• Conservation Science in Museum
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• v.20
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• pp.77-92
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• 2018

A stone seated bodhisattva (Sinsu5971) was discovered in Pyeongchang-gun, Gangwon-do in 1974 and was transferred to the Chuncheon National Museum upon its opening in 2002. The statue had damage to wide areas and was thus difficult to restore. This study utilized 3D scanning and 3D printing technologies to identify the overall form of the statue and the degree of damage, which allowed the restoration of lost portions that otherwise could not have been accurately restored to their original shape. Prior to the conservation treatment, the pigments used to decorate the surface were investigated using an optical microscope, and their main components were analyzed with a p-XRF (Potable X-ray Fluorescence Analyzer). The deteriorated lacquered surface was stabilized using animal glue and consolidated with stone strengthener (OH-100). The investigation found that the surface of the statue was made of zeolite that was lacquered and then gilded. As for pigments, white lead was used for the white color and red lead and cinnabar were used for red. The lost portions were redesigned by mirroring the remaining parts with 3D technologies. However, it was difficult to affix the 3D printing outputs to the statue without visible gaps since the damaged parts suffered flection. The portions of the outputs to be connected to the statue were thus modified and supplemented. It was also difficult to collect data on the properties of 3D printing materials due to the lack of previous in-depth study. These obstacles are subjects for further study.

• 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.43 no.3
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• pp.242-281
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• 2010

There are a large number of Buddhist cultural relics in Mt. Namsan. The cultural relics carry the spirit of people of Shila who dream of Buddhist Elysium and the establishment of Buddhist nation. In the valley and the top of the mountain and on various rock cliff, stone statues of Buddha and stone pagodas stand in harmony with nature. For that reason, Mt. Namsan is called an open-air museum. And it played an important role in establishing 'The UNESCO World Heritage' status for Gyeongdju in December 2000. But sadly, there are many stone relics that have eroded away and damaged from collapsing in the passage of time. The seated stone statue of Buddha in Samreoung valley of Mt. Namsan is one of them. It was created between the 8th and 9th century, and restored without much care nor extensive historical research in 1923. As a result, The face of the Buddha remained with concrete mortar and its nimbus fallen backward and destroyed. Therefore, restoration and repair as well as creation of a statue environment for the statue were urgent. So we immediately started in restoration and repair. First, through the archaeological excavation around the stone Buddha, we carried the stone Buddha on the original position. In order to restore the statues to its original glory created by the Unified Shila Dynasty, we created a restoration plan in corporation with art historians and historians, then restored the jaw and the damage nimbus. Second, we made the weathering & damage map of the stone Buddha. In order to prevent second damage, we cleaned the surface of contaminants with distilled water. Third, we studied restoration method to prevent artificial damage. We recreated parts of his face and halo. Then each parts of the statue were restored to their original position. In the whole process of restoration, we tried to use traditional techniques.

• ALGAE
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• v.20 no.4
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• pp.295-298
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• 2005

The growth of subaerial microalgae on historic buildings or various cultural properties causes discoloration and physico-chemical deterioration of the surfaces. We collected a subaerial chlorophyte, Chlorella sp., from the stone Standing Buddha statue at Jungwon Miruksazi, which is a national treasure of Korea, and found dormant, thickwalled spores with regular pentagonal ornamentation along with the vegetative Chlorella cells. The morphology of Chlorella resting spores was compared to that of the other green algal resting cells. The ornamented spores and smooth-walled vegetative cells revived in 2 weeks in a liquid freshwater medium and started reproduction by autospores. To our knowledge, the ability of Chlorella to form ornamented dormant spores in drought condition was not previously recorded. The ornamentation of spores would supplement taxonomic characteristics of this genus.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.113-124
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• 2005

Information sources about Mongolian pigtail of 13-14C are relatively rich. But it was difficult to estimate the shape of the pigtail in detail with the descriptions in historical writing or travel books only, and paintings were neither enough to observe the beautiful shape of the pigtail closely on the whole because the portrayed characters were always wearing their hats. However, the authors could trace the detailed shape of the pigtail of 13-14C through close investigation into Mongolian stone statue of the period. In conclusion, the authors performed a comparative study by historically comparing the historical writings, archeological materials, ethnological materials and figurative arts featuring medieval Mongolian pigtail. And the authors paid careful attention to the meaning of those materials to the hairdo history. Historically nothern minority races have become assimilated with surrounding races in language, culture and customs through long economical and cultural exchange, and today their national traits gradually fade away by globalization. But each minority race still stands independently and maintain its own traditional culture. only recently began the study by Korean researchers on Mongolian pigtail, and there is still much to be discussed in ethnological issues such as racial pedigree.

