During the Goryeo period, multiple types of stone pagodas representing regional characteristics were constructed throughout the country. The five-story stone pagoda from the Yullisa Temple site was originally constructed at the Yullisa Temple site in Pyongyang, the capital of Goryeo. It was looted and taken to Japan during the Japanese occupation period and is now located in the Okura Shukokan in Japan. The location of the site can be found on a map made during the Joseon period, which indicates Yulsa-myeon (栗寺面), and it is highly possible that it currently indicates Yulli (栗里) in the Daedonggang-myeon (大同江面). Okura Shukokan looted the Jaseondang ( 資善堂) and took it to Japan, seeking a multi- angled, multistory pagoda in order to decorate the garden. The transfer of such a heavy stone structure to Japan was made possible by the following figures: the political help of Terauchi Masatake ( 寺內正毅, 1852~1919), economic help from Okura Kihachiro ( 大倉喜八郎, 1837~1928), and academic help from Sekino Tadashi ( 関野貞, 1867~1935). The Jaseondang Hall originally located in the Gyeongbokgung Palace was carried away in the winter of 1915 and newly reconstructed on September 30, 1916, after nine months of construction. Based on this situation, the most probable time period for the pagoda’s looting is when Sekino visited Okura Shukokan on March 11, 13, and 15, 1916, during the Jaseondang’s construction, to provide relevant information. Therefore, the pagoda might have been moved between March 11, 1916, and September 30, 1916, when the Joseonguan Hall was newly opened. To narrow it down, it should have been before July 4, 1916, when Regulations on the Preservation of Ancient Rites and Relics of Chōsen (古蹟及遺物保存規則) was published. As a multi-angled, multistory pagoda, each eave of the five-story stone pagoda from the Yullisa Temple site is octagonal-shaped. It has a layered stylobate, which is a combination of a three-stepped platform and a throne-shaped pedestal—the same type as those used for statues of the Buddha. There are 16 f loral motifs sculpted on the throne-shape pedestal. On the surface of the middle base, and of the body, f loral roundel patterns and double corners are represented, which enhance the pagoda’s level of delicacy. The style of the base is consistent with that of blue-stone pagodas, which were popular in the Goryeo period. It is also related to other contemporaneous stone structures, such as monk stupas and stone lanterns. The stone roof of the pagoda is supported by a three-layered pedestal with a sloped roof ridge and slanting rafters. At the ends of the eight roof ridges, f loral patterns are sculpted. There is even a representation of eave supports at the end of the roof section. The five-story pagoda retains these implications of wooden architectural elements, which is enough to characterize it as a smaller version of a wooden structure. The throne-shaped pedestal represents a unique style base that appeared in the 11th century of Goryeo. In addition, the f loral roundel motifs and representations of the double corners are main features of 11th-century pagodas. Based on the stylistic features, the pagoda can be dated back to the 11 th century. The five-story pagoda not only presents unique characteristics of a multi-angled, multistory pagoda, but also epitomizes both regional style and period style. It is, therefore, the most representative pagoda, which displays the manifold visual culture of stone sculptures.