2010, Vol., No.46

A Bibliographic Study on The Directory of Printing Office for Sillok

Hyon-Suk Pae | 2010, (46) | pp.5~39 | number of Cited : 1

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The Types and Use of Blue-series Color Paper

Sun Young Jung | 2010, (46) | pp.41~69 | number of Cited : 3

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A Study on the Geunbeop(近法) and Sokbeop(俗法) of Husaengrok

Park, Moon-Year | 2010, (46) | pp.71~106 | number of Cited : 0

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A Study of the Goryeo Eighty-Thousand Tripitaka's Wood Printing Blocks, Its Enshrinement and the Placement of Its Bookshelves

Kang, Soon-Ae | 2010, (46) | pp.107~131 | number of Cited : 9

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The Goryeo Eighty-Thousand Tripitaka is a collection of 81,350 woodblocks of 1,514 types issued in Gangwha Island region's Daejangdogam and Namhae's Bunsadogam over a period of 16 years during King Gojong's 23rd year(1236) to his 38th year(1251). Except 108 overlapping woodblocks, there are 81,242 woodblocks. Among these there are 72,610 Daejangdogam blocks and 8,632 Bunsadaejangdogam blocks. The layout of the Eighty-Thousand Tripitaka from Cheonham(天函) to the Youngham (英函) follows the system of Northern Song(北宋) Gaebochikpan(開寶勅板), carved according to the Gaewonseokgyorok, whereas the tripitaka's layout from Duham(杜函) to Choham(楚函) is inconsistent because it was incorporated in the order that Song dynasty Tripitaka(宋朝大藏經) was introduced. Gaengham(更函) contains Daejangmokrok (大藏目錄), and Paeham(覇函) to Tongham(洞函) is composed of woodblocks addi- tionally made during the time the second carved Tripitaka(再雕大藏經) was created. The Enshrinement of the Eighty-Thousand Tripitaka in Ganghwa’s Daejanggyeong- pandang was done by putting the woodblocks of Daejangdogam and Bunsadogam together, after which a Buddhist ceremony was held in honor of the occasion. The Daejanggyeongpandang is thought to have been in Seonwonsa whose location was assumed to be either in Ganghwa Island's Sinnidong region or in front of and behind Seonhaengri's Chungryeolsa. Seonwonsa maintained its power until the end of the Goryeo Dynasty as it housed the Eighty-Thousand Tripitaka. The Eighty-Thousand Tripitaka was first placed in Ganghwa Island's Seonwonsa, then moved to Jicheonsa outside of Seodaemun in Seoul in the 7th year of King Taejo's reign (1398) during the Joseon Dynasty. It was again moved to Haeinsa Daejanggyeongpanjeon, the 52nd national treasure of Korea, where it is now housed. The Eighty-Thousand Tripitaka is stored in two of the Haeinsa Daejanggyeongpanjeon’s four halls, that is, the Beopbojeon, located northeast and the Sudarajeon, located northwest. With some exceptions, the Eighty-Thousand Tripitaka is placed mostly in units of 10 volumes each and its Hamcha(函次) is arranged in order of Cheonjamun. The placement of the sutra woodblocks begins with the first bookshelves to the right of the central bookshelves of the Beopbojeon, fills all the shelves in an orderly manner and continues to the Sudarajeon shelves to the final shelves.

A Re-examination of the Records and Experiments for Restoring the Method of Casting Metal Types with Clay

Kim, Sung-Soo , Seung Cheol Lee | 2010, (46) | pp.133~158 | number of Cited : 2

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A Study on the Publications of Jeon1a-Do in the Earlier Period of the Joseon Dynasty: (1) Especially about Jeonnam Region

Hyeonju Ahn | 2010, (46) | pp.159~198 | number of Cited : 10

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An Experimental Investigation of the Metal Type Wax Casting Method Using Celadon Clay

Cho Hyung Jin | 2010, (46) | pp.199~235 | number of Cited : 3

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This study investigated the specific processes and principles of metal type wax casting method using celadon clay. (1) Matrix material: Beeswax and injection wax were useful as the material. (2) The mould material and type performance: Celadon clay was useful as the filling material. Activated carbon, paper fiber and graphite were useful as the functional material. Each of the mixture proportion was 10～19% for activated carbon, 1% for paper fiber, and 20% for graphite. In particular, paper fiber played a superior, almost critical role in preventing cracks in the mould. Activated carbon demonstrated high success rate. However, the quality of type was found to be poor for all. 20% for oil carbon was not appropriate. (3) Metal components, pouring quantity, and pouring method: Bronze was more effective than brass as the metal component. A small quantity of approximately 350 grams was poured using conventional method. (4) The number of character strokes: The fewer the number of character strokes, the higher the success rate was. (5) Direction of character face and pouring method of metal fluid: The success rate was highest, when the character face was directed downward, and it was slightly higher when metal fluid was poured in a standing mode. (6) The main path caliber for metal fluid: The size of 4.5 × 5.0mm was sufficient. (7) The temperature of mould: The degree of 600℃ was sufficient as the burning temperature for mould. The success rate was not affected by the mould temperature at the time of metal fluid pouring. (8) The casting success and contraction rate: The highest success rate 90.0%, and the overall success rate was 15.74%. Contraction rate was 3.66%. (9) The characteristics of type strokes: All the distinctive characteristics in Jikji were observed here. Therefore, it appears that the wax casting method adopted by this experiment was the replication of the method actually used to cast Jikji type.

