• Korean Journal of Heritage: History & Science
• /
• v.46 no.3
• /
• pp.94-113
• /
• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.

• Journal of Powder Materials
• /
• v.24 no.3
• /
• pp.195-201
• /
• 2017

In this study, H13 tool steel sculptures are built by a metal 3D printing process at various laser scan speeds. The properties of commercial H13 tool steel powders are confirmed for the metal 3D printing process used: powder bed fusion (PBF), which is a selective laser melting (SLM) process. Commercial H13 powder has an excellent flowability of 16.68 s/50 g with a Hausner ratio of 1.25 and a density of $7.68g/cm^3$. The sculptures are built with dimensions of $10{\times}10{\times}10mm^3$ in size using commercial H13 tool steel powder. The density measured by the Archimedes method is $7.64g/cm^3$, similar to the powder density of $7.68g/cm^3$. The hardness is measured by Rockwell hardness equipment 5 times to obtain a mean value of 54.28 HRC. The optimum process conditions in order to build the sculptures are a laser power of 90 W, a layer thickness of $25{\mu}m$, an overlap of 30%, and a laser scan speed of 200 mm/s.

• Journal of the Korea Convergence Society
• /
• v.12 no.1
• /
• pp.225-230
• /
• 2021

As the quality of our life has improved, residential complexes have become more diverse now. Modern residential complexes function as a place for meeting and communication between families and neighbors, including parks, lakes, and promenades, and exhibiting sculptures in residential spaces has become an important component. This study was conducted for the purpose of researching the design development method for the sculptures displayed in the residential space in accordance with these changes and demands of the era. Through the process of visualizing the figurative arts with metal and stone used as materials, the artist's thoughts and messages were put in the sculpture and the arts were completed as the shape of the sculpture that viewers could sympathize with. This design and formative research shows the possibility that various visual elements for sympathy with the creator's thoughts can be formed in a place with the specificity of living space by using a figurative visualization method. Therefore, further researches on figurative art of sculptures are required.

• Journal of Conservation Science
• /
• v.37 no.5
• /
• pp.464-476
• /
• 2021

Various materials, depending on the personality of the artist, are required for contemporary art. Thus, it is necessary to decipher the expressive intentions of the artist and characteristics of the materials required for the conservation of such art. The purpose of this study is to analyze the causes underlying the deterioration of sculptures made from soap and to determine the ideal hygrothermal environment required to stably exhibit and store these artworks. Furthermore, we aim to maintain the long-term structures of the artworks in accordance with the changing expressions and intentions of the artist. Our analysis confirmed that the extracts of the soap sculptures were composed of glycerin and that the sculptures were sensitive to humidity. Moreover, we determined that a relative humidity (RH.) of approximately 60~65% made for an appropriate hygrothermal environment required to preserve the sculptures. We also preserved each work in various ways by applying appropriate preservation treatment, and found that the optimum preservation environment for soap sculptures was a temperature of 20±2℃ and a RH. of 60±5%.

• Journal of Conservation Science
• /
• v.37 no.4
• /
• pp.391-401
• /
• 2021

Outdoor sculptures of modern art works are being damaged and deteriorated as they are exposed to the outdoor environment due to the nature of exhibition in the outdoor environment, but secure of basic data through the measures for conservation and advanced researches still remain in the early stage. The surface of "Conversion" which is exhibited in the Busan Cheonmasan Sculpture Park has been exfoliated and deteriorated due to outdoor exhibition for a long time, so systematic conservation and management of works are considered necessary. Prior to the conservation and management, this study conducted observation of cross section, analysis of inorganic components, FT-IR, Raman and Py-GC/Mass analysis to examine the nature and type of paints used for the work through a scientific analysis. As a result of analysis, paints used for the "Conversion" include paint mixed with silvery aluminium powder and white pigment, reddish paint mixed with toluidine red, bluish paint that mixed prussian blue and titanium white and mixture of phthalocyanine blue and titanium white. The result is expected to be used as basic data for selecting materials necessary for conservative treatment of and establishing a plan for conservative treatment of the "Conversion".