• 보존과학연구
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• s.21
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• pp.101-118
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• 2000

Stone cultural properties(pagoda, Buddhist statue etc.) is moved in original place for many reasons and restored after taking to pieces for structural safety. With the movement and restoration after taking to pieces, the cast iron is used for the sake of a fixation and horizontality. The stone cultural properties are spoiled the beauty and accelerated the weathering because of the corrosion product of cast iron. So we need to substitute for the improved property in all aspects. We are executed the corrosion test and inquired the property of material on the usable material for the shim of stone cultural properties. That is the Cast iron, Stainless steel, Titanium and Fiber Reinforced Plastics. In the result of the physical property and strength, the Stainless steel and Titanium was superior to the Cast iron. And the Stainless steel and Titanium was slower than the Cast iron in the corrosion velocity for the acid, salt and rain. If the shim is substitute the Stainless steel or Titanium for the Cast iron, the stone cultural properties are able to reduce the pollution of stone cultural properties by corrosion product and should not happen in the matter of stone pagoda.

• 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.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.48-65
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• 2022

Three Japanese Buddhist scuptures of Daehyusa temple in Gimcheon, Gyeongsangbuk-do province(慶尙北道) are enshrined in the main hall(本堂) of Henjoin temple in Daegu, an annex temple built by the Chisan School(智山派) of Shingi Shingon sect(新義眞言宗) in Daegu around 1910 when the Japanese colonial period began. The following statues are believed to have been made around this time: the Statue of Kobo daishi(弘法大師像), which is the figure of monk Kukai(空海, 774-835), the founder of the Shingon sect(眞言宗) of Japan, and the Statue of Dainichi nyorai(大日如來像) and the Statue of Fudo myo-o(不動明王像), which are notable sculptures representing the thought and belief of the Shingon sect. Most statues identified of Dainichi nyorai, Kobo daishi, and Fudo myo-o from the Japanese colonial period thus far are rock-carved statues or stone statues. The statues of Daehyusa temple are noteworthy in that they are the first discovered Japanese Buddhist sculptures made of wood, known to have been enshrined in Japanese temples. Furthermore, they are valuable sources that can provide clues to the religious atmosphere of the temples of Chisan School of Shingi Shingon sect at the time. Although these statues have formative features that partially reflect modern aesthetics, their iconographic origins date back to the Heian period(平安時代, 794-1185). In other words, the Statue of Dainichi nyorai inherits the religious tradition of the Statue of Dainichi nyorai, which was created by monk Kakuban(覺鑁, 1095-1143), the founder of the Shingi Shingon sect. The Statue of Kobo daishi follows the Shinnyo Shinno(眞如親王) style founded by Monk-Imperial Prince Shinnyo who was a disciple of monk Kukai. The Statue of Fudo myo-o manifests the Genjo(玄祖) style among the statues of Fudo myo-o. Although not much is known about how the statues were enshrined in the Henjoin temple in Daegu during the Japanese colonial period, it is very likely that these statues were created as Shingi Shingon sect's statue of three-wheeled body(三輪身). That is, it is estimated that the Statue of Dainichi nyorai, Statue of Kobo daishi, and Statue of Fudo myo-o have the characteristics of the body of self-nature chakra(自性輪身), the body of great dharma chakra(正法輪身), and the body of order chakra(敎令輪身), respectively. The fact that the statue of three-wheeled body was established in the Shingon sect in Japan by monk Kakuban also lends credence to this possibility. It is thought that people who came to the Henjoin temple in Daegu worshiped the statue of three-wheeled body to understand the teachings of the Dainichi nyorai. Although it is the case of Sildalsa Temple (悉達寺, the successor of Henjoin temple in Daegu) in the first half of the 1950s, the main hall includes features that reinforce the idea that the tradition of Kobo daisi faith(弘法大師信仰) is passed on. To illustrate, the human skeletal remains in the main hall of Sildalsa Temple reflect Koyasan(高野山)'s tradition in laying ashes to rest, which has been popular in conjunction with the Kobo daishi faith in Japan since the 11th century.

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

• The Journal of the Petrological Society of Korea
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• v.28 no.4
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• pp.227-236
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• 2019

Medium to coarse-grained biotite granodiorite was used to build the Standing Buddha Statue in the Gwanchoksa temple. An ancient document revealed the period and place of constructing the statue: it was made in the northwest of Mt. Banyasan and then moved eastward. Also, the comparison of standing Buddha statue and basement rock in terms of texture, magnetic susceptibility, and gamma spectrometer shows that they have similar characteristics, which is considered to be the same provenance rock. The damage caused by surface contaminants observed in the statue seems to be a combined effect of environmental factors and aging of the epoxy resin. After removal of the contaminants in 2007, the contamination has resumed, and continuous monitoring is necessary. Algal engraftment becomes faster when biological contamination occurs on the surface of stone cultural heritage. Since the secondary lichen growth forms a symbiosis with mold, it is necessary to observe the spatial and distributional changes. Also, the aging epoxy resin may cause secondary damage due to contaminants generated due to the determination of salts, and deterioration of bonding strength due to breaking out. Thus it is desirable to secure stability through proper conservation management.