There are lots of and kinds of stone pagoda and stone Buddhas at Unjusa Temple in Hwasun, Jeonnam, which is thus called as Cheontap(千塔) or Cheonbul.(千佛) Several archaeological excavations have been conducted in Unjusa though, the foundation purpose or background motivation is yet wrapped in mystery. Circular shape is representative pagoda of Unjusa made of round frame or spherical roof but circular stone pagoda is unusual that there is no similar example found in India or China as well as in Korea. Located in the symbolic center, Circular stone pagoda is a key to understand Unjusa. Yundeung(輪燈) is made of stone for circular stone pagoda and there are craft lamp and large lamp. The large lamp, for the palace courtyard on the occasion of Palgwanhoe,(八關會) consists of discs and light on each disc. Outdoor lamp of circular stone pagoda made of stone for permanent preservation purpose. Unjusa is a very special temple with stone-yundeung for circular stone pagoda. In this study, a circular stone pagoda that is the source of yundeung said. Unjusa circular stone pagoda next to the title of 'yundeung pagoda' and proposes to call.

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.

This study considers the proper repair techniques by examining the most representative repair cases of the Korean arch bridges and proposes the constructional manual which can apply similar occasions. The cases are Seonamsa Seungseongyo and Songgwangsa Geukrockgyo where this researcher had taken part in the repair works. This Study proposes the maintenance construction manual about the performance degradation drew by performance degradation of the both Korean arch bridges in the maintenance process. First, arch bridge maintenance should be carried out in the dry season, when water is impermeable in the bottom surface of the bridge. Moreover, risk factors of the maintenance should be excluded to secure the water vally flow, the bypass and the temporary bridge. Second, prior to repair, it has to precede ①3D shooting ② formal examination ③structure safety test ④geological and lithic surveys ⑤arch curvature establishment and makeshift frame settlement before transformation ⑥relationship expert comments. Third, if the baduk and the foundation stones are inevitable to replace due to performance degradation on the foundation, it should use the high quality stones and secure greater stress by extending the standard range. The foundation on irregular rock needs to be flattened and underside on the replaced materials require Grengyijil to deliver the equal loads. Fourth, In the process of dismantling the stones of the arched bridge, it could make heavy weathering degree and not reuse the materials. Charge should converge the expert advices to choose the reuseable, the conservate and the alternative materials, and increase the reutilization of the raw materials by preservation and reinforcement treatments. Fifth, the side wall should be repaired by the rubble work technique which is not able to pile compost satiety, so it must use long depth of masonary stones for reinforcement. It is considered to reinforce the stone wall in shore as much as possible and protect the abutment and the side wall on the upstream for the arch bridge maintenance works.

Hanok is the key technology of the 21st century buzzword, as 'healthy homes' and 'eco-friendly' and to meet the demands for the safety and comfort of the human body in space, the possibility is getting attention again. Hanok worth from the perspective of brand marketing, pay raises, and maintain it throughout the whole life cycle of the value based on continuous activities. The systematization, and the efficiency of the way should be carried out to maintain to achieve the purpose. This presented study is divided into three stages, the consideration of Hanok Characteristics, maintenance manual written case analysis and Hanok written direction of the manual and take advantage of the possibilities. Firstly, for the consideration of Hanok natures, we study the Hanok maintenance characteristics to analyze the use of materials and construct method based on the result of 'Hanok technology development'. Secondly, we grasp the element which can be applied on the maintenance manual, analyze the maintenance manual contents and the written direction. Lastly, proposed step of written direction, we suggest the direction of Hanok manual writing based on identified elements.

In Korea, only a few wooden pagodas are extant because some wooden pagodas were lost due to artificial environment like war. Fortunately, only Eight Depictions Hall(Palsangjeon) in Beobjusa temple and main hall of Ssang-Bong Sa the main temple are extant. Though main hall of Ssang-Bong Sa the main temple shows old style in construction and outstanding creativity, survey and investigation for the hall have been poor. Accordingly, this study investigated pillar part, bracket structure part, and roof part composing pagoda body section which actively reflects structure and design skill compared to floor or upper part. And for better understanding, in the part that is similar to pagoda body section of main hall or needs examples, wooden pagoda in China or Japan was referred. Through this investigation, it was known that unique skill applied to main hall of Ssang-Bong Sa the main temple is based on plane in one room × one room - Ssang-Bong Sa the main temple has common form of wooden pagoda in appearance.

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.

