• 보존과학연구
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• s.30
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• pp.171-187
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• 2009

The Seated iron Vairocana Buddha statue of Dopiansa Temple, Cheolwon was designated National treasure No. 63, it is very important to rearch about Korean Buddha statue because it has an inscription on the back indicates that it was made in 865 A.D., the fifth year of the reign of King Gyeongmun(861-875) of Unified Silla(668-935), through the devoted faith of some 1,500 Buddhist followers of the Cheorwon-gun area. In this conservation treatment, for the Seated iron Vairocana Buddha statue of Dopiansa Temple, Cheolwon plating layer and cashew paint layer of the iron pedestal were removed and for the paint the Body of the Buddha, fake metal layer and plaster layer were removed, stabilizing treatment and coating treatment were done, and removal and restoration of earlobe which had been damaged and later was restored with plaster in the regilding in 1988, and the white hair on forehead was replaced with material of rock crystal, and conch-shaped hair damaged was restored on 35 spots.

• Conservation Science in Museum
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• v.11
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• pp.9-16
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• 2010

The National Chuncheon Museum has carried out a conservation process in order to prevent corrosion of the seated iron Śākyamuni Buddha statue from Goreyo Dysnasty for its exhibition. Before the conservation process, the surface of the artifact showed exfoliation and the artifact was damaged from rear to legs so exhibition was impossible. Therefore a process to get rid of pollution and to reinforce and protect the artifact was carried out. Before the reinforcing process, a basic test was carried out using micro crystalline wax type with reference to foreign and domestic experiment results. As a result, as wax(in xylene) 5wt% of Dongnam petrochemical Ltd. showed no efflorescence and little change in surface color and was convenient to use, it was chosen as a reinforcing agent and used to suppress corrosion. For the restoration of damaged parts, an internal support was made and used with an epoxy resin, allowing removable restoration, thus increasing effectiveness for exhibition.

• Journal of Conservation Science
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• v.30 no.1
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• pp.81-93
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• 2014

As the Seated Iron Buddha Statues, Vairocana Buddha of Dopiansa Temple in Cheolwon, Nosana Buddha of Samhwasa Temple in Donghae and Sakyamuni of Mangisa Temple in Pyeongtaek were made during Unified Silla to Koryo Dynasty. These are damaged degradation which are crack, break-out, peel off and various pollutant. As a result of deterioration evaluation using radiography, crack, gap, break-out, pore space and restoration material are confirmed inside in the Buddha Statues. Based on iron strength, the Buddha Statues will be maintain current state as long as a high external impact is not applied. Also, iron core and nails used for fixing of internal and external framework were observed in the Buddha Statues. According to prominent line of surface, embossed inscription, hands cast separately and combined, the Buddha Statues were made by using division casting.

• 보존과학연구
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• s.30
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• pp.63-77
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• 2009

Scientific studies of conservation techniques and materials in Korea have experienced fast development since international practice and academic knowledge have been introduced to Korea from Japan, France, Germany, and etc from the late 1960s. In recent years, it has been observed that the academic standard of research and the level knowledge of the field in Korea at present are far advanced to compete with many countries. However, many Korean cases still have displayed that the standard and the quality of conservation practice need to be improved. This research examined several cases of derelict restoration of metal relics executed by non-conservators and the effects of their ignorant use of irreversible materials on the valuable objects. The purpose of the study is to display the problem of such treatments and to suggest a need of framework to prevent the loss of original form from them. Metal Buddha statue (Cosmic Buddha) in Borim Temple (National Treasure No. 117), which was conserved by an unexperienced non-conservator, has suffered from a serious problem of corrosion because of the use of destructive material, iron chloride. Another case for metal Buddha statue in Dopian Temple (National Treasure No. 63) displays a representative example of using irreversible materials, Cashew and such ignorant application made a later conservation treatment so difficult in removing the material from the surface of the statue. In conclusion, the research argued that the understanding of materials used in the objects, and the value of relics is important, and pre-experiments before applying conservation materials to a valuable heritage are essential in the conservation treatment.

