• 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.

• Journal of the Korean Wood Science and Technology
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• v.50 no.3
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• pp.193-217
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• 2022

The Wooden Seated Amitabha Buddha Triad and Altarpiece have not been the subjects of definitive species identification and scientific analysis. In this study, visual investigation, portable X-ray fluorescence (p-XRF), species identification, and lacquer layer observations were carried out to determine the original materials and conservation status. Cracks, exfoliation and discoloration were detected during the visual investigation. The p-XRF data indicated that chrome oxide green, malachite, gold, cadmium red, cinnabar, minium, hematite, lead white, ink stick (Carbon), and copper were used for pigments and the coronet accessory. Tilia spp., Abies spp., and Pinus spp. were identified from both the Buddha Triad and Altarpiece. Finally, lacquer layer analyses of the base layer, lacquer layer, orange pigment layer, and gold leaf layer observed modern synthetic pigments likely used in previous conservation. As the Korean Cultural Heritage Charter and the International Charter for the Conservation and Restoration of Monuments and Sites clearly state that objects of cultural heritage must be conserved using their original materials, future conservation of these objects should utilize the data obtained in this study to employ traditional materials. Furthermore, a deterioration map diagnosis can be applied together with the obtained analysis data to understand the conservation status of and inform an appropriate and authentic conservation treatment for the Buddha Triad and Altarpiece.

• Journal of the Korean Home Economics Association
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• v.33 no.5
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• pp.211-219
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• 1995

In this study of the Buddhist Stone Statues in Namsan in Kyungju. We have found out interesting facts as follow. This study is focused on the way the Buddhist Statues wear the robes. There are two basical types of wearing ; Tongkyun and Pyundanwookyun. In Silla, these types of wearing has been developed into its unique types based on the traditional culture. The stone Buddhist images show seven types of wearing based on the standard ones of Tongkyun and Pyundanwookyun. This variety in wearing rests on the various of Sungkari(Samghathi) and Bokgyenui(Samkaksika) and a chest sash which fixes Niwonsung(Nivasana). There are three cases inferred from the seven types of wearing the Buddha's robes : (1)Tonkyun type A: The only outer wear Sungkari(Samghathi) was put on as Tongkyun type. We can't find out any Bokgyenui(Samkaksika) or the chest sash of Niwonsung(Nivasana). (2)Tongkyun type B: Bokgyenui(Samkaksika) is put on the chest of Statue in Sungkari(Samghathi). (3)Tongkyun type C: This type is similar to Tonkyun type A, except that the end of the robe dangled down straight to the right side. (4)Tongkyun type D: Bokgyenui(Samkaksika) is bound with a chest sash. (5)Tongkyun type C: The robe is tied on the left shoulder as a cord and Bokgyenui(Samkaksika) is bound with a chest sash. (6)Pyundanwookyun type A: The robe dangled down from the left shoulder to the right armpit diagonally, so left shoulder is naked. (7)Pyundanwookyun type B: This type is similiar to Pyundanwookyun type A, but the end of Sungkari(Samghathi) is bound up to the left shoulder again. Considering above, the robe types of Buddha seem to have something to do with those of the Silla people: The chest sash is similar to the adjustment of Jeogori(the traditional jacket) of the Silla, and the typing cord in Buddha's robe corresponds to that of the traditional types.

• Journal of architectural history
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• v.20 no.5
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• pp.81-94
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• 2011

Buddhism that has arisen in India began to build the Stupa to enshrine body and Sari of Buddha as an object of worship. The stupa existed as a tome of holy leaders even before the birth of Buddha, which was called stupa or tupa in the Sanskrit and the Pali, the ancient language of India. The stupa was renamed accordingly in each Buddhism transmitted countries such as Ceylon, Tibet, Nepal, Myanmar, Thailand and China and also reshaped according to their own formative style. But its original meaning and type are kept unchanged. The stupa was established in the 4 holy places including the birth place of Buddha, the place where Buddha found enlightenment, the place where Buddha preached for the first time, and the place where Buddha died. Thus, a pagoda to commemorate holy ancient places is called Chaitya, which became differentiated from the stupa in which Sari is enshrined. The stupa means Nirvana, the eternal body of Buddha, and also a place filled with teaching and preaching of Buddhism. It signifies the symbol of Buddha who escaped from the death and rebirth, to achieve complete extinction, i.e. parinirvana, and to reach ultimate eternal world, rather than simply means death. During the non-statue of th Buddha period, people built the stupa to embody Nirvana of the Buddha, and worshipped the tomb where body of holy saints was enshrined. On the other hand, they also sanctified memorial things such as tools that holy saints used, the Bo tree under which one achieved Nirvana, Dharma cakra that implied words, footprint that carried out mission work, and a way to reach to heaven.

• Korean Institute of Interior Design Journal
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• no.32
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• pp.21-27
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• 2002

Tongdo temple is one of the representative temples that the Buddhistic outlook on the universe and the world is well expressed. This article will discuss the expressive and symbolic meaning that Darma talk on vulture peak signifies by contemplating the road leading from Ilju gate to Buddha's hall in terms of Karam arrangement of the temple and the unique plane delineation of Bulee gate. It seems that Darma talk on vulture peak is related to the reason why there is no Buddha statue in Buddha's hall and why the name of the mountain has been changed considering the resemblance of its shape to India's Youngchook mountain. The present study will take this relation into account and will show the religious faith and architectural meaning with respect to this relationship.

