Fen(分°) is the proportional dimension unit of the standard timber section on Yingzaofashi(營造法式), and there is a phrase that not only structural members but the whole structural design of a building also use Fen as the dimension unit on the book. But in fact only the section dimensions of structural members are recorded by Fen, but the design dimensions are recorded by Chi(尺) on the book. Other historical records also described the building size by Chi. So there has been long-standing debate on the phase in Chinese architectural history society, including the recent confrontation on the analysis of survey figures of the east great hall of Foguangsi temple(佛光寺東大殿). This paper analyzes all the records about the size of structural members and section planning on the book to make various calculation and evaluation. And it makes a survey of Cai(材) as the dimension and design unit between Chi and Fen through geometric analysis. Cai might be a rough unit of measurement in terms of structural and proportional scheming on Yingzaofashi, and the full size Cai(足材) had been a building scheming module before the Song dynasty.

This paper studied the Pingzuo(平坐) platform structure of the two story building covered with one roof during the early period of Tang dynasty, based on wall paintings, stone pagodas, brick buildings and wooden buildings might be influenced by the Tang style. Instead of Chazhuzao(叉柱造), the typical column linkage in the Song, Liao and Jin buildings, it put the boundary column just behind the wall of a bracket set. Otherwise, the column root might be seen from outside, because its bracket set was still using Touxinzao(偸心造) which did not have a lateral arm on it. And its flooring structure was also different from the Song style, it used cantilever beams instead of lateral beams supported by bracket sets.

This paper studied the origin of Myeongnyundang(明倫堂), the common name of the main lecture halls at confucian schools in ancient China. Through an extensive investigation of local chronicles, biographies, decrees and construction essays, it found the first Myeongnyundang were titled on the main hall of a local school in the early Southern Song(南宋) period, and it might become the most popular name due to Zhuxi (朱熹), a famous confucian scholar in the Southern Song dynasty. In Yuan(元) period, it almost become the fixed name for the main lecture hall at local confucian schools, and even the official government documents began to use it as a common noun since the beginning of Ming(明) dynasty.

This paper analysed the architectural images on Pleasant Gathering of Leeum, Samsung museum of art, which has been assumed as a work of the Koryo dynasty. Through the comparison between the unique wooden structure at roof edge on the building images and real architectures, it found the buildings on the painting were from China Fujian(福建), not from Korea. It also analysed the color painting on buildings, trees, themes from previous famous paintings and dresses to confirm these images were came from the early period of the Ming dynasty. It is a very unique painting containing various information on the Fujian ancient architecture, but its architecture drawing is not as skillful as typical ancient Chinese paintings.

This paper studies the style emergence of Liujin Dougong in the ancient Chinese architecture. Dougong is the bracket set of the ancient Chinese wood structural architecture, and Liujin Dougong is one of the late styles of Chinese Dougong. It emerged in the period of the Ming Dynasty and has been installed in imperial palaces and imperial temples till the late period of the Qing Dynasty. Through the long term field survey and documental investigation, this research found out the some prototypes of Liujin Dougong among the earlier Xia-ang style Dougongs in the Song and Yuan Dynasty architectures. The symptom of style change appeared in the bracket composition. In the beginning, because Shuatou, the horizontal member just on Xia-ang was needed to be fixed to the inner main structure system, it was changed to the diagonal member and replaced Xia-ang. It brought continuous changes, the other horizontal members of Dougong also began to change to the diagonal form. And in accordance with these compositional changes of Dougong members, the decoration of inner parts also began to change. This paper analyzed every step of the compositional and decorative changes from Xia-ang Dougong style to Liujin Dougong style. In the addition, it also proposed the typical model of Qing style Liujin Dougong of which tail end is not placed on the beam and is just placed under the purlin, based on the its own research and analysis.

Sajik, the altar of land and grain was treated as one of the most important national ritual facilities by the Joseon dynasty and the Ming dynasty because it symbolized the legitimacy of a dynasty, and its architectural ordonnance was arranged strictly by the government. But when the Joseon government considered to reconstruct its national Sajik altar in Hanyang during the Sejong period, they found the new architectural ordonnance for local Sajik altars recorded in 『Hongwulizhi(洪武禮制)』had been published by the Ming government was hard to adopt, because it was too narrow and totally different from the traditional style. Above all things, they doubt of there was other architectural ordonnance for kingdoms, not for local governments. King Sejong ordered to investigate the origin form and former examples, and tried to get other ritual documents of authority published by the Ming government such as 『Damingjili(大明集禮)』. After several academic researches and intense debates, they decided to create a new architectural ordonnance for their national Sajik altar, its form was in accord with the traditional style and its size was in accord with the new ordonnance. But they did not know there had already been the architectural ordonnance for the kingdom in the Ming dynasty. Because the first emperor of the Ming dynasty had changed its Sajik ritual system several times, even the whole country of the Ming dynasty also had gone through chaos on this issue even after his death. Consequentially, the official documentation works had been made partially, there was no a complete document on this issue even in the Ming government.

『Ohju Yeonmun Jangjeon Sango』 written by Lee, Gyu-gyeng is one of the most important encyclopedias in the period of Chosun-Dynasty. There are two chapters related to architecture in this book, one is 「ancestral rite·governance·human」chapter, and the other is 「architecture·human」chapter. Both of them are hard to understand because they are written in ancient Chinese and consist of various quotations in ambiguous way. This paper as a partial study is deal with the former. It makes difference between writter's original texts and quotations through textual research, and translates to modern Korean, and analyze information about ancient architecture in texts. The texts can divide to three sections. The first introduces three Chinese architectural theory books as 『Gogonggi(考工記)』, 『Yeongjo Beopsik(營造法式)』 and 『Mokgyeng(木經)』, and mentions about the prototype of the royal ancestral ritual building in 『Gogonggi Toju(考工記圖注)』. The second quotes 『Seoyeong(書影)』 to introduce 『Yeongjo Beopsik』. The third quotes 『PaePyeon(稗編)』 to introduce 『Yeongjo Beopsik』 and 『Mokgyeng』, and mentions about the counting unit of columns of the royal ancestral ritual building. Although the purpose for these quotations is not directly mentioned, but we can find it is intended to explain the architectural prototype and lay-out of the royal ancestral ritual building.