• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.671-682
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• 2003

The purpose of this study is to analyze styles of costume and understand meanings related to costume embodied in the images of Buddha in Baekche period. Visual and textual analysis of the paintings include the images of Buddha in Baekche period was used for the research. The results of this study were summarized as fellows; Budah's hair style is identified as simple, Gae. Buddha wears Sanghati(outer wear) made of Tongeun and Peundanwoogeun, and many cases Sanghati made of Tongeun are usually seen. Three kinds of upper garment were identified; Samkaksika, right and left crossed upper garment, and Peunsam. Samkaksika was frequently seen in the paintings. Lower garment was a Nirasana reach to the ankle, was worn with a belt. Two skirts were also seen occasionally. The symbolic meaning of costume of Buddha was related to its religious meaning and identified as majesty and saintliest, which is harmonized with her simple costume styles. The wrapped style of costume, which did not show the contour of the buddha's body adds mystery. Also, the styles of costume created by different wrapping methods signify originality.

• Journal of Conservation Science
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• v.37 no.6
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• pp.778-790
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• 2021

The Stone Seated Buddha Triad and Stone Standing Buddha in Bijung-ri are state-designated heritage (treasure) statues having the Buddha style of the Goryeo dynasty from the 6th century. Conservation scientific investigations were conducted to understand the preservation status of these stone Buddha statues and to establish a conservation plan. The Stone Seated Buddha Triad and Stone Standing Buddha are composed of fine-medium grained biotite granite, which is considered to be of the same origin owing to their low magnetic susceptibility distribution of less than 0.2 (×10^-3 SI unit) and similar mineral characteristics. The Stone Seated Buddha Triad has highly homogenous mineral composition and particle size, whole-rock magnetic susceptibility, and geochemical characteristics very similar to those of the nearby outcrop. It was confirmed that a combination of physical, chemical, and biological factors affects the Stone Buddha statues. In particular, both the Stone Seated Buddha Triad and Stone Standing Buddha tend to be chipped off from the front and cracked and scaled from the back. The Stone Standing Buddha located outdoors experiences granularity decomposition and black algae formation, which accelerate the weathering under unfavorable conservation environments. The result of non-destructive physical property diagnosis using ultrasonic velocity showed that both the Stone Seated Buddha Triad and Stone Standing Buddha have been completely weathered (CW), indicating very poor physical properties.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.209-223
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• 2019

The Iron Seated Buddha sculpture in the National Museum of Korea had long sat unregistered in storage at the museum. However, a new accession number "bon9976" has recently been assigned to it. This sculpture was excavated from the neighborhood of Heungnyongsa Temple in Baekun-ri, Yidong-myeon, Pocheon-gun, Gyeonggi-do Province together with another Iron Seated Buddha sculpture(bon9975) called "Iron Buddha from Pocheon." A comparison and examination of Gelatin Dry Plate and official documents from the Joseon Government-General Museum during the Japanese occupation period have revealed that these two Iron Buddha sculptures were transferred to the Museum of the Government-General of Korea on December 17, 1925. The Iron Seated Buddha sculpture(bon9976) has a height of 105 centimeters, width at the shoulders of 57 centimeters, and width at the knee of 77 centimeters. The Buddha is wearing a robe with rippling drapery folds and the right shoulder exposed. He is seated in the position called gilsangjwa(the seat of good fortune) in which the left foot is placed over the right thigh. The features of the Buddha's oval face are prominently sculpted. The voluminous cheeks, eye sockets in a large oval shape, slanted eyes, short nose, and plump lips can also be found in other ninth-century Iron Seated Buddha sculptures at Silsangsa Temple in Namwon, Jeollanam-do Province, Hancheonsa Temple in Yecheon, Gyeongsangbuk-do Province, and Samhwasa Temple in Donghae-si, Gangwon-do Province. Moreover, its crossed legs, robe exposing the right shoulder, and rippling drapery folds suggest that this sculpture might have been modeled after the main Buddha sculpture of the Seokguram Grotto from the eighth century. The identity of this Iron Seated Buddha can be determined using the Gelatin Dry Plate(M442-2, M442-7). In them, the Buddha has its right palm facing upwards and holds a medicine jar on its left palm. Until now, the Iron Seated Bhaiṣajyagura(Medicine) Buddha(bon1970) excavated from Wonju has been considered the sole example of an iron Medicine Buddha sculpture. However, this newly registered Iron Seated Buddha turns out to be a Medicine Buddha holding a medicine jar. Furthermore, it serves as valuable material since traces of gilding and lacquering clearly remain on its surface. This Iron Seated Buddha sculpture (bon9976) is presumed to have been produced around the ninth century under the influence of Esoteric Buddhism by the Monk Doseon(827~898), a disciple of the Monk Hyecheol, to protect the temple and help the country overcome geographical shortcomings. According to the records stored at Naewonsa Temple(later Heungnyongsa Temple), Doseon selected three significant sites, including Baegunsan Mountain, built "protector" temples, created the Bhaisajyagura Buddha triad, and enshrined them at the temples. Moreover, the inscription on the stele on the restoration of Seonamsa Temple states that Doseon constructed temples and produced iron Buddha sculptures to help the country surmount certain geographical shortcomings. Heungnyongsa Temple is located in Dopyeong-ri, Yidong-myeon, Pocheon-si, Gyeonggi-do Province. This region appears to have been related to rituals directed to the Medicine Buddha since Yaksa Temple(literally, "the temple of medicine") was built here during the Goryeo Dynasty, and the Yaksa Temple site with its three-story stone pagoda and Yaksadong Valley still exist in Dopyeong-ri.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.136-161
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• 2014