Historic buildings are history of human kind and a crystal of culture. Therefore, we have a responsibility and obligation to succeed to descendants. Once such heritage is damaged, it is hard to restore its original form. Thus, various attempts to preserve its value and authenticity have been made internationally. Among these, the international preservation tendency of historic building in terms of materials has been given to the preservation of materials as well as the preservation of appearance. In accordance with such trend, Korea also presented an equivalent general principle, and has managed historic buildings with the separate related instruction. The most general method to preserve historic buildings in Korea is a repair work. Since the foundation of Korea, the repair work tendency has been carried out in the principle of phenomenon change and original form maintenance. But, such tendency focuses on the appearance such as style, structure and trimming method, and there is insufficient consideration on the authentic preservation of materials. Accordingly, this study attempts to examine preservation principle and methods in the repair works, and also to investigate the afforestation condition for the restoration work. And, by suggesting preservation method of authentic materials, it aims to prepare the reference for the future repair work.

The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

As the corner of wooden pagoda forms the roof by closely bordering left and right eaves on the various purlins and angle rafters, it is designed for every face to be recognized as front whose structure system increases load to bear proportionally. The corner of wooden pagoda is inseparable with the corner bracket set as it becomes stable thanks to the corner bracket set structurally and load burden under restrained structure makes the corner bracket set really important. Accordingly, this study could figure out some facts by analyzing corner bracket sets of Palsangjeon of Beobjusa Temple in Korea, Seokgatap of Bulgungsa Temple in China and Ojungtap of Beobryungsa Temple in Japan which were constructed with pure wooden structure. This study demonstrated that corner bracket set played a pivotal role in keeping balance of concentrated load of corner (corner of opening) in each floor that contributed to the stability of wooden pagoda structurally despite multiple duplications of floors and also figured out the outfit of corner bracket set was subject to the floor type and the cross section of Gongpo installed on top of Pyeongju. Wooden pagodas in 3 countries were two floor types of octagon and square, and employed different connection method between upper and lower floors. The difference between floor and duplication method determines the method of corner, but even different methods were sufficient to have entirety in every side by completing dynamic principle of corner bracket set even though old method had to solve the problem of concentrated load and it also confirms that it was essential Gongpo to prevent any deformation of corner.

The aim of this study is to identify the floor plan types of folk houses or traditional vernacular dwellings found in Nagan Folk Village located in Joellanamdo province. Examining the floor plans appeared among 36 vernacular folk houses presumably built in the 19th century in the village by means of the changes in the number of bays of Anche, the mail block of the house, the study was also able to construct a spatial compositional process of floor plan development. The floor plan examination revealed that the basic floor plan type in Nagan folk housing was 'ㅡ' shape, a typical southern dwelling based on the existing classification. This basic type is consisted of three bays or rooms: Jeongji (kitchen), Anbang (large room), and Jageunbang (small room). New spaces or rooms are added to this three room house to expand the house as the residential functions become more complex, such as more living and storage spaces. The expansion appears to have two direction. On the one hand, it has been taken place by inserting Marea, an open wooden floor living space between Anbang and Jageunbang to meet the extended living demand. On the other, Jeongjibang, a second kitchen/storage has been attached to Jeongji outward for extra cooking and storage. This two-way expansion shows the trend of symmetric expansion between cooking, storing space and dwelling space. It can be implied that the arrangement of house rooms has been structurally formulated and shared by the farmer-builders in the 19th century in Nagan village who appeared to be influenced by fixed images for housing.

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.

Stupa in India divides into two: stupa in flatland temple with a character of tomb, and devotional stupa made for offering. The difference of such character is made by whether there is any Sari, and main center for worship is flatland stupa where Sari is settled. Stupa in flatland temple is targeted to that with Sari, whose character is applied into Relief-stupa. The characteristics of Relief-stupa can be divided into two: a relief with similar type of flatland stupa in the form, and a devotional relief in which drum and upper part of tower are developed. The Relief-stupa of flatland temple could be confirmed at tower gate of Sanchi tower, decoration of handrail, and the wall attached to Amaravati and Nagarjunakonda stupa. To the contrary, drum and upper wheel part in the Relief-stupa are developed in the votive stupa. Such characteristics had different features according to usage: The example of former is that there is an expression of landscape of stupa built at that time, and the example of latter is those which had similar type of stone cave temple or offering tower near stupa. Thus, the meaning is subject to the existing of Sari. Stupa building developed along with the development of Buddhist structural activity with the existing popular tradition. And its influence was expanded along with various cultures locally. And, the structure and tower reflected various types and thoughts. Stupa reflected its building site and method according to types, and was created in a new form by its usage.

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.