The Sacheonwangsa temple was established in 670 under the leadership of Myeongnyang in response to the invasion of the Tang Dynasty. At this time, Geumdang hall stylobate was constructed, which was about 30% smaller than the reconstruction. Due to the wartime situation, the construction of wooden buildings did not seem to have been achieved. The Sacheonwangsa temple was reconstructed in 679 as a symbol of the Hoguk(護國) temple. The size of the Geumdang Hall stylobate was planned as an important module for the entire temple. The stylobate fasad was designed at intervals of Tangju(撑柱), just like the JuKhan(柱間) plan of wooden architecture. There is a possibility that eight Devas may have been decorated in Front fasad. When the Sacheonwangsa Temple was rebuilt, the Geumdang Hall was added by the ChayangKhan(遮陽間) and an Ikrang(翼廊) was installed next to it. These changes affect the material and form of the stylobate. It was changed to a durable stone post-lintel style stylobate and the intervals of Tangju(撑柱) in Front fasad was also adjusted. As the highest-quality stylobate in East Asia at the time, the Geumdang Hall stylobate is considered to have taken Silla's architectural skills to the next level.

Lokapālas are understood as the deities of four directions in Buddhism: Dhṛtarāṣṭra in the East, Virūḍhaka in the South, Virūpākṣa in the West and Vaiśravaṇa in the North respectively. Their common name is, therefore, called as the "Four Guardian Kings", whose function is to prevent demonic forces from entering into its sacred world. Although the position of Lokapālas is to the lowest level in the hierarchy of the minor deities in Buddhism, the cult of Lokapālas was widely spread and prominent in the countries of Northern Buddhism. It played a significant role in terms of the state-protecting Buddhism, on behalf of it's esoteric and magic power. More than 20 Gateways of the Lokapālas and Lokapāla statues were still well preserved in Korea, and they were believed to be constructed after the Japanese attack in 1592. After war, monks had concentrated on restoring ruined temples and building many new Gateways of the Four Guardian Kings over the Korean peninsular. Under such circumstances, even though the Lokapālas played a significant role as the subject of cult in Korean Buddhism. they might have a small chance to be taught traditional Lama iconography exactly. The purpose of this essay is to examine the relation of orientation of the Gate way of Lokapālas and allocation of each Kings inside the gate.