This paper is an architectural historical study on Chimi of Hwangnyongsa Temple. In this research, the shape and cross-section of the chimi are reviewed. The results of the study are as follows. The chimi is a form in which the head part facing the maru is omitted, and the upper and lower body are separated. The upper and lower bonds are assembled into a two types of joint throughout the side of the torso, and then bound with an iron strap. Because of the absence of ridge line in the front, and the narrow curved surface which makes the side plate close to the plane, the entire cross-section is triangular, and the rear plate maintains the shape of the chimi. The naerimmaru connected to the side of the chimi has a slope, so it is clear that the chimi was used on the woojingak-jibung(hipped-roof), and the wing part and back of the chimi are erected on the side roof. The height of the yongmaru and chunyeomaru is about the same and the roofing tiles of those are in contact. The roofing tiles of chunyemaru should be cut to fit the angle of the contacting part. The maru is 30 stories high of roofing tiles as a result of the on-board survey. Based on reference on the shape and timing of the production of chimi, the height of chimi, and the maru is believed to have been built before the Unified Silla Period and used in buildings with at least seven-kan frontage. Buildings corresponding to these construction conditions can be seen as Central hall and East hall in Hwangnyongsa temple.

The purpose of this study is to reveal the development process of modern repair systems in the Korean peninsula. Sasungjeon, one of the main buildings of Jangansa temple located in Geumgangsan, was repaired from 1941 to 1944. It was the very last restoration work of historic wooden architecture performed during the Japanese colonial era. This work was delayed multiple times because of insufficient materials and human resources. The Bureau of Education(學務局), which was in charge of repair work, understood that the problems of the repair system and suggested reorganizing the system as a solution. This study examined the repair work of Sasungjeon as a background of the bureau’s suggestion and considered this suggestion as an attempt to transform the repair system.

The purpose of this study was to analyze the correlation between conservation activities and the development of tourism in the modern period in the Korean peninsula. The main building of Jangansa Temple, located in Mt. Geumgang, was repaired in the 1930s. During the repairs, the Japanese General-Government actively engaged in the development of Mt. Geumgang and raised funds for the operation of the Korean Peninsula through tourism revenue. The repair work was carried out under the influence of the Mt. Geumgang development project. And its influence is revealed by reviewing official documents recording repair work. This study tried to clarify the relationship between development and repair work through official documents.

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.

This thesis is to analyze the origin and transformation of the official building registers of Korean traditional temples, and also to suggest the amendment of their wrong archives. Especially, this study is to examine these subjects focused on Beomeo-sa which has maintained fine registers. The results are as follow; 1. In Chosun Dynasty, the Ip-an had been used, and in the period of Daehan-Empire, the Ga-gei had been used as each official registers for the common buildings. The other hand, the lists of properties and the legal registers had been used as official registers for the temple buildings between 1911 and 1962. 2. The current official building registers have been firstly recorded under <Building Law> in 1962. At that time, the current official registers have been also recorded for the Buddhist temple buildings. 3. Most of the official building registers of Buddhist temples are incomplete. Especially, these have usually the indistinct building names and wrong building areas. These were mainly caused by direct copying of the old registers recorded in 1956, the period of Buddhist confusion. Furthermore, the registers have been poorly operated by monks and offices. 4. Therefore, the registers has to be corrected as follow; The omitted buildings have to be added and the duplicated buildings have to be removed in the summary heading registers. The indistinct building names recorded in 1956 have to be correct into actual proper building names. The wrong building areas recorded in 1956 have to be correct into actual measurement building areas.

In that the Buddhism is the religion founded by Buddha, the settlement of Buddha's existence is very important in the temple building arrangement which symbolizes the Buddha's world. What symbolizes the Buddha in the temple are the pagoda and the Buddhist image. Among them, the Buddhist image is directly connected with the Golden Hall. This kind of double structure is settled as a typical pattern for the arrangement of buildings such as halls and pagodas. The earlier one between the pagoda and Buddhist image is the pagoda, of course. It can be inferred that, through the gradual expansion of the Buddhist images, the gravity was transferred from the pagoda to the Golden Hall. But, if the Buddhist image can be connected with the Golden Hall in that it was the product reflecting the requests on the Buddha and his teaching, the internal origin of the Buddhist image should also go back to the early Buddhism. In fact, the gravest building in Veṇuvana - vihāra or Jetavana - anāehapiṇḍasyārāṃa was the Golden Hall, the Buddha's residence. And in the summit of Gṛdhrakūṭa or Jetavana - anāehapiṇḍasyārāṃa where Buddha stayed long, there is the gandha - kuṭī the Buddha's place till now. It means that the symbolic request on the Buddha and his teaching had existed even before the Buddhist image and that this tendency could be connected with the generation of Buddhist image. This paper is to show that the hall / pagoda structure generalized in the building arrangement of later age was originated not just from the Buddhist image and the sarira pagoda but from the gandha - kuṭī and the hair pagoda, and therefore the two should coexist inevitably. It is an attempt to develop a little more in the ideological perspective the general theory that the pagoda and the Buddhist image were fused into one precinct of temple later in their respective origins. That is, it tries to recognize the relation of pagoda and hall not as the conflicting one but as the complementary one.

This study is about the meaning of wooden brackets that are distinctive elements of wooden architecture in Korea, Japan, and China. Existing studies about wooden brackets have been limited to the boundary of formalism, so the object of this study is to make a breakthrough in the field of those studies. The Wooden brackets in this study are considered to be decorative elements, and the principles of their design are examined. The specific subject of the study is wooden architecture with Jusimpo-styled brackets that have brackets only on pillars. The definition of Jusimpo is reexamined first, and ChulMok-Ikkong which has not been regarded as a Jusimpo-styled wooden bracket is interpreted as Jusimpo-styled one in this study. Categorized into three types, Jusimpo is examined how it is expressed according to the type of the roof in a building. In view of the results, the wooden bracket system is an effective technique to express the formality, and two designing principles can be seen in Jusimpo; one that wooden brackets observed externally are standardized and regarded as the same ones, and the other that the style of wooden brackets used in the most formal building is Yi-ChulMok. These designing principles mean that the carpenter who was in charge of building the architecture had certain principles when expressing wooden brackets as well as the roofs according to the class of the architecture. In addition, although the styles of wooden brackets that were used in the most formal architecture during the Chosun period were mostly Dapo, Jusimpo in the form of Yi-ChulMok was also adopted in some temples depending on their scale, and that means Jusimpo-styled wooden brackets were never considered to be inferior to Dapo-styled ones. And this point leaves the argument that the reexamination of Jusimpo-styled wooden brackets which have been regarded as the style used in the attached building or small structures since the Choun dynasty should be conducted.