• Journal of Conservation Science
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• v.27 no.4
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• pp.381-393
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• 2011

This study focus on the surface deterioration diagnosis based on the material characteristics of Taean Dongmunri Maaesamjonbulipsang(rock-carved standing triad Buddha Statue) and the weathering environment analysis. Rock materials of the triad Buddha is coarse-grained biotite granite which is composed mainly of quartz, K-feldspar, plagioclase, biotite and muscovite. The triad Buddha was serious surface irregularity(13.5%), exfoliation(12.3%) and discoloration(46.6%), and the physical characteristics using ultrasonic velocity appeared fourth grade (0.59, highly weathered). Korean style wooden shelter of the triad Buddha(closed type) maintained high humidity environment (daily mean; 86.6%) than exterior environment, and appeared the possibility of deterioration by freezing-thawing because the temperature showed below zero temperatures in winter. The shelter was changed from closed-type to open-type to relieve the moisture problem recently. But the moisture problem is yet to be solved because surface water flowing along northern wayside is flowed into triad Buddha. Therefore, environmental control will need to stop inflow of water into triad Buddha.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.634-638
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• 2006

The significance of this study is the demonstration of a new method of preservation procedure for national-treasure-class cultural-assets by examining the characteristics of the Jeogori relic, presumed to be that of King SeJo, and validating the preservation process. This Jergori as well as the wooden Munsu-donja Buddha statue from which they were found are designated as national treasure. The Jeogori relic is made of light silk and dimensions mark 77 cm in length, 67 cm in width, and 94 cm in sleeve length. It is a typical Jeogori worn in the Chosun Dynasty. Preservation procedure was in the following order: Removing dust and pollutants by vacuum, washing, removing creases, reinforcing the clothes, settling at paulownia backboard, and packing. Storage and exhibition of remains was executed with as minimal folding as possible, and microbiological damage prevention was performed by dyeing antibacterial treatment with eugenol onto supporting cloth. The relic, conservatively treated in accordance with the above procedure, is currently kept at the storage facility of the citadel Museum in the Woljeong Temple. It is displayed annually to the general public for approximately two weeks.

• 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.

• Journal of Conservation Science
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• v.31 no.1
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• pp.1-11
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• 2015

Seated Amitabha Triad at Muwisa Temple (Treasure No. 1312) had been known as wooden Buddha statue, but a precise safety inspection revealed that the statue is terracotta Buddha statue made with clay. The clay layer of Amitabha Triad was conserved due to its severe damage. In this study, experiments were conducted to produce the most appropriate filler for the conservation treatment of the seated Amitabha Triad. Mixed clay samples with various ratios were produced and surface hardening state, crack, color change, and shrinkage of the samples during dry process were measured. Loess, fine sand powder, and cotton were used to produce the mixed clay for the filler with six different ratios and then 12 different concentration glues made with glutinous rice glue, Pachymeniopsis Elliptica glue, and animal glue were added as adhesives. Total 72 types of samples were prepared and comparative study was conducted. As a result, when the mixed clay contains 2.5% cotton compared to the weight per cent of loess and fine sand powder and also loess and fine sand in the mixed clay have a 15:1 ratio, the mixed clay had the lowest shrinkage. Animal glue is considered as an appropriate glue since it had small color change, low physical property change and shringkage. Therefore, mixed clay (loess:fine sand=15:1) mixed with 15ml animal glue is likely to be a suitable filler for conservation treatment of the seated amitabha triad at the Muwisa Temple.

• Journal of architectural history
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• v.17 no.4
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• pp.129-152
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• 2008

Early Buddhist rock cave temples of India, in spite of being an origin of Buddhist temples, has little been studied in Korea. After field studies and an interpretation of their forms in conjunction with religious life, precedent theories are supplemented and refuted as follows. Starting from the 2nd century B,C., Buddhist ascetic disciples digged residential rock caves, called vihara, for protection from monsoon rain and hot weather, A typical arrangement was settled -a courtyard type, with 3 side rows of tiny one-person bedroom and a front veranda with columns. Also digged were Chaitya caves, in line with viharas, to worship, which is the tumulus of Buddha's relics. I suggest that the original type of chaitya a simple circle cave with a stupa, suitable for circumambulating ceremonies. I refute the existing theory presenting Barabar caves of Ajivika as a chaitya origin, featuring empty circular room without a stupa. I also interpret a typical apsidal plan as being a simple result of adding a place of worshipping rites in front of the stupa. Enclosing columns around a cylindrical stupa is a result of reinforcing both the divine space and circumambulating ceremonies, with elongation toward hall. Finally the chaitya came to have a grandeur apsidal plan with high vault ceiling nave and a side aisle as in Western cathedrals with large frontal horseshoe arch windows. The Buddha image, which had become a new worshipping object, was integrated into the stupa and interior surface. First the stupa and then the statue was introduced to residential Viharas. Therefore, I suggest that the vihara should be renamed as 'chaitya' as a worshipping place, by establishing statue rooms without bedrooms at all. The functionally changed vihara is similar in form to a 'rectangular type of chaitya', little known and developed in different routes. A columned inner courtyard gradually becama an offering place, like Hindu mandapa, Buddhist caves ware changed to a kind of Tantric and Hindu temple by means of statue worshipping offering rituals.