This paper attempts to study on the substantial characters of the sangryang-muns written for the constructions of Sudara-jang and Beopbo-jeon at Haein-sa in the years of king Gwanghae and king Injo. On that basis, it also attempts to declare the first time that the Buddhist Order firstly used long sangryang-mun, and to presume the backgrounds of the constructions. The results are as follows: First, the queen, Mrs. Ryu and court ladies of king Gwanhae had participated as donators to the constructions. Therefore, it is supposed that the constructions had been promoted by the queen's Buddhistic beliefs as well as the commemoration of the 6th award of eulogistic posthumous title to king Gwanghae. Second, throughout the history of Korean Buddhism, long sangryang-mun was firstly used in the construction of Sudara-jang. Therefore, we can see the fact that long sangryang-mun was introduced to the Buddhist Order, as donation by royal families. But the long sangryang-mun couldn't be suitable for the traditional customs of Buddhism, the monks wrote additionally the Balwon-mun, so to speak, the pryer address. Third, the sangryang-mun of Beopbo-jeon was written in the mixed format of long sangryang-mun and traditional Balwon-mun. It is supposed that the Buddhist monks wanted to keep the traditional customs. Four, in the late period of J oseon dynasty, the same formats as the sangryang-muns of Sudara-jang and Beopbo-jeon have been widely used in the various Buddhist buildings. Consequently, it is supposed that these three sangryang-muns were the embryonic formats for the major types of the late Buddhist building sangryang-muns.

수행이 중심이 되는 선원건축은 일반 사찰건축과 다르다. 그 공간적인 미 학 또한 특별하다. 최근 들어 명상센터와 템플스테이 관련한 건축물을 유행 처럼 짓고 있지만 선원건축에 대한 불교건축적인 기준이 없어서 설계와 건 축에 기준을 찾고 적용하는 데 어려움이 따른다. 이에 선원건축의 일반 사찰 건축에 대한 상이성을 모색해 보고자 전문적인 선 수행도량인 해인사 상선 원을 중심으로 살펴보았다. 상선원과 더불어 남양주 화개선원과 문경 봉암 사는 특별한 공통점과 특징성을 가지고 있다. 선원건축은 외떨어진 고요한 곳에 위치해 있으며, 백골건축이라 불릴 정 도로 단청이 생략되어 있고, 건물 사면이 문과 창호 및 복도로 구성되어 있 다. 내부에는 그 어떤 상징물(불상, 불단, 탱화 등)도 없고 생활과 관련된 시 설이 최소화되어 있으며, 마당에는 탑이나 종루도 없이 비어 있다. 그리고 수행에 방해가 되는 혼침과 벌레를 쫓는 환경이 갖춰지고, 수행공간도 평등 의 공간으로 남게 된다. 이러한 특별함에 대해 공간미학의 관점에서 비움과 채움, 가둠과 열림, 차가움과 따뜻함, 고요와 폭류의 개념을 추출하였다. 수행공간인 선원건축은 건축공간 내에 불교사상이 반영되어 있고 수행정 신을 고양시킬 수 있는 환경이 구축되어야 한다고 보았다. 선원(禪院)은 진 여가 온전히 드러나는 선의 근원[禪源]이고 불교 수행의 핵심을 담아내는 공 간이다. 이러한 건축적 미학을 선원건축에 담아내고 우리 삶의 공간으로도 끌어와야 할 것이다.

The Tripitaka Koreana ("Goryeo Daejanggyeong") wooden printing blocks have been recognized as a priceless Korean cultural heritage since the 13th century. They represent the advanced level of Buddhist studies at that time and its printing technology. The Tripitaka Koreana woodblocks also reflect the universal cultural values of 13th century East Asia. I will first examine the philological aspect of the Tripitaka Koreana. Then its historical and cultural background will be surveyed, including the time and places of its production, the supervisory organizations involved, and the purpose for its production. The meticulous production process of the Tripitaka Koreana woodblocks will be summarized beginning with the cutting of logs and the acquisition of Buddhist canon in preparation for the making of the printing woodblocks. Then, based on textual evidence, their enshrinement at Haein-sa Temple will also be explored from the aspects of the timing of its production and the possible transportation routes used for it relocation to Haein-sa. The Tripitaka Koreana has been printed several times in the pursuit of both national and private objectives. I will examine for whom and how often it has been printed. Lastly, the measures taken to preserve the Tripitaka Koreana will be explored. Many factors have contributed to their almost perfect preservation. Special techniques are evident in the preparation of the woodblocks, how the woodblocks are stacked on the repository shelves, and also in the location and construction of their repositories. Current research will be introduced which is being conducted to apply modern scientific techniques for their enhanced preservation and to better utilize the content of the Tripitaka Koreana in diverse cultural areas.

This study examines the Symbolic notions of Haein Buddhist Monastery based on the context of Feng-shui. Through the study, it is verified that the geographical features surrounding the Haein Buddhist Monastery are imbued with the basic layout of the monastery and the constitutional elements of the Haein Buddhist Monastery are structured and formed with the architecture and landscape of the monastery. Thus, the study maintains that the siting and the arrangement of the Haein Buddhist Monastery reflect the context of Feng-shui.