Search Results (3)

While the Seokguram Grotto is celebrated in art history for its sculptural mastery, its architectural identity as a constructed stone dome—distinct from excavated caves—remains under-researched. Existing studies have largely relied on geometric analyses based on irrational numbers, which lack a historical basis. This study aims to reconstruct the logical design process of Seokguram by distinguishing between architectural planning and the realities of construction. Methodologically, we employ the concept of design constraints to analyze the grotto’s dimensional system and scene perception. We identify external constraints, such as the recorded dimensions of the Bodhgaya Buddha and cosmological symbolism (rectangular antechamber and circular posterior), and internal constraints, specifically the need for complete visual coordination between the Buddha’s head and the detached nimbus stone. Our analysis reveals that the designers negotiated these constraints through an iterative process. Key findings demonstrate that the pedestal’s height and position were adjusted, and the arched headstone was strategically designed as a threshold to ensure the perfect alignment of the Buddha and the nimbus from the viewer’s perspective. Furthermore, contrary to previous hypotheses proposing the use of irrational numbers (e.g., √2), this study proves that the grotto follows a proportional system based on integer modules (with 12 cheok as the main module) and binary division, which facilitated practical construction. In conclusion, Seokguram is not merely a product of aesthetic intuition but a masterpiece of rational design. In contrast to the vertical transcendence of Western Cathedrals, Seokguram Grotto embodies tectonics of empathy, prioritizing human-scale intimacy and visual harmony. Full article

For decades, in historical research, archeological vestiges have been linked with geomancy and cults of the mythical ancestors of a group of the population. This is particularly true in Eastern Asia and especially in China, Korea, and Japan. A fundamental problem of Japanese archeology is that few of the remnants were realized in stone. One of the most important parts of archeological sciences is the study of Necropolises or ancient interments. From the 1970s onwards, in the relatively “new” and promising land of Hokkaido, cemeteries were built with the concept of landscape in mind; this is also due to the lavish vegetation features of this northernmost island of Japan. In the case of the Takino cemetery on the plains of Sapporo, Hokkaido, whose construction began in 1982, solemnity and religiousness were incorporated by producing exact stone replicas of famous funerary landmarks from antiquity as such materials were inexistent in the Nipponese Isles. This trend to grant eternity included traditional Buddhist funereal monuments like the Stupa, Seokguram grotto, and Kamakura sites, but at a certain and exuberant point, under the influence of Isamu Noguchi, it reached Stonehenge in England and the Moai from Easter Island in Polynesia (being after all located in a remote isle of the Pacific Ocean). In this article we will outline such process of generation and overall conception, analyzing the inclusion and architectural assembly of the different compounds and the recent and extraordinary additions projected and built by the celebrity architect Tadao Ando. We expect, in this manner, to facilitate the comprehension of the significance of venerable landscape sublimated through archeology for the Nipponese modern civilization. Full article

The purpose of this article is to disclose the hidden architectural proportions and true nature of the Korean national treasure in Seokguram Grotto, Gyeongju. The authors compare its features with those of other ancient hypogeal or ashlar constructions with the intention of rediscovering its relevant configuration and latent structural properties in order to demonstrate its uniqueness. The methods employed in the research belong initially to architectural design and composition to advance in the later stages to the nuances of stone masonry, lighting effects and especially cohesive construction. In this discussion and thorough analysis diverse philosophical and scientific subtleties are brought to the surface. The results demonstrate significant potential thanks to recent architectural developments, such as Tadao Ando’s Buddha Hill in Hokkaido (2017) and the authors’ own proposal for a Buddhist monument. Full article