This paper investigates the Buddhist sculpture and wall-painting enshrined in the halls of Bunhwangsa (Bunhwang temple) at Gyeongju in the mid-Silla period, which are thoroughly unknown to us except through textual records of Samgukyusa compiled by Priest Ilyeon in the late thirteenth century. According to Samgukyusa, a clay portrait-sculpture of Monk Wonhyo, made by his son Seolchong, was placed in Bunhwangsa. This image faced to the side, because he turned his body toward Seolchong when Seolchong bowed to this image. This story suggests that the portrait image of Wonhyo was most likely made after the Vimalakirti images, which were popular in China from the Six Dynasties period on, especially the Vimalakirti images of the early Tang period, turning his head and body toward Bodhisattva Manjusi seated opposite. The Vimalakirti image of Seokkuram might show the portrait image of Wonhyo. A wall-painting of a Thousand-Armed Avalokiresvara who has a thousand arms with a thousand eyes, called by the name 'Great Mercy with a Thousand Hands', was enshrined on the north wall of the left hall of Bunhwangsa. During King Gyeondeok's reign, Himyeong and her five-year-old blind child prayed before this image, and the blind child gained eyesight. While praying, they sang a song pleading for one of the thousand eyes which the Bodhisattva had in his hands. This song implies that Thousand-Armed Avalokiresvara had a thousand eyes, one painted on each hand. The fact that Thousand-Armed Avalokiresvara of Bunhwangsa was called 'Great Mercy with a Thousand Hands' indicates that this painting was based on the scripture Thousand-Armed Avalokiresvara Sutra translated by Bhagavaddharma in about 655, in the Tang period, which also has 'Great Mercy' in its title. In the year 755, a gilt bronze image of Medicine Buddha was made in Bunhwangsa, using nearly 61 tons of bronze to cast. The huge amount of bronze suggests it includes not only the Buddha statue but many other images such as two attendant Bodhisattvas of Suryaprabha and Candraprabha, Eight Great Bodhisattvas, or Twelve Guardians. Seven images of Medicine Buddha might have been made in accordance with the scriptural text of Seven Medicine Buddha Sutra translated by Monk Yijing. Textual evidence and recent excavation have revealed that seven images of Medicine Buddha and their whole attendant images based on Seven Medicine Buddha Sutra were made in the Nara period from 751 to 762 when Queen Gomyo contructed Sinyakusiji temple for the recovery of her husband Shomu. It is fair to assume that one or seven Medicine Buddhas and a whole group of his (their) attendant images were made for the main hall of Bunhwangsa temple in 755.

• Economic and Environmental Geology
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• v.52 no.6
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• pp.617-626
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• 2019

In this study, we investigated the petrographic characteristics and physical property of the Rock-carved Seated Buddha at Bugmireugam hermitage of Daeheungsa temple in Haenam. The Buddha Statue was carved on micrographic granite, and the rock was composed of the fine quartz encircled by orthoclase. The results of diagnosis for deterioration evaluation have shown a highly damage rate of black contaminants (8.4%) and crack index (6.6). The ultrasonic velocity have detected SW (slightly weathered) grade of weathering coefficient (mean 0.18). Various weathering factor on the surface of the Buddha Statue was affected by precious shelter, and physical property with ultrasonic was directly influenced by the structural characteristics and fissure of host rock.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.48-65
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• 2022

