• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• 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.

• Journal of the Geological Society of Korea
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• v.54 no.5
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• pp.567-578
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• 2018

A nondestructive petrological investigation was carried out to identify the original location and form of the Gyeongju Seated Stone Buddha with Square Pedestals in the Blue House (so-called Stone Buddha in the Blue House). The Statue is a representative stone Buddha statue of Silla (9th century) but its original location is controversial and some parts were missing. Based on the petrological observation, magnetic susceptibility and gamma spectrometry, its stone material was identified as medium-grained alkali feldspar granite. This kind of granites are widely found in the Namsan, Gyeongju. It is very likely that the Namsan granites are the source of rock of the Stone Buddha. The Yudeoksa (Igeosaji temple site) and Namsan are possible to be the original home of the Buddha Statue since there are petrologically identical alkali feldspar granite outcrop distributed in Namsan and stone heritage made of the same stone type in both places. An investigation on the square middle stone base in the Chuncheon National Museum reveals that it is less likely to be the missing part of the Buddha statue as the stone base is fine- to medium-grained pink feldspar granite and has different magnetic susceptibility from the Buddha statue. This study confirmed the contribution and significance of petrological investigation to identification of stone heritage in Korea.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.146-159
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• 2024

In this study, a study on the production technology of the Buddha statue and the production of raw material origin was conducted through scientific analysis on the Bronze seated Bodhisattva Statue of Goseongsa Temple, a treasure. As a result of microstructure analysis through a metal microscope, it was confirmed that the microstructure of the Bronze seated Bodhisattva Statue of Goseongsa Temple was a process-type dendritic structure, and the casting structure of bronze was well represented, so it was manufactured through casting. Subsequently, as a result of analyzing the alloy composition ratio through SEM-EDS, it was identified as a ternary alloy with 81.26 wt% of copper (Cu) and 16.42 wt% of tin (Sn) and 1.72 wt% of lead (Pb). The results of the analysis of lead isotope ratios using a thermal ionization mass spectrometer (TIMS) were substituted into the distribution of lead isotope ratios on the Korean Peninsula, it was shown in corresponding to Jeolla-do and Chungcheong-do regions and North and South Gyeongsang Province. This suggests that the raw materials used in their production were likely sourced from the mines around Goseong Temple in Gangjin. Despite the fact that the statue is a medium and large Buddha with a total height of 51 centimeters, 1.72 wt% of lead (Pb) was found as a result of alloy composition ratio analysis, which showed a similar composition to the lead content ratio of small bronze and gilt-bronze Buddha statues. Therefore, we compared and analyzed the results of the analysis of the composition ratio of the alloys of bronze and gilt bronze statues, which has been scientifically analyzed with a compositional age similar to that of the Bronze seated Bodhisattva Statue of Goseongsa Temple. Comparison results, Various factors, such as the size of the Buddha statue as well as its stylistic characteristics and the age of composition, may exist in determining the alloy composition ratio of the bronze and gilt bronze Buddha statues, and it was confirmed that the alloy composition ratio or casting technology was properly adjusted when the Buddha statue was created. In other words, it is judged that a more comprehensive system of Buddha statue production technology should be investigated by conducting archaeological and art history studies on stylistic characteristics and age of composition, as well as scientific analysis results such as observation of internal structure, microstructure observation, and analysis of alloy composition ratio using radiation transmission irradiation.

• Conservation Science in Museum
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• v.30
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• pp.47-70
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• 2023

In 2019, the first excavation survey was conducted at the Temple Site No. 4 of Yaksugok Vally in Namsan Mountain, Gyeongju to determine the original location of the headless stone Buddha statue and the structure of the temple site. The survey excavated a stone Buddha head that was confirmed in a comparative analysis to be petrologically and mineralogically identical to a headless stone seated Buddha statue found derelict nearby. Traces of gold leaf and black adhesive were found on a portion of the right side of the face of the Buddha head buried in the ground. Since it is exceedingly rare for lacquer and gilding techniques to have been applied to a large stone Buddha statue without a base layer, this study examines the gilding techniques of the time by analyzing the characteristics of the materials used. In this process, the structure of the gold foil was observed through analytical microscopy and scanning electron microscopy with energy dispersive X-ray spectrometry, and the gold (Au) component was identified. As a result of analyzing the black adhesive using pyrolysis-gas chromatograph/mass spectrometry (pyrolysis-GC/MS), pyrolysis compounds such as hydrocarbons, fatty acids, catechol, and catechol oxidation products were detected. This was identical to the characteristics identified upon analyzing lacquer collected from species of lacquer tree whose main component is urushiol. Therefore, it was confirmed that the stone Buddha head excavated from the Temple Site No. 4 of Yaksugok Valley was separated from a nearby stone seated Buddha statue, and that the gold foil was attached using lacquer sap collected from lacquer trees, which grow in Korea, China, and Japan.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.246-263
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• 2019