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
• /
• v.1
• /
• pp.278-305
• /
• 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 Society of Floral Art and Design
• /
• no.43
• /
• pp.101-122
• /
• 2020

In this paper, the social paradigm is rapidly changing with the expansion of human consciousness, which has emerged as the development of 20th century science and the influence of cutting-edge media as the search for new forms of flower art sculptures. Is becoming. Accordingly, the purpose of this study is to analyze the interaction relationship of the expression elements of environmentally friendly pressed sculptures in the space as interior materials in the space where customer service is provided. (Research method) After deriving the formative expression characteristics of environmentally friendly pressed flower sculptures, and deriving interactive analysis elements between the servicescape space and humans of the pressed flower sculptures through references, service the flower sculptures for 8 installation cases The expression patterns of the interrelationships in the space of the landscape of the landscape were analyzed. (Results) The characteristics of dynamic formation and continuity were emphasized in the environment-friendly pressed sculpture space, and the interaction that the sympathetic reaction to the natural motif element felt as a new experience in space appeared. In the future, commercial spaces can be actively experienced through natural elements, and users can experience active interactions to create differentiated spaces as spaces where humans and humans coexist.

• Acta Via Serica
• /
• v.3 no.2
• /
• pp.49-72
• /
• 2018

The extensive maritime trade network between the Harappan and Mesopotamian civilizations as early as the $3^{rd}$ millennium BCE is a testimony to the long maritime trade history of India. From the dawn of the historical epoch, the maritime trade network of India expanded extensively. The findings of a large number of coins, pottery, amphorae and other materials from Italy and various other European countries, west Asia, China, Korea, Africa, the Arabian Peninsula, Sri Lanka, Southeast Asia and Far-East countries in India, particularly in the coastal regions, are a testimony to the dynamic maritime trade of India with other countries in the early period. Similarly, pottery, sculptures, inscriptions and other materials of Indian origin are also found in those countries. The depiction of different types of ships on the coins, paintings, sculptures, seals and sealing, exhibit the variety of vessels used for navigation and other purposes in the early period. The over 7500 km-long coastline of India is well known for its seaports located at river mouths or outlets to the sea. The Periplus Maris Erythraei, Ptolemy, and Indian literary sources mention many seaports on the western coast of India. Interestingly, archaeological investigations in many of these port towns have yielded material evidence exhibiting their dominant role in transoceanic trade and commerce with many countries in the early period. This paper discusses in detail all the major ancient seaports on the western coast of India and their maritime trade activities. At the outset, the paper briefly deals with the Harappan's maritime network, their seaports and the type of ships of that period. Following this, the maritime trade network of India during the historical period with various countries in the east and west, the traces of Indian influence and materials abroad and foreign materials found in India, the products exported from India, the trade winds and navigational devices and the depiction of ships on the coins, paintings, and sculptures of the period are discussed in detail. After briefly highlighting the coastline of India and its favourable nature for safe anchorage of ships and the strategic position of the seaports of western India, an extensive account of the major ancient seaports of western India like Barygaza, Ashtacampra, Gundigar, Kammoni, Khambhat, Bardaxema, Suparaka, Calliena, Semylla, Sanjan, Naura, Tyndis, Muziris, Nelcynda and other seaports, and their maritime trade activities are given based on archaeological excavations and explorations, literature, epigraphy, foreign accounts, and numismatic evidence.

• Journal of the Korea Convergence Society
• /
• v.9 no.4
• /
• pp.151-160
• /
• 2018

Waxes currently used as a coating material to preserve surfaces of outdoor iron sculptures tend to face lower coating strength and efflorescence due to the aging from air pollution and acid rains. Consequently, they are subjected to repeated corrosions shortly after the treatment. And the sculptures face the problem losing their original nature because of the changes of colors and lusters, so this convergence study aims at developing wax with better performance than the existing materials. For this reason, the study identified the effects of physical property using the environmental experiments such as the tests of salt spray and gas corrosion as well as the analysis of luster level and thermo-gravimetry. As this study result, the developed ISC wax showed the excellent blocking effect from salt water and coating durability more than five times compared with the existing waxes, better acid resistance by two-four times, sun block effect by 2-10 times, improved luster variance by 3-16 times, improved thermo-stability and durability by 0.5-5 times, and therefore demonstrating far better coating effect than the existing waxes. In the light of these findings, this study contributes for this new development which can replace the existing waxes used so far in order to preserve the outdoor iron sculptures.

• Journal of the Korea Furniture Society
• /
• v.26 no.3
• /
• pp.274-285
• /
• 2015

Wood carving has been extremely widely practiced, but survives much less well than the other main materials, being vulnerable to decay, insect damage, and fire. It therefore forms an important hidden element in the art history of many cultures. Even though wood is less durable than either steel or stone, it has been used for a long time due to its usefulness. Wood has a lot of benefits. So people have used wood for materials in houses, trains, cars, bridges, and simple utilities in their ways according to their own religions, climates, and environment they are living in. Nowadays, there are wood products that are made up for its weaknesses and this has made wood be used in variety fields. Moreover, wood has been widely selected materials for sculptures, interior, and also for architecture thanks to its colors and textures. Wood has helped our life more abundant and beautiful.