Three Japanese Buddhist scuptures of Daehyusa temple in Gimcheon, Gyeongsangbuk-do province(慶尙北道) are enshrined in the main hall(本堂) of Henjoin temple in Daegu, an annex temple built by the Chisan School(智山派) of Shingi Shingon sect(新義眞言宗) in Daegu around 1910 when the Japanese colonial period began. The following statues are believed to have been made around this time: the Statue of Kobo daishi(弘法大師像), which is the figure of monk Kukai(空海, 774-835), the founder of the Shingon sect(眞言宗) of Japan, and the Statue of Dainichi nyorai(大日如來像) and the Statue of Fudo myo-o(不動明王像), which are notable sculptures representing the thought and belief of the Shingon sect. Most statues identified of Dainichi nyorai, Kobo daishi, and Fudo myo-o from the Japanese colonial period thus far are rock-carved statues or stone statues. The statues of Daehyusa temple are noteworthy in that they are the first discovered Japanese Buddhist sculptures made of wood, known to have been enshrined in Japanese temples. Furthermore, they are valuable sources that can provide clues to the religious atmosphere of the temples of Chisan School of Shingi Shingon sect at the time. Although these statues have formative features that partially reflect modern aesthetics, their iconographic origins date back to the Heian period(平安時代, 794-1185). In other words, the Statue of Dainichi nyorai inherits the religious tradition of the Statue of Dainichi nyorai, which was created by monk Kakuban(覺鑁, 1095-1143), the founder of the Shingi Shingon sect. The Statue of Kobo daishi follows the Shinnyo Shinno(眞如親王) style founded by Monk-Imperial Prince Shinnyo who was a disciple of monk Kukai. The Statue of Fudo myo-o manifests the Genjo(玄祖) style among the statues of Fudo myo-o. Although not much is known about how the statues were enshrined in the Henjoin temple in Daegu during the Japanese colonial period, it is very likely that these statues were created as Shingi Shingon sect's statue of three-wheeled body(三輪身). That is, it is estimated that the Statue of Dainichi nyorai, Statue of Kobo daishi, and Statue of Fudo myo-o have the characteristics of the body of self-nature chakra(自性輪身), the body of great dharma chakra(正法輪身), and the body of order chakra(敎令輪身), respectively. The fact that the statue of three-wheeled body was established in the Shingon sect in Japan by monk Kakuban also lends credence to this possibility. It is thought that people who came to the Henjoin temple in Daegu worshiped the statue of three-wheeled body to understand the teachings of the Dainichi nyorai. Although it is the case of Sildalsa Temple (悉達寺, the successor of Henjoin temple in Daegu) in the first half of the 1950s, the main hall includes features that reinforce the idea that the tradition of Kobo daisi faith(弘法大師信仰) is passed on. To illustrate, the human skeletal remains in the main hall of Sildalsa Temple reflect Koyasan(高野山)'s tradition in laying ashes to rest, which has been popular in conjunction with the Kobo daishi faith in Japan since the 11th century.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.100-116
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• 2023

The Sinamsa Temple was built in the late Goryeo Dynasty and a gilt-bronze seated Buddha is enshrined in Geungnakjeon hall in the precinct. Various damages occurred in the gilt layer of the Buddha, such as peeling of the gilt layer and deteriorating gloss. In the study, the conservation conditions of the inside and outside on the statue were accurately investigated, and the making technique was interpreted through the material characteristics and non-destructive diagnosis of the statue. As a result, it is estimated that gold-gilding layer is pure gold, coloration pigment of black is carbon, green is malachite, atacamite and verdigris, red is red lead and cinnabar, respectively. In the deterioration evaluation, peeling, cracking, break out and exfoliation of the gilt layer are confirmed as damages, but the conservation condition is relatively wholesome. However, the gloss of the gilt layer is calculated to be wider in the poorer part than the maintenance part. The ultrasonic velocity of the statue was calculated to be 1,230 to 3,987 (mean 2,608) m/s and showed a relatively wide range. In infrared thermography, peeling was not confirmed, and no special bonding marks were found. In endoscope, some biological damage and corrosion were observed on the surface of the internal metal, and sealed artifacts were identified. Manufacturing technique based on the study, it is considered that the gilt-bronze seated Buddha was cast at once, and the mold was inverted to inject molten metal.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.278-305
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• 2024