The stone Buddha statue of Sangunsa Temple at Bukhansan in Goyang, Gyeonggi Province, is an excellent example of stone Buddha statues created in the late 15th century. On the base of the figure, there is an inscription, which informs that it was produced in 1497. In recognition of this significance, it was recently designated as a tangible cultural asset in Gyeonggi-do. Thus, this paper tried to evaluate the value of the statue by analyzing iconography and style. The characteristics of a typical 15th-century style that the Buddha statue of Sangunsa Temple shows are the form of ushnisha, the way clothes are worn, the form of a w-shaped chest muscle, and the simple lotus pedestal. On the other hand, the elongation of the waist and the disappearance of the waistband on undergarments are new forms of Buddha statues in the 16th century. Besides, parting the hair in the middle of the head and leaf-shaped short ribbon draped on undergarments are unique features that only appear on the statue of Sangunsa Temple. Sangunsa has been known to be built in the early 18th century based on Bukanji compiled by Seongneung in 1745, and Bongeunbonmalsaji composed in 1943. However, the statue was created in the late 15th century, before the establishment of the temple in the early 18th century. Therefore, this paper briefly reviewed the history of Sangunsa Temple, focusing on the initial period, referring to the historical sites and the relics that were passed on to the temple, as well as the literature records. The data newly referred to in the study are as follows: Sangunsa Stone Pagoda, presumed to be from the Goryeo Dynasty; the Stone Buddha Statue of Sangunsa; Wooden Amita Triad Buddha Statue of Sangunsa. According to the data and contrary to previously-held beliefs, Sangunsa Temple is believed to have been operating since the Goryeo Dynasty. It can be inferred through analysis of the stone Buddha statue of Sangunsa Temple that the size of the Temple before the 18th century was not very large.

• Conservation Science in Museum
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• v.12
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• pp.1-7
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• 2011

The seated stone Buddha(Bon5190) of National Museum of Korea initially consisted of some 90 fragments, making it difficult to guess its overall appearance. Under a restoration work which lasted four months, the fragments were joined together, giving shape to a seated Stone Buddha in Bhumisparsa(earth touching) mudra and an associated figure of Bodhisattva missing the face. The statue was made from a single stone block by digging out the center. Traces of lacquer coating and a gilded layer above the lacquer coat were found in various parts. Polarizing microscopy and XRD analysis revealed that the stone was zeolite, a mineral formed through diagenesis of volcanic glassy ashes from trachytic tuff (Nuldaeri) and dacitic tuff (Guryongpo). In Korea, zeolite deposit found mostly in Gyeongsangbuk-do, in places like Yeonil, Guryongpo, Gampo and Ulsan. The restored statue of seated Buddha proved very similar in appearance to the seated stone Buddha of Deoksa Temple in Cheongdo-gun, Gyeongsangbuk-do (housed in Yeongsanjeon Hall). The scroll inside the statue, containing information about the background and circumstances of creation of this Buddhist sculpture, indicates that the monk Seung-ho took part in it as the head sculptor-monk.

