• 한국문화재보존과학회:학술대회논문집
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• 2007.05a
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• pp.54-55
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• 2007

• 한국문화재보존과학회:학술대회논문집
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• 2007.05a
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• pp.58-59
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• 2007

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.78-99
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• 2020

The Buddha triad and 16 Arhat statues carved on the rock surface at Seongbulsa temple is the only domestic remaining example of all 16 Arhats, so its academic value is very high. However, it is severely damaged and so required a stability evaluation through study of digital documentation and precise diagnosis for the purpose of comprehensive conservation. This process established that the Buddha statues were of similar scale, while the Arhats showed a wide variety of sizes, and the two kith and kin in the volume were larger than the Arhats. It was estimated that the statues of food for Buddha are similar to the Arhat statues, and most of the statues are well-formed. The rock used to carve the Buddha statues is banded gneiss with distinct foliation, alternating between white bands of quartz and feldspar and black bands composed of biotite. The Buddha statues have been damaged by physical weathering, discoloration, and biological contamination. In damage evaluations, joint (3.6 crack index), peeling (5.2%), exfoliation (1.7%), and falling off (0.1%) were observed on the rock surface of the Buddha statues. In particular, due to severe biological weathering, stage 9 and 10 biological coverage of the rock surface accounted for 57.5% of the total area, and stages 5 to 8 also accounted for a high share at 22.3%. The discoloration factors were shown to be dark brown and white with Fe, Ca, and S, and a large amount of C detected in the blackened contaminants, and the damage weight high in all areas. Discontinuities in different directions were identified in the rock surface. Analysis of potential rock failure types indicated that there is a possibility of plane and toppling failure, but wedge failure is unlikely to occur. The mean ultrasonic velocity of the main rock surface was 2,463m/sec, the lower part of the left side with a large number of joints was relatively low, and the highly weathered (HW) type to the completely weathered (CW) type concentrated distribution, showing weak properties. For the Buddha statues, conservation treatment is required for about 14.9% of micro cracks and 58.9% of exfoliation cracks. In addition, in order to improve the conservation environment of the Buddha statues, maintenance of drainage and ground preparations for the rock surface gradient and plants are necessary, and protection facilities should be reviewed for long-term conservation and management purposes.

• The Journal of the Petrological Society of Korea
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• v.21 no.4
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• pp.405-413
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• 2012

This study demonstrates the consolidation effect of ethylsilicate consolidants considering material characteristics and weathering degree of Samneunggyeseongakyukjonbul(rock-carved Yukjonbul Buddha in Samneung Valley) in Namsan, Gyeongju. The buddha statue is composed of alkali feldspar granite and contains numerous sets of joint with exfoliation and granular disintegration, therefore the statue is necessary to be treated for surface strength. The laboratory and in-situ tests of consolidation effect showed more increase of ultrasonic velocity that KSE 300, a relatively highly concentrated consolidant, performed more increase of ultrasonic velocity and decrease of porosity than others after treatments in weathered granite. And the consolidated rock with OH 100 was more resistant to salt weathering. For the buddha statues, KSE 300 is more applicable to enhance surface strength because it showed higher consolidation effect for long term than OH 100 and the statues has not been weathered by salts.

• 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.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.224-243
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• 2020

The rock-cut relief of two Buddhas seated side-by-side in Wonpungri is a large Buddha sculpture in relief on the side of a cliff in Wonpung-ri, Goesan. This Buddha sculpture is from the Buddhist scripture Sutra of the Lotus. <法華經> Two seated Buddhas statues were prevalent in the Balhae Kingdom, but this was not popular in Silla and Goryeo. In the main text, the time that the two seated Buddhas in Wonpung-ri was created is identified as being during the 10th century. King Gwangjong created a Buddha statue for political purposes. The relief of two seated Buddha image carved on a cliff is located on an important traffic route over the Sobaek Mountain Range. After King Gwangjong took the throne, he paid close attention to the reigning powers of Jincheon and Cheongju because the people of Jincheon and Cheongju were engaged in a power struggle against Gwangjong. The huge relief of two seated Buddhas statue shows the authority of King Gwangjong. In particular, the people of Jincheon and Cheongju had to see this Buddha statue when crossing the Sobaek Mountain Range. The image contained in the relief of the two seated Buddhas features many characteristics of the sculpture style of the Balhae Kingdom. After the fall of Balhae, many of the Balhae people settled in Mungyeong. Balhae people from Mungyeong participated in the production of the relief of the two seated Buddhas. Through the relief of the two seated Buddhas, King Gwangjong wanted to show the people of Jincheon and Cheongju that the Balhae people were supporting him. The relief of two seated Buddhas reflects the historical situation of the King Gwangjong era in the late 10^th century and the style of sculpture.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.66-79
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• 2018

Daejangjeon of Geumsansa Temple was built to store the Tripitaka Koreana, although it does not contain the Tripitaka at present and instead contains a Buddha Triad. According to Geumsansaji (Historical Record of Geumsansa Temple), this structure was originally a wooden pagoda. It is said that Geumsansa became a Buddhist temple due to its tradition of preserving a statue of Buddha and the Buddhist sutras. It is special that the Wooden Pagoda which keeps its ashes turned into a Daejangjeon. Also, it is symbolic that the Daejangjeon is symbolic and it does not store the stura, but this building is symbolic and complex. By analyzing the changes in the building process and religious beliefs, it is possible to ascertain the relationship between faith and religion in the latter phase of the Joseon Dynasty.

• Conservation Science in Museum
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• v.15
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• pp.56-65
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• 2014

The face of the Seated Stone Buddha ^{Korean Treasure No.84} of Sinboksa Templesite in Gangneung was contaminated with a glossy resin, spoiling its beauty. The contaminants covered the face, the forehead of the urna, to the bottom of the jaw. FT-IR analysis on a sample of the contaminants identified the substance as cyanoacrylate instant adhesive, which can normally be melted with acetone and removed with a swab. However, given that the surface of the statue was severely weathered from prolonged open-air exposure, alternative removal procedures were considered, to minimize the possibility of physical damage. After research, two removal procedures were utilized: one procedure involving poultices, which had been used to remove graffiti from the Samjeondobi Stele, and one procedure involving steam sterilization, which has been used to remove resin from pottery and porcelain. When both the poultices and steam sterilization were applied together, the resin was removed within twenty-four hours, without physical work using a swab.

• Conservation Science in Museum
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• v.18
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• pp.35-50
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• 2017

As part of the NMK's research project on wooden Buddha statues, four items which contained fabric among their bokjang objects(腹藏物) were investigated. Firstly, when classified by the method of weaving, two items made of ra (羅, a four-end complex gauze) silk and five of neung(綾, twill damask) silk from the Goryeo era were identified, and the satin fabrics showing characteristics of the Joseon period were classified as either dan(緞, satin damask) or sa(紗, simple gauze). In particular, the fabric of the bokjang objects enshrined within the gilt-bronze Avalokiteshvara Bodhisattva(Deoksu 801) feature both early and late Joseon characteristics, suggesting that two enshrinements were performed(once in the fifteenth century and another in the seventeenth). Secondly, the patterns on the fabrics included flowers, treasures, fruits, plants with animals, and landscapes with clouds. Thirdly, patches of fabric were found that are assumed to be related with all cardinal directions according to their arrangement, albeit in small quantities.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.