were annexed to the Severe-Ornament so as to enhance the value of the wooden pagodas. The Vyuha had been used not only to install a highly valued Buddhist image in the wooden pagodas but also to represent an important part of ritual art of Silla period. Therefore, it was possible to find out a variety of details of the wooden pagodas in Shilla period.