• Journal of Conservation Science
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• v.38 no.3
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• pp.234-242
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• 2022

The study aimed to investigate the split casting method based on the recreation of the iron-seated Buddha (ISB) statue (number 1971) in the Chuncheon Museum. The statue was designed using three-dimensional scan data and reduced to half-size. Using the existing research results, the ISB statue was created by mold production and split casting. The mold was prepared by mixing sand and clay at a ratio of 3:4 and 1:3 on the outside and inside, respectively, and then casting was done. Various casting defects were observed in the ISB casting and similar shapes were seen. The casting defects included veining or finning, misrun, open or external shrinkage, surface or subsurface blowholes, surface pinholes, and shift. The microstructures were identified as branch-shaped dendrite and pearlite organizations, and black graphite was observed between the cementite organizations. The study findings may be relevant in exploring traditional casting and manufacturing techniques of ISB and may aid in the production of the original form of ISB.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.10-39
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• 2023

Seongjusa Temple was founded in Boryeong in Chungcheongnam-do Province by Monk Muyeom (800-888), better known as Nanghye Hwasang. After returning from studying in China, Muyeom stayed in the Silla capital city of Gyeongju for a period. He later settled in a temple that was managed by the descendants of Kim In-mun (629-694). He then restored a burned-out temple and opened it in 847 as a Seon (Zen) temple named Seongjusa. It prospered and grew to become a large-scale temple with several halls within its domains. The influence of Seongjusa in the region can be seen in the Historical Record of Seongjusa Temple on Sungamsan Mountain, which relates that there were seventy-three rooms within the domains of the temple. What is most notable in the record is that the temple is referred to as "栴檀林九間," which means either "a structure with nine rooms built with Chinese juniper wood" or "a place that houses Chinese juniper wood and has nine rooms." Regardless of the interpretation, Seongjusa Temple had a large amount of juniper wood. Around this time, the term "juniper" referred to the olibanum tree (Boswellia sacra) native to the islands of Java and Sumatra in Southeast Asia. It is presumed that at some point after the death of Jang Bogo, the maritime forces that controlled the southwestern coast of Korea may have acquired a large amount of Southeast Asian olibanum wood and offered it to Seongjusa Temple. During the reign of King Munseong, Kim Yang (808-857) patronized Seongjusa Temple and its head monk Muyeom, who enjoyed a lofty reputation in the region. He sought to strengthen his own position as a member of the royal lineage of King Muyeol and create a bridge between the royal family and Seongjusan Buddhist sect. The court of King Wonseong designated Seongjusa Temple as a regional base for the support of royal authority in an area where anti-royal sentiment remained strong. Monk Muyeom is believed to have created an iron Buddha to protect the temple, enlighten the people, and promote regional stability. Given that the Seongjusa community had expanded to include more than 2,000 followers, the iron Buddha at Seongjusa Temple would have been perceived as an image that rallied the local residents. It is assumed that there were two iron Buddhas at Seongjusa Temple. The surviving parts of these Buddhas and the size of their pedestals suggest that they were respectively enshrined in the Geumdang Main Hall and the Samcheonbuljeon Hall of Three Thousand Buddhas. It is presumed that the first iron Buddha in Geumdang was a large statue over two meters in height and the second one was medium-sized with the height over one meter. The Historical Record of Seongjusa Temple on Sungamsan Mountain contains the phrase "改創選法堂五層重閣" which indicates that a multistoried Geumdang was newly built to enshrine a large Buddha sculpture like the first iron Buddha when Seongjusa Temple was founded. Also, according to the Stele of Seongjusa Temple and the surviving finger fragments, the first Buddha was making the fear-not and wish-granting (abhayavarada) mudras. The main Buddha of Seongjusa Temple is possibly Nosana Buddha, just like the main Buddhas at the contemporaneous temples Silsangsa, Borimsa, and Samhwasa. Given that Monk Muyeom studied Hwaeom teachings in his early years and received royal patronage upon his return, it is believed that the retro tendencies of the Hwaeom school, centered on the royal family of the Silla Dynasty, were reflected in Seongjusa temple.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.