A Study on the Theory of Systematic Bibliography of Yi Deok-mu, a Great Scholar of the Late Joseon Dynasty

LeeSangYong | 2010, (46) | pp.237~266 | number of Cited : 5

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A Study on the Reading History of King Injong in the Joseon Dynasty

김중권 | 2010, (46) | pp.267~298 | number of Cited : 5

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The Actual Conditions of ‘Okansugye’ and Compilation of Chujogyeoloklok in the Late Joseon Dynasty

Yoo, Seung-hee | 2010, (46) | pp.299~327 | number of Cited : 10

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A Study on the Systems and Bibliographic Characteristics of the Printed Books of Perfect Enlightenment-sūtra

Kim, Mi-Kyung , Kang, Soon-Ae | 2010, (46) | pp.329~370 | number of Cited : 6

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The thesis investigates the process of publishing and distribution of Perfect Enlightenment-Sūtra, and the background of its formation and transfer to this country by examining circumstantial evidences and literature, and actually Perfect Enlightenment-Sūtra published from the Goryeo Dynasty to the Joseon Dynasty. Among the extant documents, 89 kinds with publishing records were systematically analyzed and the bibliographic characteristics of each woodblock printed book was identified in terms of its publisher, typeface, an illustration of Buddhist preaching and Gyeongpanganhaengjil. As a result of this study, the following facts are uncovered:1) The editions of Perfect Enlightenment-sūtra are classified into Daejangdokam version, the version of Uwang’s 6th year(1380), and Songpan-beongak version in the Goryeo Dynasty, and in the Joseon Dynasty, they are divided into Gangyeongdogam version. Ulyuja version, Ulhaeja version, Ulhaeja reprinted version, and other version. Daejangdogam version of the Goryeo Dynasty was engraved in King Gojong’s 28th year(1241) in Daejangdogam, and the version of Uwang’s 6th year(1380) is invaluable, because it contains an annotation by Emperor Hyojong of the Song Dynasty in China and an epilogue of Yi Saek. Songpan-beongak version is a reprinted edition, based on the Songpan printed in the 14th Century. 2) In the Joseon Dynasty, Gangyeongdogam versions are divided into Gyojangdogambeongak version, Hamhadeoktong commentary version and beongak version, Eonhaebonn (Korean translation of Chinese text) and Beongak version. Ulyu Korean version is cast, based on the handwriting of Jeong Nanjong, Ulhaeja version is cast and published, based on the handwritings of King Sejo and Kang Huian. The reprinted edition of Ulhaeja version is divided into Ssanggyesa version, Yongboksa version, Seonamsa verson and Yongjeongsa version and Bohyonsa version. The last one is a reprinted edition of Ssangyesa version. Other woodblock printed versions are Ansimsa version of King Seonjo’s 2nd year(1569), Unmunsa versionof King Seonjo’s 21st year(1588), Geonbongsa version of King Cheoljong’s 12th year(1861) and Gamnosa Version of King Gojong’s 19th year(1882), Bonginsa version of his 20th year(1883).

A Study on Buddhist Scriptures Published in the Temples of Jirisan in the Joseon Dynasty

Il-Gie Song , 박민희 | 2010, (46) | pp.371~401 | number of Cited : 12

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A Case Study of the Abhidharma-mahāvibhāsā-śāstra Wood Printing Blocks in the Goryeo Eighty-Thousand Tripitaka

곽동화 | 2010, (46) | pp.403~433 | number of Cited : 2

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In this research, to study the engraving of Abhidharma-mahāvibhāsā-śāstra of the Goryeo Eighty-Thousand Tripitaka, the following topics are examined: the content and layout of Abhidharma-mahāvibhāsā-śāstra, the scale of work to engrave the Tripitaka, the participating engravers and their activities, the leading engravers, and the distinguishing features and characteristics of each engraver’s workmanship, based on the comparison and analysis of letters carved by each artist. Abhidharma-mahāvibhāsā-śāstra is called the great encyclopedia of Abhidharma Buddhism because it explains in detail the theory of Seolilcheyubu based on the Abhidharma-jñāna-prasthāna-śāstra, and contains the dogma of various Hīnayāna Buddhist schools as well as the history of Buddhism. It was translated into Chinese by Hyeonjang and is composed of 8 chapters(蘊) and 43 verses(納息) in 200 volumes. A total of 2,271 woodblocks of Abhidharma-mahāvibhāsā-śāstra in 200 volumes were engraved during the 31st and 32nd year of King Gojong’s reign(1244-1245). About 569 engravers participated in engraving 4,434 sides of woodblocks, although some took part more than once. Volumes 1～110 were carved in cooperation by several engravers, while each volume of Volumes 111～200 was carved by one engraver. 91 engravers solely in charge of carving one volume carved an average of 10 blocks and 20 sides. With such amount of work, they are assumed to be the expert engravers, largely responsible for carving the Abhidharma-mahāvibhāsā-śāstra. In this research, these 91 engravers were investigated, and the features and characteristics of their carving were analyzed, based on the comparison of 10 letters, that is, 阿․心․沙․彼․道․觀․後․佛․我․初. It is concluded that different engravers carved most of the letters in similar shapes with only slight differences in their size and the thickness and slant of the strokes. Furthermore, factors such as the balance of the letter arrangements, the way the dots were made, the shape of the ending strokes, and the way the strokes bent all evidenced the individual engraver’s working habbit, and his level of craftsmanship and superiority.

A Study on Korean Female Readers' Reading Behaviors and their Characteristic Features

Sun Nam Kim | 2010, (46) | pp.435~455 | number of Cited : 3

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Journal of Studies in Bibliography 2023 KCI Impact Factor : 0.65

2010, Vol., No.46