Gelatin dry plate photographs dating to the Japanese colonial era and the official documents from the Japanese Government-General of Korea Museum in the collection of the National Museum of Korea are significant materials documenting cultural heritage in North Korea before it was severely damaged in 1950 during the Korean War. There has been an increase in recent years in studies of Buddhist sculptures in North Korea based on these photographs and documents. This paper presents some new comments on the Buddhist sculptures at Seongbulsa Temple in Hwangju, one of the most famous temples in Hwanghae-do Province, based on the related existing research outcomes. This paper aims to facilitate a more comprehensive understanding of the Buddhist sculptures at Seongbulsa Temple by chronicling its history based on historical records, examining its current status, and exploring in detail the production dates and backgrounds of the Buddhist sculptures featured on gelatin dry plates. Prior to Korea's liberation from Japan in 1945, Seongbulsa housed at least seven sculptural items: two Bodhisattva statues, four Buddha statues, and a triad. Two items are from the early Goryeo period, one is from the late Goryeo period, three are from the early Joseon period, and one is from the late Joseon period. Among them, two surviving items are noteworthy. One is the early Goryeo-era Stone Seated Bhaishajyaguru Buddha photographed in Eungjinjeon Hall at Seongbulsa Temple. A close examination of a schematic drawing of the sculpture's pedestal made at the time it was photographed reveals that its material accords with the materials used for the headless Stone Seated Bhaishajyaguru Buddha and pedestal currently found in the old Sangwonam Hermitage site in the Inner Geumgang Valley of Jeongbangsan Mountain. This accordance could mean that the statue is a new significant example of early Goryeo Buddhist sculpture in North Korea. The other notable sculpture is the Gilt-bronze Seated Amitabha Buddha Triad created in 1454 (the second year of the reign of King Danjong) and discovered in Geungnakjeon Hall at Seongbulsa. This statue is currently in the collection of the Sariwon History Museum in Hwanghae-do Province. It is an important example of a dated small gilt-bronze Buddhist statue from the early Joseon period found in North Korea. This paper is a case study of Buddhist sculptures in North Korea, focusing on Seongbulsa Temple. Further utilization of the National Museum of Korea's gelatin dry plates will contribute to developing the study of the history of Korean Buddhist sculpture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.89-97
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• 2016

This study looked at the sacrifice space building in the Changbai Mountain area to a specific era in terms of the cultural landscape. The scared of Changbai Mountain how changes in history came despite the regime and national change, interpretation of the reason was the scared maintained. The results of this study are as follows. First, Replacement of the regime in the Republic of China in the Qing period, ethnic diversity, underwent a cultural acceptance. So Changbai Mountain nature of sacrifice, the divine subject has formed the changes. Second, the Qing Royal sacrifice space Wangji Temple(望祭殿) have formed a unique cultural space and the sacrifice of authoritative content with only space. The Republic of China period, a new folk beliefs were born between the defense in the face of the Han Chinese migration and settlement process. Build Sacrifice space of Rulai Temple(如來寺) and Shanshenlaobatou Temple(山神老把頭廟). Third, the spatial relationship between the priest and the Changbai Mountain area Wangji Temple(望祭殿) is the power of space as vertical space. Rulai Temple(如來寺), Shanshenlaobatou Temple(山神老把頭廟) is located in the Changbai Mountain and horizontal space was obedient to the space. Fourth, the sacrifice ritual Wangji Temple(望祭殿) of the Qing Dynasty is the only ritual sacrifice of satisfaction. It is cut off depending on the abolition of imperial power. Currently, public ritual sacrifice is commonplace rituals and sacrifices of the Qing Dynasty is only formally underway. In conclusion, as it has been maintained for the sanctity historically Changbai Mountain. Changbai Mountain sacrifice space was changing through the acceptance of the replacement of the regime and culture of ethnic offerings from a single culture of the Qing Dynasty. Currently, to form a sacrifice space and culture overlap through a mutually acceptable.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.242-261
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• 2021

Sangjeong was a sculptor-monk who was active in the mid-to-late 18th Century, and the current study established the overall chronology of Sangjeong's Buddhist statues and their styles based on the six sculptures of Sangjeong already known and the Wooden Seated Buddha of 1767 in Songgyesa Temple, Geochang, which was found to be his last work. All of the Buddhist statues of Sangjeong have commonalities in terms of the appearance of the ears, wrinkles on clothing on the upper and lower body, position of hands, and expression of the lower body. The expression of the lower body, in particular, is classified into three types: Type A, where the clothing drapes through the lotus leaves on the bottom; Type B, with an 'S-shaped' drape over the lower body but no lotus leaves or pedestal; and Type C, with the Buddha and pedestal as a single unit, and the clothing draping through the lotus leaves on the pedestal. It appears that Sangjeong faithfully succeeded the style of Taewon, who was his only instructor for sculpture. This is verified based on the records of his participation in the creation of the Wooden Seated Sakyamuni Buddha Triad and Statue of Arhat in Bongeunsa Temple, Seoul, as the third sculptor-monk out of twelve sculptor-monks, and the reflection of the S-shaped drape on the lower body found on the statue of Buddha in Bongeunsa Temple on all of the statues created by Sangjeong. Not only that, but it was assumed that the expression of the pedestal and hair was also inherited by Sangjeong from Taewon and Jinyeol, who was a sculptor-monk from the early 18th Century. The work of Sangjeong and Taewon showed differences in the volume and thickness of statues, strength of unevenness on the wrinkles of clothing, drapes on the right side of chest, and details of the ears. The current study identified the original styles of each individual sculptor and attempted to categorize the fourteen pieces of ten Buddhist statues reflecting the styles of Sangjeong into Sangjeong-style or Taewon-style.