• Journal of architectural history
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• v.20 no.1
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• pp.95-116
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• 2011

It is a true fact that the ancient Buddhist temples of Korea were great, important historical influence revealing the transition and developing stages of all the BUddhist temples in Eastern Asia including China and Japan. Before Mahayana arose within India, the monastery and pagoda were united during the conflict and development of the original Buddhism and pagoda faith. With the arising of Mahayana and the introduction of Buddhist statues, the Buddhist temple and pagoda were in conflict and resulted in separation. With the creation and development of the Mahayana Bodhisattva concept, Hinayana and Mahayana started to show doctrine differences and expressed each others' characteristics relevant to the structure of the temple. As a result, the Buddhist Temple having 1 pagoda spread in China together with Hinayana and Mahayana. The Buddhist temple of Hinayana had its temple and pagoda separated and the Buddhist temple that has a pagoda in front was divided into a form of 1 pagoda and 1 main temple. The temple and pagoda for Mahayana in the form of 1 pagoda and 2 temple, where the main statue of the Buddha may be worshipped from both the left and right hand sides, were separated in the form of 1 pagoda and 3 temples to have its original form again. Mahayana was first introduced into Goguryeo through the routes in the northern region and developed from having 1 pagoda and 2 temples, to having 1 pagoda and 3 temples. China was influenced by the southern regions, which is why Abhidharma was introduced into Baekje. Later on, the importance of Bodhisattva increased and the transition speed of the Buddhist temple having 1 pagoda and 3 temples accelerated, as Buddhism became more popular and as Mahayana flourished. The statue of the Buddha on both sides of the pagoda shall gradually move next to the central temple, and the temple shall form large crowds to not only form a tacit boundary with the pagoda but the expansion of Bodhisattva shall also have a wall or a corridor constructed in between the central, left and right hand side temples to form separate areas, and shall have a pagoda built in front of the temples that worship from both sides. In conclusion, independence shall exist among each Bodhisattva within the Buddhist temple, and the status of the pagoda shall fall and appear as the pagoda on both sides in front of the main Buddha statue.

• Journal of Conservation Science
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• v.27 no.1
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• pp.101-114
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• 2011

The rock-carved Buddha statue at Dosolam (Korea Treasure No. 1200) of the Seonunsa temple in Gochang is unique style sculptured on natural rock cliff of 13.0m height. The Buddha statue is composed of volcanic complex with tuff, dacitic tuff breccia, tuff bereccia and lithic tuff. Especially, the Buddha statue is characterized by hydrothermal alteration and fragmentation on the upper and lower part. As a result of damage diagnosis, exfoliation and detachment of physical weathering are high of 11.3% and 9.3%, respectively. Infrared thermography analysis, exfoliation and micro-cracks occurred in the measuring parts that have not been confirmed by naked eyes. Chemical index of alteration and weathering potential index of host rock for the Buddha statue are 55.16 to 64.01 and 6.14 to 9.92 which are represented within highly weathering degree. In surface, dark black, reddish brown and white discoloration are observed prominently in the lower. Brown discoloration 6.9% is highest. According to the P-XRF measurements, high concentration of Fe in common, in part of dark black discoloration was Mn, white and brown discoloration in part of S and Ca content were higher. Biological weathering that yellowish brown and dark gray crustoes lichenes appeared by 20.8% and 13.3%, respectively. Therefore, comprehensive deterioration rate of Buddha statue show physical damage by 21.2%, discoloration for inorganic contaminants by 10.8% and biological damage by 39.4%. Ultrasonic velocity measurement carried out of Buddha statue on the surface by 555 points. Measured value of ultrasonic velocity was about 2,273m/s(1,067 to 3,215m/s, and weathering coefficient is 0.5(0.4 to 0.8) that progress on MW(moderately weathered) to HW(highly weathered) grade of rocks.

• The Journal of the Korea Contents Association
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• v.15 no.11
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• pp.41-49
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• 2015

In spite of the registration on the world heritage in UNESCO the principal statue of Sakyamuni in Seokguram Grotto is considered that its worth doesn't reach to its fame. The exact name of the statue does not establish yet and the statue has insufficient of storytelling or narrative structure on it. Regarding these issues the statue need to enhance the real value of it. This study pursue reconsidering the status of the principal statue compare to general statue of the Buddha and searching for the originality and archetype as a Buddha in Seokguram Grotto. Descriptive method is adopted as a approach to this theme with preceding research analysis and reference research. As a result various alternatives are drew back as a countermeasure. One thing is a government leading system of research and development the other is it need to increase the fame of Sakyamuni statue in Seokguram Grotto with a n interdisciplinary approach in Korea.